Psalm-tone tonality in Monteverdi’s vespers of 1610

Abstract

In this article, I describe Monteverdi’s 1610 psalm settings as psalm tonal, rather than modal, compositions. I begin by distinguishing psalm tone from mode with the help of Monteverdi’s contemporaries, Pietro Pontio and Adriano Banchieri. I then illustrate how Banchieri’s description of psalm tone cadences matches Monteverdi’s cadence practice in Dixit Dominus and Nisi Dominus. Along the way, I posit a theory of transposition-system relationships for Monteverdi’s psalm tone works to explain his cadential variety and his approach to large-scale forms.