The Campaigner, 12:2

December 1979

Pages 8-18

The Case Against Rock:

Zarlino, Monteverdi and the Roots of Rock Music

by Fay Sober

Claudio Monteverdi and his Madrigals of Love and War

Mention the name of the seventeenth-centur ma!riga"ist an! mono!ic opera #riter C"au!io Montever!i to most music stu!ents an! music historians an! the #i"" e$c"aim in reverent tones, %&h, the !ivine Montever!i'the creator of mo!ern music(% This appe""ation, besto#e! on Montever!i b the arbiters of musica" taste for the )ritish )roa!casting Compan *s officia" Music Guide, Denis &rno"! an! +ige" ,ortune, an! #i!e" accepte! to!a , is in!ee! true( Montever!i is the creator of the nineteenth-centur -agnerian "inguistic %music-!rama(%

Montever!i is the !octrina" pre!ecessor of the atona"ist seria" cacophon churne! out b &rno"! .choenberg, an! of the be/er0er pro!uctions of .toc0hausen an! 1ohn Cage( Montever!i is, in that !egree, the evi" pathbrea0er for the present !a *s roc0 music, an! the !estruction of our outh b the !rug-pushing countercu"ture an! its min!-!estro ing music( ,rom .toc0hausen to the .e$ Pisto"s, the !octrine of the anti-cu"ture against music is base! on one an! the same princip"e'the #i""fu" !estruction of human creative potentia" through the embrace of he!onistic so-ca""e! free!om an! #orship of %m persona" nee!s(% This princip"e Montever!i pioneere! in #hat he terme! his %!iscover % of the stile concitato'pure rage'in music, a !iscover he " ing" c"aime! to have ma!e %in P"ato,% an! #hich #as "ater !eve"ope! into the ps cho"ogica" #arfare armamentarium of the t#entieth-centur ,ran0furt schoo" for its ro"e in creating the !rug cu"ts of to!a ( &"" this an! more #e o#e to Montever!i( &"though he #as 2uic0" forgotten in his o#n age, his name is revere! in to!a *s "ea!ing music conservatories, his #or0s restore! to the mo!ern repertoire, his fame 3#hich origina"" !i! not out"ive the seventeenth centur 4 most recent" revive! b the "ate +a!ia )ou"anger for her %popu"ar music% efforts against the humanist musica" schoo" of 5einrich .chen0er( )ut #ho among even accomp"ishe! musicians an! music stu!ents to!a 0no#s even !im" the #or0s of the monumenta" +eop"atonic music theorist an! teacher of the 6o"!en 7enaissance, 6ioseffe 8ar"ino9 :t #as precise" against 8ar"ino*s to#ering humanist inf"uence, fift ears after 8ar"ino*s !eath, that the "i""iputian Montever!i #as !ep"o e!( 8ar"ino, the "ea!ing si$teenth-centur music theoretician an! natura" scientist, an! church !eacon of .t( Mar0*s Cathe!ra" at ;enice, !eve"ope! musica" theor an! practice as the %science of the min!% that it #as for P"ato an! the P"atonic &ca!em , an! #hich #e 0no# to!a through the %6erman music% of )ach to )eethoven( 5e #as conscious" a member of the +eop"atonic inner e"ite of humanists in the tra!ition of the :s"amic cit bui"!ers an! a"-,arabi, of the great Car!ina" +icho"as of Cusa, of <rasmus of 7otter!am an! 6ior!ano )runo'using music an! "anguage to incu"cate a popu"ation in the science of reason an! to e$tirpate the min!-!estro ing neo&ristote"ian nomina"ism assau"ting art an! science(

,or this, 8ar"ino is !erisive" footnote! in music te$ts to!a as the %reactionar churchman% #ho !efen!e! the anti2uarian c"assica" st "e against the irrepressib"e %ne# music% of the si$teenth-centur %mo!erns(% :t is even recommen!e! that he %nee! not be stu!ie!% b the mo!ern stu!ent of music( The purpose of this frau! is to 0eep hi!!en from vie# the inner secrets of the contrapunta" metho!, the p"atonic !ia"ogue in music( :n his o#n "ifetime, 8ar"ino #age! a ruth"ess po"emica" batt"e against both si!es of the &ristote"ian subcu"ture'the he!onistic atona"ism of the soca""e! chromaticists on the one si!e, an! the &po""onian mono!ic opera of the stoica" %imitators of nature% on the other( Montever!i an! his %ne# schoo"% !eve"ope! the "atter into the seventeenth-centur cu"t of "inguistic :ta"ian opera( That both these nomina"" antagonistic st "es share! the same Dion sian pe!igree 8ar"ino !emonstrate! in his thirt - ear batt"e to reestab"ish the contrapunta" science of reason as the basis of a"" music(

Gioseffe Zarlino and his "nstitutions

ar!onic

Moreover, as a "ea!er of repub"ican humanist forces #ho ha! himse"f been traine! in music an! science b the humanist ca!res a""ie! #ith <rasmus of

7otter!am'especia"" &!riano -i""aert, 8ar"ino*s pre!ecessor an! teacher at .t( Mar0*s Cathe!ra"'8ar"ino #e"" 0ne# that the strugg"e for a humanist cu"ture #as a political fight, #hich #ou"! crucia"" !etermine the future of man0in!( 8ar"ino*s <rasmian musica" pre!ecessors in the +ether"an!s ha! use! pub"ic pro!uctions of contrapunta" #or0s an! p"a s to po"itica"" organi/e an! e!ucate a popu"ation against 5apsburg t rann ( 8ar"ino*s native ;enice #as the "ast of the :ta"ian 6o"!en 7enaissance repub"ics at the mi!!"e of the si$teenth centur , from #hich he cou"! vie# #ith horror on a"" si!es the economic an! cu"tura" !evastation #rought b )"ac0 6ue"ph hegemon ( The 6enoese o"igarchs* 1esuits insiste! upon a min!-!ea!ening cu"tura" forma"ism, !esigne! to entomb the 6o"!en 7enaissance age of !iscover an! its inte""ectua" achievements( The 6o"!en 7enaissance reviva" of aposto"ic Christianit *s i!ea" of se"f-perfection #as forbi!!en b superstition an! re"igious stoicism( =pposite to the 1esuits, 8ar"ino fought to revive the metho! of se"f-perfection of min! in music, against the stoic-Dion siac cu"tura" forms of )"ac0 6ue"ph feu!a"ism( 5is fight against chromaticist Dion sian fren/ an! its overt" stoica" mono!ic-opera t#in must no# be reca""e! into the batt"e against the ps cho"ogica"-!eath merchants of the roc0 an! !rug cu"ture to!a , the mo!ern-!a heirs of Montever!i*s anti-rationa" arts( The ar!onic "nstitutions

8ar"ino insiste! that there is on" one universa" science of music, the science of the min! e$presse! through man*s perfection of his natura" universe, not the s"avish submission to %nature% that #as his enemies* motto( :n 1>>8, the reno#ne! choirmaster an! natura" scientist pub"ishe! a four-vo"ume treatise, the Harmonic Institutions, !e!icate! to this i!ea( -ithin three ears, the treatise #as so"! out in its first e!ition, reissue!, trans"ate! into other "anguages an! stu!ie! throughout the continent( The Dutch trans"ation of 8ar"ino*s treatise b his stu!ent, 1an Pieters/oon .#ee"inc0, the repub"ican humanist an! musica" 3an! po"itica"4 co""aborator of Tu!or musician 1ohn )u"", #as "ater to profoun!" inf"uence the oung 1ohann .ebastian )ach( ?oung )ach ha! access to both .#ee"inc0*s music an! 8ar"ino*s teaching( 8ar"ino*s four vo"umes #ere: 314 a histor of musica" !eve"opment@ 324 a treatise on the ph sica" science of the pro!uction of musica" tones, in #hich 8ar"ino app"ie! his o#n critica" insights to revo"utioni/ing both the teaching an! practice of music@ 3A4 a thir! vo"ume tit"e! Counterpoint, on musica"

composition 3the on" vo"ume of the #or0 current" avai"ab"e in <ng"ish4@ an! 3B4 an epistemo"ogica" treatment of poetr , "anguage, mathematics, cosmo"og , re"igion, an! other 2uestions pertaining to music( +or #as this monumenta" treatise a mere" aca!emic tour !e force( 8ar"ino aime! it as a po#erfu" po"itica"-po"emica" attac0 against the contemporar chromaticist cu"t of ma!riga" song-#riters an! musica" !ebaucher ( =ne entire vo"ume of his Harmonic Institutions, the Counterpoint, #as "arge" !e!icate! to this po"emic, naming the chromaticists b name 3an! #ith references to their "ea!er, Cipriano !e 7ore, that #ere c"ear enough to an one at the time4, in the conte$t of a positive course on the basics of goo! music( :n 1>88, thirt ears "ater an! Cust t#o ears before his o#n !eath, 8ar"ino rene#e! this po"emic in his Sopplimenti Musicale, a reCoin!er to the mono!ic-operatic critics of the Harmonic Institutions. The operatics #ere the successors to those chromaticists 8ar"ino ha! thorough" !iscre!ite! #ith his ear"ier #or0( The ne# mono!ics st "e! themse"ves a ,"orentine %cu"tura" societ % ca""e! the Camerata. Their "ea!er #as a 6enoese-a""ie! mon0 from 7ome, one 6iro"amo Mei, to!a 0no#n as a minor trans"ator an! popu"ari/er of the #or0s of &ristot"e( Mei open" confesse! his profoun! ignorance of a"" matters musica"( 5e especia"" professe! a thoroughgoing !istaste for the contrapunta" compositions of 6o"!en 7enaissance composers such as 1os2uin !es Pre/, 5einrich :saac, an! others among 8ar"ino*s !irect pre!ecessors( 38ar"ino*s teacher -i""aert #as a stu!ent of the great 1os2uin(4 Mei*s so"e c"aim to musica" authorit #as base! on 3his o#n4 trans"ations of &ristot"e*s #or0s on music an! poetr ( 8ar"ino*s 1>>8 attac0s on the chromaticists ha! been so effective as to necessitate a recasting of their pecu"iar paro! of po" phonic music( The %ne# music% #as presente! un!er the banner of a revo"t against the anarchistic po" phon of the chromaticists( This misname! ne# %opera% st "e #as tota"" non-harmonic, non-po" phonic, an! atona"'a 0in! of !roning set to bare-bones accompaniment #hich, not coinci!enta"" , stan0 of the feu!a" !ungeons of 6regorian chant( The i!entica" pe!igree of both this %ne# st "e% an! its obverse, atona" po" phonic chromaticism, #as !emonstrate! to 8ar"ino*s fu""est vin!ication at the turn of the si$teenth centur b the conversion of one of northern :ta" *s "ea!ing chromaticist ma!riga" #riters, C"au!io Montever!i, to the %ne# st "e(% The convergence of the t#o st "es ha! been fu"" anticipate! fift ears ear"ier b 8ar"ino in his Harmonic Institutions, as #e sha"" see(

Music and Morality The chromaticist !e-composers #ere patroni/e! b :ta" *s overripe feu!a" nobi"it , an! in fact counte! as one of their "ea!ers the notorious :ta"ian thug an! assassin Prince 6esua"!o of ;enosa, particu"ar" fame! for his overt musica" !ebaucher ( The chromaticist artists #ere the "umpeni/e! !etritus of post-7enaissance aristocratic societ , "in0e! to to!a *s suburban hippies b their !istinctive aromas( The esche#e! tona"it for its %"imitations% on their %tota" free!om% for e$p"oiting the chromatic nuances an! sensua"it of arbitrari" emp"o e! sha!ings of pitch( Di0e to!a *s Ca// improvisationists, their stoc0 in tra!e #as the use of #eir! !issonance an! atona" effects to evo0e the %fee"ing% of sa!o-masochistic "ove songs( %&more morire%'to "ove, to !ie'#as a favorite refrain, sung to painfu"" sour !issonances an! pa"pitating sighs #orth of a si$teenth-centur <"vis Pres"e ( 8ar"ino therefore a!!resse! the chromaticists on the basis of their b"atant immora"it ( :n his %7ebutta" to the =pinions of the Chromaticists,% the conc"u!ing chapter of vo"ume three, Counterpoint, of the Harmonic Institutions, 8ar"ino first instructe! the chromaticists on ho# chromatic %singu"arities% ought "a#fu"" be emp"o e! in music'in the universa"i/ing frame#or0 of !iatonic transfinite organi/ation of tona"it ( 5is insistence on the necessit of the !iatonic tona" s stem as the on" "a#fu" conte$t for a!vancement of musica" !iscoveries #as his staunchest princip"e( That it abso"ute" necessitate! man*s intervention into nature an! the %natura" tone s stem,% to improve nature in accor!ance #ith man-ma!e %natura" "a#,% he a"so insiste!( :n his "ater Sopplimenti Musicale he e$pan!e! this po"emic for the !iatonic s stem into an e$p"icit !eman! for e2ua" tempering of 0e boar! instruments( =n" b creating a universa" tona" coherence subsuming in!ivi!ua" notes as things in themse"ves, cou"! the %co"or% an! thus !eve"opment of musica" i!eas occur( &!!ressing the chromaticists* ungovernab"e penchant for the atona" use of %pitch% as an arbitrar thing in itse"f, 8ar"ino #rote in his %7ebutta"%: : have #ante! to state this because it is one thing to #rite the interva"s of a genus as a series of pitches, an! another to sa that the can be use! simp" in the genus #ith goo! effect( There are man things #hich become goo! an! have an a!mirab"e effect #hen combine! #ith other things( ( ( ( The same ma be sai! of these "ast t#o genera Echromatic an! enharmonicF( &"one the are insufficient to !e"ight the ear, but accompanie! b the !iatonic an! use! suitab" in a composition

the are of great uti"it an! convenience( This #i"" be c"ear from #hat : am going to sa ( Their first a!vantage is this: b combining their steps #ith !iatonic steps #e can use the perfect harmonies an! at the same time obtain #ith the steps of these genera man imperfect consonances, maCor an! minor, at man points in the !iatonic sca"e #here the are not or!inari" avai"ab"e, as is apparent to an one #ho has e$perience in composition( ( ( ( -ith the steps of those genera #e can moreover transpose mo!es into higher or "o#er registers( ( ( ( This cou"! not be !one #ithout the ai! of those steps( &"though the steps are often use! on such occasions, it !oes not fo""o# that the are other than !iatonica"" treate!( -hen #e procee! as !escribe!, the give the highest p"easure an! !e"ight to a"" #ho "isten( =n the other han!, "isteners are much anno e! an! their senses much offen!e! at the inappropriate use of these steps #ithout or!er an! ru"e(1 The chromaticists instea! cherishe! the use of their %genus%'a"one an! unfettere! b the universa"i/ing ten!enc of !iatonic tona"it 'for its sheer sensua" effect( To the unmitigate! c nicism of this vie# 8ar"ino respon!e!: EThe chromaticists*F contention that because the voice can sing ever interva" a"" of them ma an! ought to be use! is a"so not va"i!( =ne might as #e"" sa that because man is capab"e of goo! an! evi", it is "egitimate for him to commit an infam an! act contrar to goo! custom an! against a"" that is proper an! Cust( Certain" the ancients never he"! such ma"ign opinions or too0 such presumptuous "icense as to spoi" an thing goo! in music( 7ather the sought to !iminish the ba! an! increase the goo! an! even to improve it( ( ( ( The mu"tip"ications of possib"e soun!s, Ethe chromaticistsF sa , #ou"! permit the e$pression of ever nuance through ever 0in! of tone( 1ust ho# ri!icu"ous this is : sha"" "et !eci!e #hoever is capab"e of reason( -hi"e man steps an! interva"s are possib"e on an instrument, these shou"! not be use! #ithout purpose or un"ess !eman!e! b the composition an! the mo!e( To emp"o something #ithout nee! or purpose is tru" futi"e an! in!icative of a "ac0 of !iscrimination, not to mention the irritation that it causes the senses invo"ve!(

True, there are man #ho are not !isturbe! b hearing fantastic ne# things, #hether the are goo! or ba!( ( ( ( :f such persons #ere sho#n the truth the #ou"! soon change their min!s( ( ( ( .omeone might state that such things !isp"ease not because the are poor in themse"ves but because our ears are unaccustome! to them( ( ( ( : fee" that even if a person #ere to habituate himse"f to such soun!s, he #ou"! confess their povert upon hearing a #e""-#ritten !iatonic composition( ( ( ( : have sai! a"" this for those #ho cannot see the !ifference bet#een a f"ea an! an e"ephant, to ma0e them rea"i/e that nothing goo! can be accomp"ishe! outsi!e of our E!iatonicF genus, use! as #e are accustome! to #ith chromatic an! enharmonic steps #here appropriate(2 8ar"ino maintaine! that music #as abso"ute" a mora" an! inte""ectua" concern #ith an epistemo"ogica" !ictatorship of truth'natura" "a#'over %st "e(% :n the spirit of P"ato*s The Laws, he enforce! a strict Curi!ica" !istinction in music bet#een "harmonia propria" an! "modulatione propriamente," or %proper harmon % an! %mo!u"ation proper" spea0ing,% versus "harmonia non propria" an! "modulatione impropriamente" or %improper harmon an! mo!u"ation(% The former #as the prere2uisite for music that move! the min! an! sou", #hi"e the "atter, he averre!, ha! %no po#er to move the min!(%A #hat is Counter$oint% The 2uestion of Cust ho# music %moves the min!,% an! the sou", "a at the center of 8ar"ino*s po"emic against the si$teenth-centur chromaticists, an! subse2uent" against their %ne# music% rep"acement, the operatics( The secret #eapon 8ar"ino brought into the fra #as his un!erstan!ing of the process b #hich the min! #or0s, the metho! of the p"atonic !ia"ogue, .ocratic reason( 8ar"ino 0ne# that this process in music #as counterpoint, the !ia"ogue of the composer*s min! #ith the subCect of its o#n !eve"opment( This counterpoint of %:% an! %Thou% is the invariant of musica" !eve"opment in an progressing cu"ture, an! it is the uni2ue necessit for the re!iscover throughout the ages of the tempering princip"e app"ie! to a"tering the %natura" tone s stem% so as to ren!er it susceptib"e of contrapunta" !eve"opment( The counterpoint of note against note is in turn governe! b the counterpoint

of i!eas, the process of higher h pothesis through #hich the min! 0no#s itse"f( The sensuous ref"ection of this process a"one is the characteristic of a"" great music( 8ar"ino*s !iatonic s stem #as the transinvariant frame#or0 for the e"aboration of this process( Gno#n to!a in the form of the t#ent -four maCor an! minor 0e s, the form in #hich 1ohann .ebastian )ach e"aborate! this s stem in his eighteenthcentur !ell"Tempered Clavier, 8ar"ino*s !iatonic organi/ation of the sca"e invo"ve! a regu"ar" recurring pattern of ha"f- an! #ho"e-tone se2uences transfinite" organi/ing an musica" 0e or %co"or(% -ithin the transinvariant %connectivit % of the !iatonic s stem as a #ho"e, contrapunta" singu"arities, or anoma"ies 3such as chromatic acci!enta"s4, cou"! me!iate "a#fu" progression into a ne# musica" 0e or emotiona" gesta"t'the motion connecting the phase spatia" !eve"opment of the #ho"e( The broa! s#eep of this process in a great contrapunta" musica" #or0 necessitated that the min! of the "istener or performer engage in the correspon!ing process of the higher h pothesis'the supersession of an particu"ar emotiona" gesta"t b the 2ua"it of min! thin#ing those gesta"ts, the i!entit #ith the creative process itse"f( -hat the chromaticists ca""e! counterpoint or po" phon #as !iametrica"" oppose! to this( Deceptive" "abe"e! contrapunto alla mente, or %counterpointing at "ibert % 3but in no #a re"ate! to the %free composition% $%reie Sat&' conception that 5einrich .chen0er use! to attempt to formall give a name to the creative process in music4, contrapunto alla mente #as a tota" perversion of the proper meaning of counterpoint, to accommo!ate it to the evi" purposes of the chromaticists( ) contrapunto alla mente the meant the tota"" ran!om composition of t#o separate "ines of music, arbitrari" p"ace! against each other for sheer chaotic effect( :n the #or!s of &!riano )anchieri, a contemporar of C"au!io Montever!i, #hose o#n "a#fu" transition from his ear" chromaticist st "e to his "ate operatic st "e #as governe! b the princip"e of contrapunto alla mente, this techni2ue succee!s #hen: no one 0no#s #hat his companion is going to sing ( ( ( but those !issonances, EconsecutiveF fifths, EconsecutiveF octaves, e$travagances an! c"ashes are a"" graces that ma0e up the true effect of contrapunto a""a mente(

The tric0 to composing such music #as to #rite % each part in!epen!ent of ever other part, as separate harmonic "ines against a fun!amenta" me"o! , the %tenor(% The c"ashes that thus resu"te! ran!om" bet#een the "ines #ere cherishe! for their %spontaneous% an! %natura"% effect( The measures in ()ample * sho# ho# Montever!i emp"o e! the effect of this techni2ue in a ma!riga", Cruda +marilli, sing"e! out for attac0 b 8ar"ino*s stu!ent an! Montever!i*s "ea!ing contemporar critic, 6iovanni Maria &rtusi, in his !ia"ogue,

%D*&rtusi, ovvero, De""a :mperfe/ione !e""a Mo!erna Musica,% of 1HII( The use of %artfu"% c"ashes "i0e the !iminishe! fifth an! seventh at the en! of the first measure, using an , natura" instea! of an , sharp in the 0e of 6, intersperse! #ith consecutive fifths an! octaves "i0e those comp"eting the #or! fugace in the thir! measure, achieve a high" !isruptive stopping an! starting of the piece, Carring the "istener #ith unprepare! !issonances an! e2ua"" unprepare! ca!ences, arresting the motion of the music mi!#a , Ta0ing another e$amp"e from the same ma!riga" ,()ample 24, &rtusi attac0e! Montever!i for %fai"ing to accor! the upper parts #ith the bass% 3in the use of the %acci!enta"% , natura" again4, creating an un#arrante! !issonance( Montever!i*s supporter Do!ovico 8acconi !efen!e! the composer #ith the apt assertion that this !evice %gives so much p"easure an! !e"ight that it appears to us that #e are hearing so man well"trained -irds" 3emphasis a!!e!4( 8ar"ino, his ru"es for contrapunta" #riting in the thir! boo0 of the Harmonic Institutions, ha! #arne! against %some presumptuous persons': #i"" not ca"" them foo"s% #ho #rote in this #a %so"e" to impress the au!ience #ith a s0i"" the !i! not even possess( :f these improvisations #ere to be #ritten !o#n, the #ou"! be foun! to contain a thousan! errors against common

ru"es an! to be fu"" of innumerab"e !issonances( :t #ou"! not even be necessar to #rite these counterpoints !o#n for a s0i""e! musician to recogni/e their errors, because the can be hear! as #e"" as seen(% )ut this nonethe"ess #as the ver metho! a!apte! b the %operatics% an! trans"ate! into a mono!ic setting for precise" the same effect( &'inguistic& ($era Fraud The mono!ic operatic schoo", or sti"e rappresentativo 3%st "e imitative of spo0en speech%4 first reare! its hea! in ,"orence in the mi! to "ate 1>IIs, simu"taneous" #ith a ne# an! unprece!ente! popu"arit of the #ritings of &ristot"e in that cit ( :n ,"orence, #hich ha! been the +eop"atonic capita" of the 6o"!en 7enaissance, the cit of ,icino, Pico, Deonar!o, an! Machiave""i, a neo-&ristote"ian circ"e ca""ing itse"f the ,"orentine Camerata set about organi/ing a cu"tura" revo"ution !e!icate! to a spurious reviva" of #hat the terme! %ancient 6ree0 music(% -hatever the intentions of this group' comprise! of vestigia" e"ements of ,"orence*s great fami"ies, an! inc"u!ing ;incen/o 6a"i"ei, father of the great si$teenth-centur humanist 6a""i"eo'it #as entire" co-opte! b the 7ome-base! 1esuit net#or0s to be use! in a vicious counter-!ep"o ment against the teachings an! inf"uence of 6ioseffe 8ar"ino( The primar means for !oing so #as to misrepresent the histor of ancient music, c"aiming it #as non-contrapunta" an! atona" mono! that subCugate! instrumenta" an! voca" counterpoint to a!aptation to spo0en speech( This emphasis on the "itera" #or! #as chief" the !oing of the "inguistic mentor to the Camerata, the mon0 6iro"amo Mei, #ho attache! himse"f to the Camerata from his base at 7ome in 1>H1, Cust three ears after the first appearance of 8ar"ino*s Harmonic Institutions in :ta" ( Mei !irecte! his efforts especia"" to#ar! iso"ating 8ar"ino an! grooming the impressionab"e amateur composer an! Camerata member ;incen/o 6a""i"ei to become a spo0esman against the teachings an! #ritings of 8ar"ino, his former teacher( :n 1>81, ;incen/o 6a""i"ei !i! in!ee! pub"ish a treatise, the .ialogo della Musica +ntica e della Moderna, purporting to refute 8ar"ino*s theor of counterpoint an! histor of music( 6a""i"ei*s treatise #as such a sha""o# regurgitation of Mei*s "inguistic theories of ancient mono!ic 6ree0 music that it achieve! on" its authors* pub"ic humi"iation #hen 8ar"ino i!entifie! the %certain gent"emen% behin! this %stuff an! nonsense% in his 1>88 Sopplimenti Musicale response(

Mei*s theor insiste! that the #or! #as the so"e conve or of inte""ectua" meaning in music, an! c"aime! that music affecte! the emotions through a pure" "inear process of changes in vo"ume an! pitch'the highs correspon!ing to emotiona" e$citement an! happiness, the "o#s to sa!ness( This s stem permitte! of no !eve"opment e$cept repetition of a sing"e mono!ic theme in higher an! "o#er registers, at faster or s"o#er tempi( :n a "etter to ;incen/o 6a""i"ei in 1>72, concerning %#h the music of the ancients !i! such great things as one rea!s an! #h ours !oes not appear to have for us i!iots an! non-musicians even a trace of these effects,% Mei commente! that %ancient music% articu"ate! the %!eterminant affections% so"e" through such %highs an! "o#s% of %sung speech,% #ith %regu"ate! temperament of the fast an! s"o#(% This formu"a became the stile rappresentativo of the Camerata composers, an! "ater Montever!i*s stoc0 in tra!e( :t esche#e! counterpoint as %c"uttering% the min! an! %cance"ing out% emotiona" effects through such characteristics of the contrapunta" metho! as %contrar motion% of simu"taneous highs an! "o#s, ascen!ing an! !escen!ing in unison( :t a"so reCecte! tona"it , Cust as its chromaticist precursor ha! !one, but no# from the stan!point of Mei*s theor of a simp"e return to the natura" sanctit of ancient 6ree0 music, untouche! b man*s intervention into even the natura" 3untempere!4 tone s stem( ,or Mei*s %sung speech,% such comp"e$ities as tona"it an! contrapunta" !eve"opment #ere tota"" superf"uous, since the music consiste! so"e" of a non-harmonic "ine of barest accompaniment to te$ts habitua"" ta0en from 7oman an! 6ree0 m ths( .uch #as the origin of the :ta"ian opera an! its %c"assica"% thematic content that Montever!i popu"ari/e! at the start of the seventeenth centur , after his o#n "ate conversion from the si$teenth-centur chromaticist st "e( )ut 8ar"ino ha! sho#n that this #as emphatica"" not the music of the 6ree0s( )Meter, ar!ony, and #ords)

Contrar to Mei*s "ies, ta0en straight from his o#n trans"ations of &ristot"e*s /olitics an! +rt of /oetr on the subCects of music an! poetr , 8ar"ino ha! !emonstrate! in the Harmonic Institutions that %the ancients consi!ere! a song to be comprise! of meter, harmon an! #or!s, an! this combination the ca""e! me"o! ,% not the "inear mono! of the operatics(

This contrapunta" notion of %meter, harmon , an! #or!s% combine! #as the essence of 6ree0 poetr an! music, as 8ar"ino !emonstrate! from a"" avai"ab"e historica" evi!ence: ( ( ( some of the strings of Eancient 6ree0F instruments #ere tune! in octaves, fifths an! fourths, as are man : have seen an! hear!, an! ( ( ( the harmon that issue! from these strings #as continuous an! #ithout interva"s of 2uiet( &bove this the improvise! another part #ith the higher strings( -hat ma0es me be"ieve this is that there remain ver man instruments constructe! in this #a an! p"a e! as : have in!icate!( ( ( ( :t ma be #hat 5orace commemorates #hen he sa s: %Jt gratas inter mensas s mphonia !iscors(% 3&s at a p"easant ban2uet #hen a s mphon is !iscor!ant4( Moreover, the operatics* frau!u"ent "inguistic version of ancient 6ree0 music !isp"a e! the same fi$ation on the thing in itse"f that 8ar"ino ha! ear"ier i!entifie! in the Harmonic Institutions* %7ebutta" to the =pinion of the Chromaticists%: ,ina"" the chromaticists are of the opinion that an interva" #hatsoever ma be sung, even though its ratio or proportion is not foun! among the harmonic numbers( 5ere is ho# the Custif this( The voice is capab"e of forming an interva", an! it is necessar to imitate or!inar speech in representing the #or!s as orators !o an! ought( Therefore it is not inappropriate to use a"" these interva"s to e$press the i!eas containe! in the #or!s, #ith the same accents an! other effects #e emp"o in conversation, so that the music might move the affections( : rep" that this is in!ee! inappropriate( :t is one thing to spea0 norma"" an! another to spea0 in song( EThe chromaticistsF sa #e must imitate the orators if our music is to move the affections( ?et : have never hear! an orator use the strange, cru!e interva"s use! b these chromaticists( :f orators #ere to use them, : !o not see ho# the cou"! s#a the min! of a Cu!ge an! convince him of their point of vie# ( ( ( rather the contrar #ou"! occur ( ( ( the resu"ts #ou"! compe" one to sea" one*s ears( The Monteverdian Craft

:n the seventeenth centur , the Montever!ians once again ca""e! this "inguistic cu"t into service, but attempte! to give a +eop"atonic veneer to the ne# st "e, #hich #as e$periencing great !ifficu"ties in gaining popu"arit ( Montever!i*s contention, constructe! for him b his brother an! %music theoretician% 6iu"io Cesare, #as that Montever!i*s music fo""o#e! the !octrine of 8ar"ino*s hegemonic theories, but !iffere! from 8ar"ino %in practice(% The groun! for this !issociation of theor from practice ha! a"so been prepare! b Mei in his grooming of the Camerata( 5is instructions to the ,"orentines, in a 1>77 "etter to 6a""i"ei, #ere: %Consi!ering an! un!erstan!ing are one thing an! putting into operation another( The former be"ongs to the inte""ect an! the "atter to the senses(% ,urthermore, since %materia" an! other circumstances% impair the perfectibi"it of the senses, %the practitioner, having simp" to satisf the sense !oes not ( ( ( esteem reason as much as the theorist an! is content #henever his art succee!s in satisf ing the sense #ithout going an further(% Mei*s conviction #as that emotion an! inte""ect #ere t#o !istinct an! irreconci"ab"e phenomena, the former !epen!ent on the senses an! the "atter on some un0no#ab"e 2ua"it of %reason%'in Mei*s scheme, re!uce! to a pure "inguistic construct( Montever!i*s operatic st "e fo""o#e! this formu"a( C"au!io Montever!i ha! first come into contact #ith the ,"orentine Camerata through his patronage at the court of Du0e ;incen/o 6on/aga of Mantua in the 1>9Is, #hen he #as sti"" a "ea!ing chromaticist composer in :ta" ( Montever!i remaine! pub"ic" a"oof from the ,"orentine circ"e, ho#ever, an! ma!e his conversion to the operatic st "e co " , not #ith the brash attac0s on 8ar"ino that characteri/e! the Camerata*s opposition, but #ith a c nica" attempt to use 8ar"ino*s reputation to boost Montever!i*s ne# st "e( Montever!i*s brother 6iu"io Cesare, his ghost-#riter an! apo"ogist, appen!e! a !efense of the ne# st "e to Montever!i*s 1HI7 compen!ium of ma!riga"s in both the o"! an! ne# st "es, the Scher&i Musicale. <ntit"e! ".ichiaratione" 3Dec"aration4, 6iu"io Cesare*s intro!uction portra e! the sti"" unpopu"ar ne# st "e as base! on #hat he ca""e! 8ar"ino*s %,irst Practice,% but !efining a %secon! practica" usage% #ithin that practice( ) this !oub"e-spea0, 6iu"io Cesare meant to sa that his brother #as not proposing a %ne# musica" :nstitutions% Eto 8ar"ino*s Harmonic Institutions' because he confesses that he is not one to un!erta0e so great an enterprise an! he %"eaves the composition of such nob"e #ritings to ( ( ( the 7ev( 8ar"ino(% )ut, he a!!e!, %8ar"ino use! the tit"e *5armonic :nstitutions

because he #ishe! to teach the ru"es of harmon @ an! m brother has use! the tit"e *.econ! Practice,* that is, secon! practica" usage, because he #ishe! to ma0e use of the consi!erations of that usage, that is of me"o!ic consi!erations an! their e$p"anation(% 6iu"io Cesare #ent on to "ie that %the 7ev( 8ar"ino conce!es that the practice taught b him is not the one an! on" truth( ,or this reason m brother inten!s to ma0e use of the princip"es taught b P"ato an! practice! b the !ivine Cipriano Ethe arch-chromaticist foe against #hom 8ar"ino ha! pub"ic" aime! his Harmonic Institutions po"emicKF an! b mo!ern usage, princip"es !ifferent from those taught an! estab"ishe! b the 7ev( 8ar"ino ( ( ( to create the *ne# music*(% The !ifferences 6iu"io Cesare ha! in min! ha! been state! brief" b Montever!i himse"f in his o#n ear"ier abortive attempt to #rite a !efense of the ne# st "e( %There is a !ifferent #a of consi!ering Econsonances an! !issonancesF from that a"rea! !etermine! Eb 8ar"inoF,% he #rote, base! on the %foun!ations of truth% of the %mo!ern composer(% To #hat !i! these %!ifferences% refer9 To the same arbitrar e$p"oitation of atona" effects that ha! characteri/e! Montever!i*s ear"ier chromaticist st "e( These so-ca""e! !ifferences #ere manifest" c"ear in the !e!ication b Camerata composer 6iu"io Caccini to his first %mo!ern opera,% (uridice, in 1HII: %:n this manner of singing : have use! a certain neg"ect #hich : !eem to have an e"ement of nobi"it ,% Caccini !ec"are!, %be"ieving that #ith it : have approache! that much nearer to or!inar speech(% :n 1HI2, in Caccini*s co""ection of the 0uove Musiche 3+e# Music4, he !eve"ope! the princip"e further: %E: inten! toF bring in a 0in! of music b #hich men might as it #ere ta"0 in harmon , using in that 0in! of singing, as : have sai! at other times a certain nob"e neg"ect of the song(% This %neg"ect% #as Custifie! since instrumenta" music itse"f cou"! serve %no other purpose EthanF e$pression of passion% an! %cou"! not move the un!erstan!ing% #ithout the assistance of #or!s( The unmusica" resu"t #as, t pica"" , something "i0e ()ample 1 from Caccini*s 0uove Musiche, in #hich the composer ha! to emp"o numerous stage !irections to his singers to c"arif the emotiona" 2ua"it he #ante! the singer to add to the music at ever point, the music itse"f being entire" bereft of such inherent 2ua"ities(

The 'ate ($eras )ut the st "e for #hich Montever!i is 0no#n to!a cu"minate! in his "ate perio!, in the %re!iscover from the ancients% of his stile concitato, the %#ar"i0e genus% of agitation, rage, an! hate( +ot surprising" , Montever!i ma!e this !iscover #hi"e in the emp"o of .ignor 6iro"amo Mocenigo of ;enice, the butcher #ho ha! "e! 6ior!ano )runo to the sta0e in 1HII( Mocenigo*s court #as not un"i0e the sa!o-masochistic 6on/aga court, a buco"ic ho"!-out of feu!a" :ta" , fast coming un!er the s#a of the 6enoese factions at 7ome an! their 1esuit :n2uisition( Mocenigo ha! turne! 6ior!ano )runo over to the :n2uisition "ess than 1> ears before Montever!i

began his infamous career at that same court in 1H1A, assuming at the same time the post of choirmaster of .t( Mar0*s Cathe!ra" at ;enice, the post 8ar"ino ha! he"! unti" his !eath in 1>9I( Montever!i compose! his Madrigals of Love and !ar, "i0e the %Combat of Tancre! an! C"orin!a,% in 1HA8, !e!icate! to 5apsburg <mperor ,er!inan! ::: an! his hope!-for success in the genoci!a" Thirt ?ears* -ar against the repub"ican factions of <urope( The emperor gratefu"" accepte! Montever!i*s offering, an! re#ar!e! him b financing its pub"ication throughout <urope( The #or0 initiates Montever!i*s stile concitato as the #ar"i0e genus of "ove an! #ar( :n it he e2uates the emotions of a!versit an! con2uest to the %combat% for "ove, a favorite them of his ear"ier pornographic chromaticists ma!riga"s(B The "over must con2uer his be"ove! an! !ie consummating his erotic !esires( This sa!o-masochistic stile promotes the same Dion sian fren/ as the !rug-in!uce! orgies of roc0 cu"ture to!a ( Montever!i cro#ne! his career #ith the u"timate e$pression of this sa!omasochistic stile in his "ast opera, The Coronation of /oppea, #ritten in 1HB2( The opera ce"ebrates the tota" victor of heteronom an! gree! in the 7oman <mpire an! its emperor, +ero( Poppea*s ambition to become empress of 7ome triumphs in a spectac"e of mur!er an! "ust( )ut there is no mora"it over #hich it triumphs( Montever!i*s foi" to the imperia" coup"e is the stoic, pseu!o-p"atonic phi"osopher .eneca, #ho a!vises +ero against the a""iance #ith Poppea'an! then passive" submits to assassination as his fate for crossing the emperor*s #ishes( The opera begins as Poppea*s "over, the so"!ier =tho, returns from the #ars to fin! Poppea se!ucing +ero( The enrage! =tho sta"0s off to p"ot his revenge #ith +ero*s Ci"te! empress, =ctavia( Mean#hi"e, +ero pauses in the pursuit of his p"easures "ong enough to enact a ritua" confession to the #ise o"! phi"osopher .eneca( .eneca counse"s propriet , against +ero*s "ascivious intentions, an! !utifu"" submits to assassination as the conse2uence of his #is!om( )ut #ho carries out the b"oo! !ee!9 &ct T#o e$a"ts the success of .eneca*s assassination #ith a

"e#! !uet of +ero an! Poppea to Dove( :t is the go!!ess of Dove #ho s"a s .eneca, an! intervenes from =" mpus on Poppea*s beha"f to gui!e the success of her b"oo! p"ans(

Love con2uers reason 3impotent, passive .eneca4 through "ust an! hate, the ha""mar0s of the stile concitato. Dove is a"so the agent for Poppea against the p"ots of =tho an! =ctavia( -ith true "ove*s intervention, +ero succee!s in sen!ing =tho an! =ctavia into e$i"e, "eaving him free to consummate affairs #ith Poppea( Poppea an! +ero sing another of their innumerab"e bana" !uets to "ove 3% ou are mine, : am ours@ ou are mine, : am ours,% et cetera, et cetera4 as the #atch a sobbing =ctavia sai" out of sight( &t once the reve"r of Poppea*s coronation procee!s an! the opera c"oses ami! a scene of bacchana"ian org ( Poppea*s coronation #as thus the coronation of the ne# st "e in a"" its erotic sp"en!or, !rape! in the %c"assicism% of :mperia" 7ome( :t #as the Dion sian si!e of the &po""onian c"assicism of the Camerata, !eve"ope! accor!ing to &ristot"e*s prescription for art as opposed to reason,> an! it fo""o#e! the ancient Dion sian an! Phr gian cu"ts in preparing for the spa#ning of the roc0-!rug countercu"ture to!a ( +ote the simi"arit bet#een the monotonous beating of a sing"e note in Montever!i*s Lament of 2l mpia, on #hich he mo!e"e! =ctavia*s "ament in the Coronation of /oppea an! the min!!ea!ening !rum beat of to!a *s Cung"e music( The intent an! resu"t are the same( 8ar"ino ha! attac0e! this emerging horror in his response to the Camerata, pub"ishe! in his Sopplimenti Musicale in 1>88, Cust t#o ears before his !eath( 8ar"ino use! this "ast po"emic against both the chromaticists an! the inchoate operatic st "e to !rive home the arguments of his Harmonic Institutions'but no# from the vantage point of a more e$act un!erstan!ing of the specifica"" &ristote"ian nature of the frau!( 5e "ambaste! the ersat/ oratorio of the stile rappresentativo as not music at a"", but the incoherent babb"ings of %c"o#ns*% on a stage, aping nature not "i0e men, but %anima"s(% Citing &ristot"e*s "ie in the /olitics an! +rt of /oetr that art is a cathartic %imitation of nature,% 8ar"ino e$p"aine! %ho# one ought to spea0 in an imitation ma!e b means of music(% 5e ma!e an ana"og to the contrapunta" metho! of fuga" music #riting, an! to the ironic Cu$taposition of part an! #ho"e in the perspective of 7enaissance painting or the epic poetr of 5omer an! ;irgi", #here %inte""ect an! Cu!gment% are use! to create contrapunta" %arrangements% in the subCect*s min!( Fro! Zarlino to Fidelio :n!ee!, this higher or!er of counterpoint is precise" ho# )ach an! )eethoven !eve"ope! rea" opera, through the counterpoint of chora" an!

instrumenta" voices( Montever!i #as 2uic0" forgotten after en!ing his !a s in 1HBA 3one ear after the pro!uction of /oppea3 as a superstitious re"igious m stic an! fervi! a"chemist, #ho ha! ta0en vo#s to #ar! off the p"ague in ;enice in 1HAI( )ut 8ar"ino*s humanist science "ive! on in the northern 7enaissance of the seventeenth centur that "e! to the creative geniuses of Deibni/ an! )ach, an! ,ran0"in an! )eethoven in the ne$t centur ( 8ar"ino*s teachings #ere !irect" conve e! to the northern <uropean net#or0s of music-scientists that a""ie! #ith <ng"ish an! ,rench repub"ican forces in <urope*s batt"e against the 5apsburg o"igarch an! its 6enoese-bac0e! .tuart successors( 1an Pieters/oon .#ee"inc0, the seventeenth-centur Dutch composer #ho trans"ate! 8ar"ino*s #or0s an! incorporate! their contrapunta" metho! into his organ pieces an! 5uguenot Psa"ms, #as the music teacher of Christiaan 5u ghens, an! !irect" inf"uence! )ach( .#ee"inc0*s stu!ents in 6erman in the ne$t generation pro!uce! 1an &!ams 7ein0en*s semina" #or0 on fugue an! !oub"e-fuga" #riting, base! on 8ar"ino*s %Counterpoint(% 7ein0en himse"f #as brief" associate! #ith 1ohann .ebastian )ach, at 5amburg in 1721( =n hearing )ach perform at that cit *s great church organ, the age! 7ein0en, then in the ninet -ninth ear of his "ife, e$c"aime!: %: thought this art #as !ea!, but : see that in ou it sti"" "ives(% That music "ives to!a in the #or0s of Du!#ig van )eethoven, #ho brought music to its highest "eve" et 0no#n, in the tra!ition of %me"o! , meter, an! #or!s% combine!( )ach*s chora" #or0s an! )eethoven*s 0inth S mphon , Missa Solemnis, an! opera %idelio sho# us the rea" content of opera as the counterpoint of voca" an! instrumenta" music( The antithesis of Montever!i*s ce"ebration of :mperia" 7ome in the !ebaucher of /oppea is )eethoven*s ce"ebration of the &merican 7evo"ution, the "ove of Dafa ette an! his #ife &!rienne',"orestan an! DenoreH'an! the triumph of "ove an! Custice, in his %idelio. This notion of human "ove, the creative process itse"f, victorious over the enemies of man0in! is the "egac 8ar"ino be2ueathe! in the fina" pages of the Harmonic Institutions4 : hope some !a to see this science so #e"" estab"ishe! an! perfect that no one #i"" !esire more than #hat is actua"" in use( : sa this because : !o not see that it is no# in such a perfect state as ma come( This : cannot !escribe but can imagine( :t ma come #hen music is embrace! b some nob"e spirit #hose goa" #i"" be not the mechanica" one of gain, but honor an!

immorta" g"or ( These he ma earn after "aboring in our science an! raising it to the u"timate point that : have suggeste!( *otes 1( Harmonic Institutions, )oo0 :::, chapter 77( <mphasis a!!e!( 2( I-id. A( Harmonic Institutions, )oo0 ::, chapters 12 an! 1B( B( Perhaps the best c"inica" appreciation of these ear" ma!riga"s #as ma!e in a tribute b )ritish )roa!casting Compan Music Guide #riter Denis &rno"! in his 19H7 ana" sis of the Montever!i ma!riga" %& un giro so" !e* be""* occhi "uccenti(% -riting in the ))C*s Guide, &rno"! sa s: The poet again #or0s out the !oub"e meaning of the #or! %!eath(% %: #ish to !ie,% he begins, %no# : fee" the "ove" mouth of m be"ove!(% 5e en"arges on the 0isses( ,irst he is content #ith a "ove-bite'an! no #on!er, for %in this s#eetness of her breast : am e$tinguishe!(% 5e hurries to the c"ima$, tasting the "ips, in a conventiona" 0iss, then biting vo"uptuous" again' an! then he %!ies(% :n itse"f it is not a !istinguishe! poem@ but Montever!i is rea! to see0 out its potentia"ities( The #ish to !ie is repeate! three times in a meaningfu" !escent( The mouth of the be"ove! arouses him again( 5e bites #ith a !e"icious !issonance@ as it is about to reso"ve, the !iscor! bites again, an! again, an! et again( )ut the rising phrase is e$tinguishe! in conventiona"" fa""ing suspensions( 5e ca""s for haste in a canon, so hast that there is but a sing"e crochet E2uarter noteF bet#een the t#o parts( .he p"a fu"" resists( 5e tries once more, using three voices so that t#o of them continua"" push the thir! up an! up( .he sho#s "ess resistance this time 3using three voices instea! of five as before4 but no# nothing can ho"! him bac0( The canon resumes in the sopranos, the bass p"ea!s, %&h mouth, ah 0isses, ah tongue(% 5e con2uers'an! %!ies% #ith the ver first !escen!ing phrase( The composer #ho can !o this un!erstan!s "ove@ an! these shepher!s are no i!ea"i/e! rustics( The are ver human(

>( %To be entire" convincing Ethe poetF must be ab"e to enter into the motions of his character through sharing their nature( =ne enacts agitation or anger most convincing" #hen he is actua"" fee"ing them( That is #h poetr re2uires either a natura" ta"ent or an enthusiasm that verges on ma!ness: b one a man is a!aptab"e, b the other ecstatica"" inspire!(% ,rom &ristot"e*s +rt of /oetr . H( .ee %,i!e"io: )eethoven*s Ce"ebration of the &merican 7evo"ution,% Dona"! Phau, The Campaigner, 11:H, &ugust 1978(