musical devices that were to make Monteverdi famous, such as the unprepared dissonance that so horrified Artusi, as well as previously forbidden melodic intervals such as diminished fourths; he also exploits cross relations for expressive effect. Curiously, he also frequently uses the interval of the falling sixth, a characteristic of Monteverdi's – though which learned it from the other is uncertain. Sacred music In his sacred music, which consists of masses, motets, and psalm settings, Pallavicino shows the influence of the Venetians, with large, spatially separated choirs, and he often wrote music for relatively large forces. He published books of motets for 8, 12, and 16 independent voices. These compositions are mainly homophonic in texture, aiming more for effect through alternation of sonority than counterpoint, a characteristic of the Venetian polychoral style. His masses are for four to six voices, and in the conservative polyphonic style of the High Renaissance; they use the parody technique, and some are based on motets by Lassus and Giaches de Wert. It is not known which churches he wrote his music for; the church where he worked, Santa Barbara, contains no mention of his compositions in their archives, and it has been suggested that he may have written them for other churches in Mantua, such as San Andrea and San Marco. Influence and modern appraisal Pallavicino's music was popular at the time, and printed and reprinted after his death, in both Venice and Antwerp; his popularity is attested by the numerous reprints and copies of his madrigals, especially in anthologies, in locations as far away as England. Indeed, he is second only to Marenzio in the manuscript Drexel 4302 containing 100 of his madrigals, and his music appears in at least 20 separate English sources. While Pallavicino was respected by most of his contemporaries, his achievement had been completely overshadowed by that of Monteverdi, at least until the last decades of the 20th century, during which the musical culture of cities such as Mantua and Ferrara has received considerable study, and Pallavicino's originality has again been appreciated. References Claudio Gallico, "Mantua", Grove Music Online, ed. L. Macy (Accessed 14 June 2008), (subscription access) K. Bosi Monteath, "Pallavicino, Benedetto", Grove Music Online, ed. L. Macy (Accessed 14 June 2008), (subscription access) K. Bosi Monteath, "Pallavicino, Germano", Grove Music Online, ed. L. Macy (Accessed 15 June 2008), (subscription access) Allan W. Atlas, Renaissance Music: Music in