including the Ruggiero and the Romanesca. Some of his music is reminiscent of the concertato style of Giovanni Gabrieli, and a modern sense of tonality prevails throughout. Merula's secular music includes solo madrigals with instrumental accompaniment, sometimes using the Monteverdian stile concitato tremolo effect, and in formal design prefiguring the later Baroque cantata with its division into aria and recitative. He wrote one opera, La finta savia, produced in 1643, and based on a libretto by Giulio Strozzi. Among his instrumental music are numerous ensemble canzonas, whose sectional structure looks ahead to the sonata da chiesa, and his writing for strings—especially the violin—is exceptionally idiomatic, also looking ahead to the highly developed writing of the late Baroque. He also wrote canzonettas, dialogues, keyboard toccatas and capriccios, a Sonata cromatica, and numerous other pieces which display an interest in just about every contemporary musical trend in north Italy. A complete edition of his works was published in 1974 in Brooklyn, New York (T. Merula: Opere complete, ed. A. Sutkowski). A compilation of several of his solo vocal works was edited in 2012 by Phoebe Jevtovic, and samples can be found on her official website. Works Il primo libro delle canzoni a 4 (Canzoni a quattro voci per sonare con ogni sorti de strumenti musicali), 12 canzonas for 4 instruments, Op. 1 (1615): I. La Ghirardella II. La Lusignuola III. La Pellegrina IV. La Merula V. La Chremesca VI. La Ciria VII. La Marcha VIII. La Livia IX. La Monteverde X. L’Orbina XI. La Piva XII. La Loda Il primo libro de madrigaletti, 3 voices and continuo, Op. 4 (1624) Il primo libro de madrigali concertati, 4 to 8 voices and continuo, Op. 5 (1624) Il primo libro de motetti e sonate concertati, 2 to 5 voices, Op. 6 (1624) Satiro e Corisca dialogo musicale, 2 voices with continuo, Op. 7 (1626) Libro secondo de concerti spirituali con alcune sonate, 2 to 5 voices, Op. 8 (1628) Il secondo libro delle canzoni da suonare, 12 canzonas for 3 instruments (2 violins and a bass) with continuo, Op. 9 (ca. 1631) Madrigali et altre musiche concertate a 1–5, libro secondo, 1 to 5 voices, Op. 10 (1633) Pegaso salmi, motetti, suonate, libro terzo, 2 to 5 voices, Op. 11 (ca. 1637) Canzoni overo Sonate concertate per chiesa e camera, 2 or 3 instruments, book 3, Op. 12 (1637): I. La Gallina II. La