Keely SchmerberSeptember 19, 2015Music Theory Project 1Philippe Verdelot’s “Madonna il tuo bel viso” (1536) and Claudio Monteverdi’s “O chiome d’or” (1614) are Italian madrigals from the Renaissance period that share certain similarities but differ greatly in style, subject matter, and imagery. While Verdelot’s “Madonna” was composed in classic Renaissance style, or prima pratica; Monteverdi’s “O Chiome” was written in early Baroque seconda pratica, which defied the laws of early counterpoint composition.As mentioned before, Verdelot’s “Madonna” is an Italian madrigal crafted in typical Renaissance prima pratica form. From the Renaissance period, a madrigal is a song known for embellished counterpoint and sung by several voices. In addition, prima pratica refers to the concept of suspensions by preparing and leaving (resolving) musical dissonances. Verdelot was known as the father of the Italian madrigal and his effective use of prima pratica. He composed the “Madonna” to have a homophonic, imitative texture: as each vocal line imitates one another, they each move together in harmony. Hence, chords are created, as well as an elaborate counterpoint, beautiful harmony, and a combination of imperfect and perfect consonance (see annotated score). Meanwhile, Verdelot uses prima pratica to generate the striking sound of prepared and resolved dissonances. In fact, Verdelot opens “Madonna” with a grand perfect fifthbut uses a series of suspensions to avoid forbidden parallel fifths (ms. 1-2). In measure 13, he cadences in G by using a 4-3 suspension in the alto voice and 8-7-8 counterpoint in the cantus. All in all, Verdelot uses embellished counterpoint and prima pratica throughout his “Madonna”to create an aurally beautiful balance of imperfect and perfect consonances and resolved dissonances. Another interesting aspect of Verdelot’s “Madonna” is his use of cadences and hints of imagery that foreshadow more modernistic, even classical, musical styles. Although music during the Renaissance was absent of key signatures and chords lacked harmonic function, evidence of deceptive and plagal cadences can be found in his piece. In measures 24-25, Verdelot continues as to cadence in G, but the bass line then moves to E, creating an E minor chord. In the second chord, the bass line moves to C, tenor moves to C, and alto moves to E, while the cantus remains on G. This creates a C major chord. Finally, in the third chord, all voices cadence to G, creating a G major chord. If “Madonna” was in G Major, the harmonic function of these chords would be vi-IV-I. Therefore, we have a combination of a deceptive and plagal cadence (a “deplagal” cadence). This occurs frequently throughout the piece, in ms. 29-30, 62-63, and 77-78. However, this is not the only foreshadowing of more modern musical styles. Imagery, or word-painting, also exists. In measures 6-9, the alto line creates an arc to represent the waves of the great sea of love (“gran mar d’amor). From ms. 30-34, the bass, tenor,and alto line sweep up almost an octave to depict the ship unfolding its sails to the wind (“Spiegala vela al vento”). Then comes a series of bold, repeated notes, which represent the ship’s fearlessness (“Senza temer di scoglio, o di procella”). Altogether, Verdelot’s uses of imagery, cadences, and traces of harmonic function all foreshadow the musical styles that appear down theroad, as well as in Monteverdi’s “O Chiome.”Claudio Monteverdi’s “O chiome d’or” from Tears of the Lover at the Tomb of the Beloved is truly a model example of seconda pratica, or freedom from traditional counterpoint rules. Whereas the music used to dominate the text, Monteverdi, a master of seconda pratica,claimed that the text dominated the music. Monteverdi applied his belief to his music, using seconda pratica to break the classic rules of counterpoint. In “O chiome d’or,” seconda pratica exists everywhere. The sorrowful text is driven by dramatic dissonance. At the very beginning, the bass line and cantus form a tritone and are repeated until finally moving to a third (ms. 1-2). This occurs again in measures 8-10 and often throughout the piece. Monteverdi uses many moreaccidentals in “O chiome d’or” than other composers – F sharp, B flat, C sharp, C natural – thereby introducing chromaticism. He also introduces basso continuo, or continuous bass line. In measures 31-33, Monteverdi uses a prolonged bass line and harmonizes the upper voices, creating a smooth flow and texture. This occurs again throughout the piece and most notably from measure 46 to the end. Meanwhile, suggestions of a recitative occur from measures 15-27, in which the voices sing in homorhythms to depict people speaking. Homorhythms are seen again from measure 22-28, where the cantus declares, “Ohimé!” (“Ah, me!”) because his love is dead and buried (“Chi vi nasconde? Ohimé! Povera terra…”) Tremendous imagery is created this way. Another instance of imagery exists in measures 32-34, when the cantus leaps up and down crying out to the goddesses Muses, “Ah, muse…” Monteverdi further creates imagery by using unprepared dissonance from measure 37 to the end. In this case, dissonant notes appear out of nowhere, depicting pangs of sorrow (“Ah…”) and slide down the staff, representing the Muses shedding their tears at the death of the woman with golden hair (“muse qui sgor gate il pianto”). Overall, Monteverdi craftily used seconda pratica to depict the tragic lyrics of “O chiome d’or.”In conclusion, Philippe Verdelot’s “Madonna il tuo bel viso” and Claudio Monteverdi’s “O chiome d’or” are two exceptionally crafted pieces from two overlapping time periods. While the “Madonna” was composed in prima pratica, “O Chiome” was written in seconda pratica.Although both pieces differ greatly in style, text, and imagery, Verdelot’s “Madonna” suggestively foreshadows what is to come in Monteverdi’s “O chiome d’or; and “O Chiome” further foreshadows what is to appear in even more modern music. In the end, each work beautifully reflects the style of two overlying time periods, which are still are enjoyed and listened to