Rocha, Abel Luís Bernardo da [UNESP]2014-05-202014-05-202012-01-01Musica Hodie. Goiania Go: Univ Federal Goias, v. 12, n. 2, p. 24-30, 2012.1676-3939http://hdl.handle.net/11449/42686This paper refers to issues related to the harmonic language of Claudio Monteverdi, its harmonic procedures and resulting melodic movements, its use as a dramaturgical resource and its potential allegorical meanings, based on theories and classifications of modes of the sixteenth and seventeenth centuries. At first, it approaches the matter of the multiple names and meanings of the modes and their potential allegorical references according to different authors. Secondly, it presents the analysis of two examples from his operas that deal with the representation of the death of Euridice and Clorinda (Orfeo & Il combattimento de Tancredi e Clorinda, respectively), correlating their harmonic procedures to the corresponding dramaturgical situations.24-30porHarmony in MonteverdiOpera ConductingMode Theory in the 16th and 17th centuriesMusic and dramaturgyArtigoWOS:000315511900003Acesso abertoWOS000315511900003.pdf0870958769180987