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{{Short description|Renaissance/Baroque style of musical composition}}
'''Seconda pratica''', [[Italian language|Italian]] for "second practice", is the counterpart to [[prima pratica]] and is sometimes referred to as '''Stile moderno'''. The term "Seconda pratica" first appeared in 1603 in [[Giovanni Artusi]]'s book ''Seconda Parte dell'Artusi, overo Delle imperfettioni della moderna musica'' (''The Second Part of The Artusi, or Imperfections of Modern Music''), where it is attributed to a certain L'Ottuso Accademico. In the first part of ''The Artusi'' (1600), Artusi had severely criticized several unpublished madrigals of [[Claudio Monteverdi]]. In the second part of this work, L'Ottuso Accademico, whose identity is unknown, defends Monteverdi and others "who have embraced this new second practice".<ref>Giovanni Artusi, ''Seconda Parte dell'Artusi, overo Delle imperfettioni della moderna musica'', p. 16, Venice (1603)</ref> Monteverdi adopted the term to distance some of his music from that of e.g. [[Giovanni Pierluigi da Palestrina]] and [[Gioseffo Zarlino]] and to describe early music of the [[Baroque music|Baroque period]] which encouraged more freedom from the rigorous limitations of dissonances and counterpoint characteristic of the prima pratica.▼
{{italic title}}
{{use dmy dates|date=June 2024}}
▲'''{{lang|it|Seconda pratica}}''', [[Italian language|Italian]] for "second practice", is the counterpart to [[{{lang|it|prima pratica}} (or {{lang|it|[[stile antico]]}}) and is sometimes referred to as '''Stile{{lang|it|stile moderno}}'''. The term "Seconda{{lang|it|seconda pratica"}} first appeared in 1603 in [[Giovanni Artusi]]'s book ''{{lang|it|Seconda Parte dell'Artusi, overo Delle imperfettioni della moderna musica''}} (''The Second Part of The Artusi, or, Imperfections of Modern Music''), where it is attributed to a certain L'Ottuso Accademico. In the first part of ''The Artusi'' (1600), Artusi had severely criticized several unpublished madrigals of [[Claudio Monteverdi]]. In the second part of this work, L'Ottuso Accademico, whose identity is unknown, defends Monteverdi and others "who have embraced this new second practice".<ref>Giovanni Artusi, ''Seconda Parte dell'Artusi, overo Delle imperfettioni della moderna musica'', p. 16, Venice (1603)</ref> Monteverdi adopted the term to distance some of his music from that of e.g. [[Giovanni Pierluigi da Palestrina]] and [[Gioseffo Zarlino]] and to describe early music of the [[Baroque music|Baroque period]] which encouraged more freedom from the rigorous limitations of dissonances and counterpoint characteristic of the {{lang|it|prima pratica}}.
 
''{{lang|it|Stile moderno''}} was coined as an expression by [[Giulio Caccini]] in his 1602 work ''{{lang|it|[[Le nuove musiche]]''}} which contained numerous [[monody|monodies]]. New for Caccini's songs were that the accompaniment was completely submissive in contrast to the lyric; hence, more precisely, Caccini's Stile{{lang|it|stile moderno}}-monodies have ornamentations[[Ornament (music)|ornamentation]]s 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.
 
In the preface of his 5thfifth ''Book of Madrigals'' (1605) Monteverdi announced a book of his own: ''{{lang|it|Seconda pratica, overo perfettione della moderna musica}} (''Second Practice, or, Perfection of Modern Music''). Such a book is not extant. But the preface of his 8theighth ''Book of Madrigals'' (1638) seems to be virtually a fragment of it. Therein Monteverdi claims to have invented a new “agitated” style (''Genere{{lang|it|genere concitato''}}, later called {{lang|it|[[Stilestile concitato]]}}) to make the music "complete/perfect" ("perfetto").<ref>Gerald Drebes: ‘‘Monteverdis"Monteverdis ''Kontrastprinzip'', die Vorrede zu seinem 8. Madrigalbuch und das ''Genere concitato''‘‘", in: ''Musiktheorie'', Jgvol. 6, 1991, ppp. 29-42, online: {{cite web |url=http://www.gerald-drebes.ch/page5.html |title=ArchivedGerald copyDrebes - 2 Aufsätze online: Monteverdi und H. Schütz |accessdateaccess-date=2015-02-07 |url-status=dead |archiveurlarchive-url=https://web.archive.org/web/20160303210657/http://www.gerald-drebes.ch/page5.html |archivedatearchive-date=2016-03-03 }}</ref>
 
== References==
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==Further reading==
* {{cite web▼
| last = Selfridge-Field▼
| first = Eleanor▼
| title = 'Two Practices, Three Styles’: Reflections on Sacred Music and the ''Seconda Pratica''" in ''The Well-Enchanting Skill: Music, Poetry, and Drama in the Culture of the Renaissance: Essays in Honour of F. W. Sternfeld''), ed. John Caldwell, Edward Olleson, Susan Wollenberg. Introduction by Sir Michael Tippett▼
| location = Oxford▼
| publisher = Clarendon Press▼
| year = 1990▼
| pages = 53–64▼
}}▼
 
* {{cite web
|last = Foxon
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|archive-date = 2006-12-11
|title = Explain what Monteverdi meant by seconda pratica and show how this 'second practice' is reflected in three of his madrigals
|format = [[PDF]]
|publisher = Musical Resources
|accessdate access-date = 2006-11-08|ref=none
}}
* {{cite web
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| title = General characteristics of Baroque Music
| work = Chronology Baroque
| publisher = iclassics.com
| accessdateaccess-date = 2006-11-08
| archive-date = 2021-03-25
}} {{Dead link|date=October 2010|bot=H3llBot}}
| archive-url = https://web.archive.org/web/20210325053338/https://www.iclassics.com/?contentId=3052
| url-status = dead|ref=none
}}
** Excerpted from {{cite book
| last = Hanning
Line 48 ⟶ 43:
| edition = 1st
| year = 1998
| publisher = W. W. Norton
| location = New York
| language =
| isbn = 0-393-97168-6|ref=none
▲}}
▲* {{cite webbook
▲ | last = Selfridge-Field
▲ | first = Eleanor
| chapter = 'Two Practices, Three Styles': Reflections on Sacred Music and the ''Seconda Pratica''
▲ | title = 'Two Practices, Three Styles’: Reflections on Sacred Music and the ''Seconda Pratica''" in ''The Well-Enchanting Skill: Music, Poetry, and Drama in the Culture of the Renaissance: Essays in Honour of F. W. Sternfeld''), ed. John Caldwell, Edward Olleson, Susan Wollenberg. Introduction by Sir Michael Tippett
| editor1 = [[John Caldwell (musicologist)|John Caldwell]]|editor2=Edward Olleson|editor3=Susan Wollenberg|others=introduction by Sir [[Michael Tippett]]
▲ | location = Oxford
▲ | publisher = Clarendon Press
▲ | year = 1990
▲ | pages = 53–64|ref=none
}}
 
{{Claudio Monteverdi|state=collapsed}}
{{Portal bar|Classical music}}
{{Authority control}}
 
[[Category:Baroque music]]
[[Category:Renaissance music]]
[[Category:Musical terminology]]
Retrieved from "https://en.wikipedia.org/wiki/Seconda_pratica"