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{{Short description|Renaissance/Baroque style of musical composition}}
'''Seconda prattica''', literally "second practice", is the counterpart to [[prima pratica]] and is more commonly referred to as '''Stile moderno'''. The term "Seconda prattica" 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 music|Baroque period]] which encouraged more freedom from the rigorous limitations of dissonances and counterpoint characteristic of the prima pratica.
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{{use dmy dates|date=June 2024}}
'''{{lang|it|Seconda pratica}}''', Italian for "second practice", is the counterpart to {{lang|it|prima pratica}} (or {{lang|it|[[stile antico]]}}) and is sometimes referred to as '''{{lang|it|stile moderno}}'''. The term {{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 In the first part of ''The Artusi'' (1600), Artusi had severely criticized several unpublished madrigals of [[Claudio Monteverdi]].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 hashave 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 fifth ''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 eighth ''Book of Madrigals'' (1638) seems to be virtually a fragment of it. Therein Monteverdi claims to have invented a new “agitated” style ({{lang|it|genere concitato}}, later called {{lang|it|[[stile concitato]]}}) to make the music "complete/perfect" ("perfetto").<ref>Gerald Drebes: "Monteverdis ''Kontrastprinzip'', die Vorrede zu seinem 8. Madrigalbuch und das ''Genere concitato''", in: ''Musiktheorie'', vol. 6, 1991, pp. 29-42, online: {{cite web |url=http://www.gerald-drebes.ch/page5.html |title=Gerald Drebes - 2 Aufsätze online: Monteverdi und H. Schütz |access-date=2015-02-07 |url-status=dead |archive-url=https://web.archive.org/web/20160303210657/http://www.gerald-drebes.ch/page5.html |archive-date=2016-03-03 }}</ref>
== References ==▼
 
* {{cite web▼
▲== References ==
| last = Selfridge-Field▼
<references />
| first = Eleanor▼
| title = 'Two Practices, Three Styles’: Reflections on Sacred Music and the ''Seconda Prattica''" 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▼
}}▼
 
==Further reading==
* {{cite web
|last | last = Foxon
|first | first = TomTim
|year | year = 2004
|url | url = http://www.musicalresources.co.uk/Resources/Monteverdi%20Essay.pdf
|archive-url archiveurl=http https://web.archive.org/web/2007092703470620061211022239/http://www.musicalresources.co.uk/Resources/Monteverdi+Essay%20Essay.pdf
|url-status = dead
| archivedate=2010-04-01
|archive-date = 2006-12-11
|title | title = Explain what Monteverdi meant by seconda praticcapratica and show how this 'second practice' is reflected in three of his madrigals
| format = [[PDF]]
|publisher | publisher = Musical Resources
|access-date accessdate = 2006-11-08|ref=none
}}
* {{cite web
| last = Hanning
Line 33 ⟶ 31:
| 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
| first = Barbara Russano
| title = Concise History of Western Music
| edition = 1st edition
| 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 Prattica''" 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]]
 
[[de:Seconda praticca]]
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[[nl:Stile moderno]]
[[ja:第二作法]]
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