EXAMPLE TESTING

Example 1. The opening of “Amor mi fa morire” mm. 1–5

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Example 2. “Amor,” mm. 41–48 (soggetti a and c in m. 44; soggetti a, b, c, and d in m. 46)

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Example 3. The thirteen occurrences of soggetto a (the first note of the Tenor in mm. 57 and 65 is a semibreve)

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Example 4. Variations of soggetto a

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Example 5. Contrapunto fugato: placements of i’ against two transpositions of j (cf. Example 11)

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Example 6. Two versions of the ec’ac module

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Example 7. A timeline of the madrigal, showing soggetti, cadences, and contrapuntal techniques

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Example 8. Detail of the A section

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Example 9. Mm. 21–28. New beginning or completion of arch in mm. 23–24? Tight elision into B section in mm. 26–27

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Example 10. Detail of large B section

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Example 11. Mm. 33–44. Imitation of l + i’ in mm. 36–38; acceleration of i’ in mm. 37–41; and more frequent cadences to G in mm. 40 & 42 (the ji’ pair in m. 38 makes the same contrapuntal combination as that in m. 41)

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Example 12. Nested structures (M=modular, CF=contrapunto fugato)

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Example 13. Mm. 51–57: a contrapuntal tour de force and the only duo

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Example 14. Detail of A’ section

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Example 15. Statements of soggetto a in the beginning of the A section and the complete A’ section

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Example 16. Lower case letters in the third column (under “rhyme”) indicate seven-syllable verses; uppercase letters are eleven-syllable verses. The last two verses are the ripresa inside the volta.

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Example 17. The poem and the music

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Example 18. Rhyme, punctuation, and music

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Appendix 1

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Appendix 2

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