Students will study music theory in a framework of music history, with emphasis on listening to classical masterpieces from all time periods, performing music theory drills on state of the art software and learning how the two are connected. This course weaves the history of classical music and the foundations of music theory together in a wonderful adventure that starts in Gregorian Chant and never ends. ISBN 8-6.Music Theory & Appreciation (This class is offered every odd year) Concise History of Western Music (1st ed.). Excerpted from Hanning, Barbara Russano (1998)."General characteristics of Baroque Music". "Explain what Monteverdi meant by seconda pratica and show how this 'second practice' is reflected in three of his madrigals" (PDF).
John Caldwell, Edward Olleson, Susan Wollenberg. " '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. 29-42, online: "Gerald Drebes - 2 Aufsätze online: Monteverdi und H. Madrigalbuch und das Genere concitato‘‘, in: Musiktheorie, Jg. ^ Gerald Drebes: ‘‘Monteverdis Kontrastprinzip, die Vorrede zu seinem 8.^ Giovanni Artusi, Seconda Parte dell'Artusi, overo Delle imperfettioni della moderna musica, p.Therein Monteverdi claims to have invented a new “agitated” style ( Genere concitato, later called Stile concitato) to make the music "complete/perfect" ("perfetto"). But the preface of his 8th Book of Madrigals (1638) seems to be virtually a fragment of it. In the preface of his 5th Book of Madrigals (1605) Monteverdi announced a book of his own: Seconda pratica, overo perfettione della moderna musica ( Second Practice, or, Perfection of Modern Music). Also this marks the starting point of basso continuo which also was a feature in Caccini's work. 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 have ornamentations spelled out in the score, which earlier had been up to the performer to supply. Stile moderno was coined as an expression by Giulio Caccini in his 1602 work Le nuove musiche which contained numerous monodies. Giovanni Pierluigi da Palestrina and Gioseffo Zarlino and to describe early music of the Baroque period which encouraged more freedom from the rigorous limitations of dissonances and counterpoint characteristic of the prima pratica. Monteverdi adopted the term to distance some of his music from that of e.g. 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". In the first part of The Artusi (1600), Artusi had severely criticized several unpublished madrigals of Claudio Monteverdi. 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. Seconda pratica, Italian for "second practice", is the counterpart to prima pratica and is sometimes referred to as Stile moderno.
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