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In 1605, Claudio Monteverdi referred to two specific methods of composition, the Prima Prattica , and the Seconda Prattica. ...
As a composer, Monteverdi’s works spanned the range from the old style, the ‘prima prattica’, to the new
style, the ‘seconda prattica’. Ecco Silvio, was the first in the series of madrigals in Monteverdi’s Fifth Book of Madrigals that combines both the use of the Prima Prattica and the Seconda prattica.
Although the transition between the prima prattica (the "first practice" or Renaissance polyphony) and the
seconda prattica ("second practice" or early Baroque “monodic homophony”) was gradual, the year 1600
is accepted as a turning point in which composers, musicians, and the public considered the prima
prattica to be aged, and the seconda prattica to be the next step in the progress of music. ...
The Prima prattica described this old style of Renaissance composition, suggesting several
independent and equal vocal lines, without instrumental accompaniment. ...
The prima prattica was grounded to church music in this way because the texts of masses and
Psalms were of a neutral nature, and did not call for climatic illustration. ...
The prima prattica and the seconda prattica, were not solely developed by Monteverdi, although it is
clear that his contribution to the two practices proved very significant and can be said to have set the
foundations for subsequent composers.
Approximate Word count = 1672
Approximate Pages = 6.7
(250 words per page double spaced)
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