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This site introduces unknown composer Emanuel Bach (C. P. E. Bach). This English version was translated from Japanese one by ChatGPT.

Seconda Pratica

Asked ChatGPT4o: "Please explain more about Seconda pratica."

“Seconda pratica” is a musical style that developed from the late 16th to the early 17th century, representing a new approach in contrast to the Renaissance music style known as “Prima pratica.” This style particularly emphasizes emotional expression and dramatic effects, significantly influencing the development of Baroque music.

Prima pratica

• Overview: Prima pratica refers to the musical style of the Renaissance period, with a particular focus on polyphony (multi-voiced music) and counterpoint. Composers like Josquin des Prez and Palestrina are representative of this style.
• Characteristics:
  • Strict rules of counterpoint: Independent melodies intertwine complexly, adhering to strict rules of counterpoint.
  • Emphasis on harmony: Harmony arises naturally, with a focus on the harmony between melodies.
  • Clarity of text: Efforts are made to ensure the lyrics are clearly conveyed, with music composed to follow the text.

Seconda pratica

• Overview: Seconda pratica moves away from the strict rules of counterpoint in Prima pratica, pursuing a style of music that is freer and more expressive. This term was primarily advocated by Monteverdi">Claudio Monteverdi.
• Characteristics:
  • Emphasis on emotional expression: Music is treated more freely to emphasize the emotions and dramatic content of the text, effectively using dissonance and discord.
  • Role of harmony: Harmony plays an important role as an independent means of expression, rather than being subordinate to melody. Harmonic progression creates musical tension and resolution.
  • Changes in texture: The development of monody (single melody) and accompanied arias, which became the foundation for opera and cantatas.
  • Flexible counterpoint: The rules of counterpoint are relaxed, prioritizing emotional expression and dramatic effects, allowing for flexible handling of traditional counterpoint constraints.

Monteverdiʼs Role

Claudio Monteverdi is a representative composer of Seconda pratica, known for putting its theories into practice. His main achievements include the following:

1. “LʼOrfeo” (1607):

   • One of the earliest operas, utilizing monody and accompanied arias to express dramatic stories through music.

2. “Quarto libro de madrigali” (1605):

   • In this madrigal collection, Monteverdi clearly demonstrated the principles of Seconda pratica, promoting emotional expression and the use of dissonance.

3. “Lettere amorose” (1619):

   • This collection further developed the style of arias and monody, emphasizing emotional expression.

Controversy in Music Theory

Monteverdi sparked controversy with traditional music theorists who defended Prima pratica. The debate with Giovanni Maria Artusi is particularly famous. Artusi criticized Monteverdiʼs free use of dissonance, to which Monteverdi responded by arguing that it was a necessary technique for emotional expression and dramatic effect.

Conclusion

Seconda pratica is a new style that emphasizes emotional expression and dramatic effects in music, significantly influencing the development of Baroque music. As a representative composer of this style, Claudio Monteverdi opened up new possibilities for musical expression by skillfully using free harmony and counterpoint. This style laid the foundation for later Baroque music and opera, holding an important place in music history.

Asked ChatGPT4o: "What aspects of new compositional techniques did Giovanni Maria Artusi oppose in Monteverdi and others?"

Giovanni Maria Artusi was a music theorist from the late 16th to early 17th century, who strongly criticized Claudio Monteverdiʼs “Seconda pratica.” Artusiʼs criticisms mainly focused on the following points:

1. Use of Dissonance

Artusiʼs biggest criticism was Monteverdiʼs free and often rule-breaking use of dissonance. In traditional Prima pratica, dissonance was supposed to be used according to strict rules. For example, dissonance should be prepared and resolved, with strict constraints on its use.

• Artusiʼs stance: Dissonance must adhere to the rules of counterpoint and be appropriately prepared and resolved to maintain harmonic stability.
• Monteverdiʼs approach: Dissonance is used freely to emphasize emotional expression and dramatic effects, experimenting with harmony beyond the constraints of rules.

2. Emotional Expression and Treatment of Text

Monteverdi emphasized strongly expressing the emotions and dramatic content of the text through music. His music frequently used dissonance and sudden musical changes according to the textʼs content.

• Artusiʼs stance: Music should convey the text within strict counterpoint and harmony, without breaking rules for emotional expression.
• Monteverdiʼs approach: Music freely changes to emphasize the emotions of the text, pursuing dramatic expression beyond the rules.

3. Strictness of Counterpoint

Artusi valued the tradition of Renaissance counterpoint, emphasizing the harmony of multiple independent melodies. In contrast, Monteverdi prioritized harmonic progression and emotional expression over the independence of melodies.

• Artusiʼs stance: It is important to adhere to the strict rules of traditional counterpoint and maintain harmony between melodies.
• Monteverdiʼs approach: The rules of counterpoint are relaxed for harmonic progression and emotional expression, creating freer and more expressive music.

Specific Examples of Criticism

Artusiʼs criticism was specifically directed at Monteverdiʼs works, particularly the madrigal collection “Quinto libro de madrigali” (1605). Artusi took issue with Monteverdiʼs method of using dissonance in this work.

• Specific examples of criticism: Artusi pointed out Monteverdiʼs use of unprepared dissonance and unresolved discord, emphasizing that these practices violated the rules of traditional counterpoint.

Resulting Controversy

The controversy between Artusi and Monteverdi highlighted the evolution of music theory and the importance of new expressive techniques. Monteverdi argued against Artusiʼs criticism, asserting that it was necessary to go beyond traditional rules for emotional expression and dramatic effects. This controversy became a significant turning point in the development of Baroque music, paving the way for the standardization of free use of harmony and emphasis on emotional expression.

Thus, while Artusi criticized new compositional techniques from a standpoint of adhering to traditional rules, Monteverdiʼs innovations ultimately had a significant impact on the evolution of music.

Asked ChatGPT4o: “Did Seconda pratica influence composers like Bach?”

Seconda pratica, a musical style developed around Claudio Monteverdi, is characterized by the free use of dissonance with a focus on emotional expression and dramatic effects. This style had a significant impact on 17th-century Baroque music as a whole and indirectly influenced composers like Johann Sebastian Bach (J.S. Bach).

Characteristics of Seconda pratica

• Emphasis on emotional expression: Use of free dissonance and harmonic progression to emphasize the emotions of the text or story.
• Pursuit of dramatic effects: Adoption of musical techniques for dramatic scene changes and strong emotional expression.
• Freedom from rules: Compositional techniques that transcend the strict rules of traditional counterpoint.

Influence on Bach

Johann Sebastian Bach, a composer who primarily inherited and developed the tradition of German Baroque music, also shows influences of Seconda pratica in his music.

1. Emphasis on emotional expression:

   • Bachʼs religious music, cantatas, and passions frequently use dissonance and chromaticism to emphasize the emotions of the text.
   • Example: In the “St. Matthew Passion,” deep emotional expression is conveyed through the use of dissonance to depict the Passion of Christ.

2. Innovative harmonic progression:

   • Bach was highly innovative in harmonic progression, sometimes using unpredictable progressions to create dramatic effects, which can be seen as influenced by Seconda pratica.
   • Example: In the “Goldberg Variations” and “The Art of Fugue,” complex and innovative harmonic progressions are evident.

3. Incorporation of operatic elements:

   • Although Bach did not compose operas, his cantatas and passions incorporate operatic dramatic elements, aligning with the spirit of Seconda praticaʼs pursuit of dramatic effects.
   • Example: The arias and choral parts of the “St. John Passion” are characterized by operatic dramatic expression.

Widespread Influence of Seconda pratica

While Seconda pratica did not directly influence Bach, its emphasis on free use of dissonance and emotional expression had a broad impact on Baroque music as a whole. Many composers, including Bach, incorporated these musical innovations of the era into their works.

Conclusion

Seconda pratica had a significant impact on Baroque music as a whole and indirectly influenced Johann Sebastian Bach. The free use of dissonance, emphasis on emotional expression, and pursuit of dramatic effects seen in Bachʼs music share elements with the spirit of Seconda pratica. Through Bachʼs works, one can sense how the influence of Seconda pratica spread and developed.

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