User:LazyStarryNights/Prima pratica

ANTICO

SECONDA Seconda pratica or seconda prattica (Italian, "second practice"), is the counterpart to prima pratica and is also referred to as Stile moderno. The term "Seconda pratica" was coined by Claudio Monteverdi to distance his music from that of e.g. Giovanni Pierluigi da Palestrina and Gioseffo Zarlino and describes early music of the Baroque period which encouraged more freedom from the rigorous limitations of dissonances and counterpoint characteristic of the prima pratica.

PRIMA Prima pratica or prima prattica (Italian, "first practice"), is the counterpart to seconda pratica and is also referred to as Stile antico. The term prima pratica was first used during the conflict between Giovanni Artusi and Claudio Monteverdi about the new musical style.

refers to early Baroque music which looks more to the style of Palestrina, or the style codified by Gioseffo Zarlino, than to more "modern" styles. It is contrasted with seconda pratica music.

ANTICO Stile antico (literally "ancient style", ), is a term describing a manner of musical composition from the sixteenth century onwards that was historically conscious, as opposed to stile moderno, which adhered to more modern trends.

SECONDA Stile moderno was coined as an expression by Giulio Caccini in his 1602 work Le nuove musiche which contained numerous monodies. New for Caccini's songs were that the accompaniment was completely submissive in contrast to the lyric; hence, more precisely, Caccini's Stile moderno-monodies has ornamentations spelled out in the score, which earlier had been up to the performer to supply. Also this marks the starting point of basso continuo which also was a feature in Caccini's work.

PRIMA At first, prima pratica referred only to the style of approaching and leaving dissonances. In his Seconda parte dell'Artusi (1603), Giovanni Artusi writes about the new style of dissonances, referring specifically to the practice of not properly preparing dissonances (see Counterpoint), and rising after a flattened note or descending after a sharpened note. In another book, his  L'Artusi, overo Delle imperfettioni della moderna musica (1600) ("The Artusi, or imperfections of modern music") Artusi had also attacked Monteverdi specifically, using examples from his madrigal "Cruda Amarilli" to discredit the new style.

ANTICO It has been associated with composers of the high Baroque and early Classical periods of music, in which composers used controlled dissonance and modal effects and avoided overtly instrumental textures and lavish ornamentation, to imitate the compositional style of the late Renaissance.

SECONDA In the preface of his 5th Book of Madrigals (1605) Monteverdi announced a book of his own: Seconda pratica, overo perfettione della moderna musica. Such a book is not extant. But the preface of his 8th Book of Madrigals (1638) seems to be virtually a fragment of it. Therein Monteverdi claims to have invented a new “agitated” style (Genere concitato, later called Stile concitato) to make the music "complete/perfect" ("perfetto").

PRIMA Monteverdi responded in a preface to his fifth book of madrigals, and his brother Giulio Cesare Monteverdi responded in Scherzi Musicale (1607) to Artusi's attacks on Monteverdi's music, advancing the view that the old music subordinated text to music, whereas in the new music the text dominated the music. Old rules of counterpoint could be broken in service of the text. According to Giulio Cesare, these concepts were a hearkening back to ancient Greek musical practice.

ANTICO Stile antico was deemed appropriate in the conservative confines of church music, or as a compositional exercise as in J. J. Fux's Gradus Ad Parnassum (1725), the classic text-book on strict counterpoint. Much of the music associated with this style looks to the music of Palestrina as a model.

ANTICO In the early Baroque Claudio Monteverdi and his brother coined the term prima pratica to refer to the older style of Palestrina, and seconda pratica to refer to Monteverdi's music.

ANTICO The great composers of the late Baroque all wrote compositions in this style, especially Bach. His Mass in B minor has sections written in stile antico which contrast with up-to-date Baroque idioms. Later composers such as Haydn and Mozart also used stile antico. Beethoven's Missa Solemnis, written after the composer's study of Palestrina, is a late flowering of the style.