Seconda pratica
Seconda pratica (also: Seconda prattica ) is a musicological term for a compositional form the late 16th century or early 17th century, which was different from the traditional, arrived in the Netherlands to bloom Renaissance polyphony and by monoder forms a priority of wanted to achieve understanding of the text. The main development of the Seconda pratica is to set 1600-1630.
Turning to text comprehensibility and thus the supremacy of the human voice in a translated speech gesture in music applies to vocal works as an essential transition from Renaissance to Baroque. This was achieved through stronger on the conceptual meaning of the words oriented phrasing, based on a text by rhythm rhythmic forms and chromaticism and monody.
On the other hand, known as Prima Practica form is characterized by strict polyphony, counterpoint and chromaticism reduced, give the purely musical forms precedence.
Chief representative and eponym of the Seconda pratica was Claudio Monteverdi. His bitterest opponents of the music theorist and writer Giovanni Artusi. The term Seconda pratica 1603 is used by Artusi and strictly demarcates against labeled as "modern" Prima Practica by Artusi " melody " exclusively polyphonic understand. Monteverdi takes the term then in 1605 in the preface to his fifth book of madrigals on. 1607 he defended himself against attacks Artusi: " The word ," writes Monteverdi, was " the mistress of the harmony, not their servant ."
Pioneer Seconda pratica were, who worked in Venice Cyprian de Rore and Marc'Antonio Ingenieri, Kapellmeister in Cremona and teacher of Monteverdi. They largely dispensed with the traditional a cappella style and counterpoint. Other major developers of the Seconda pratica were Iacopo Peri (1561-1633), Vincenzo Galilei and Giulio Caccini, who formed the circle of the Florentine Camerata. In Germany, Hans Leo Hassler (1564 - 1612) and Melchior Frank (1580 - 1639) as representative of the Seconda pratica mentioned.
The emphasis of the text is fixed on the emotions, which are expressed in it. Such leaned Monteverdi 1616 about a commission from Mantua, because of the possibility of human emotions is not given ( Scipione Agnelli: Le nozze di Teti e Peleo ). The Seconda pratica not only led to a new style in the madrigal, but also enabled the emergence of opera in the circle of the Florentine Camerata and Monteverdi. She gets it in close connection to the tendency of the time to want to build on Greco-Roman models, based on the text by the dramatically expressive element is more strongly emphasized.
In the preface to his fifth book of madrigals 1605 Monteverdi announced a book entitled " Seconda pratica, overo della moderna musica perfettione " ( " Second practice or perfection / completeness of modern music "). Such a book is not delivered. His only surviving other music-theoretical reflections may be found in the preface to his eighth book of madrigals ( 1638), in which he explained, claiming that he himself had with the invention of a previously missing " excited style" ( " genere concitato " ) the music only " completely " or " totally " made .