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Stile antico

Stile antico (literally "ancient style", Italian pronunciation: [ˈstiːle anˈtiːko]), is a term describing a manner of musical composition from the sixteenth century onwards that was historically conscious, as opposed to stile moderno, which adhered to more modern trends. Prima pratica (Italian, 'first practice') refers to early Baroque music which looks more to the style of Palestrina, or the style codified by Gioseffo Zarlino, than to more "modern" styles. It is contrasted with seconda pratica music. These terms are synonymous to stile antico and stile moderno, respectively.

History

Stile antico has been associated with composers of the high Baroque and early Classical periods of music, in which composers used controlled dissonance and modal effects and avoided overtly instrumental textures and lavish ornamentation, to imitate the compositional style of the late Renaissance. Stile antico was deemed appropriate in the conservative confines of church music, or as a compositional exercise as in J. J. Fux's Gradus Ad Parnassum (1725), the classic textbook on strict counterpoint. Much of the music associated with this style looks to the music of Palestrina as a model.

The term prima pratica was first used during the conflict between Giovanni Artusi and Claudio Monteverdi about the new musical style.[1] For 18th-century composers such as Johann Sebastian Bach, stile antico can refer to music composed as late as the early years of that century (e.g. by Antonio Lotti, Pietro Torri), a style Bach would imitate more frequently in his later compositions (starting in the 1730s, up to his death in 1750).[2]

Monteverdi's era

In the early Baroque Claudio Monteverdi and his brother coined the term prima pratica to refer to the older style of Palestrina, and seconda pratica to refer to Monteverdis' music.

At first, prima pratica referred only to the style of approaching and leaving dissonances. In his Seconda parte dell'Artusi (1603), Giovanni Artusi writes about the new style of dissonances, referring specifically to the practice of not properly preparing dissonances (see Counterpoint), and rising after a flattened note or descending after a sharpened note. In another book, his L'Artusi, overo Delle imperfettioni della moderna musica (1600) ("The Artusi, or imperfections of modern music") Artusi had also attacked Monteverdi specifically, using examples from his madrigal "Cruda Amarilli" to discredit the new style.[1]

Monteverdi responded in a preface to his fifth book of madrigals, and his brother Giulio Cesare Monteverdi responded in Scherzi Musicali (1607) to Artusi's attacks on Monteverdi's music, advancing the view that the old music subordinated text to music, whereas in the new music the text dominated the music. Old rules of counterpoint could be broken in service of the text. According to Giulio Cesare, these concepts were a hearkening back to ancient Greek musical practice.[1]

18th–19th century

The great composers of the late Baroque all wrote compositions in the stile antico, especially Bach. His Mass in B minor has sections written in stile antico which contrast with up-to-date Baroque idioms. Later composers such as Haydn and Mozart also used stile antico. Beethoven's Missa Solemnis, written after the composer's study of Palestrina, is a late flowering of the style.

Late Baroque

For 18th-century composers such as Bach, stile antico can refer to music composed as late as the early years of that century, for example by Antonio Lotti and Pietro Torri. Bach's interest in this style grew in the 1730s, and in the last two decades of his life (1730s–1740s) he would write in this style more frequently, leading to an outspoken style shift in this composer's work around 1740.[2][3]

Classical era

Romantic era

References

  1. ^ a b c Claude_V._Palisca
  2. ^ a b Wolff 1968.
  3. ^ Neuaufgefundenes Bach-Autograph in Weißenfels at lisa.gerda-henkel-stiftung.de

Sources

  • Stephen R. Miller. "Stile antico", Grove Music Online, ed. L. Macy (accessed March 19, 2006), grovemusic.com (subscription access).
  • Claude V. Palisca. "Prima pratica", Grove Music Online, ed. L. Macy (accessed March 19, 2006), grovemusic.com (subscription access).
  • Grout, Donald J. A History of Western Music (6th ed.), W.W. Norton and Company, New York, 2001. ISBN 0-393-97527-4
  • Wolff, Christoph (1968). Stile antico in der Musik Johann Sebastian Bachs: Studien zu Bachs Spätwerk [Stile antico in the music of Johann Sebastian Bach: Studies on Bach's late work]. Beihefte zum Archiv für Musikwissenschaft (in German). Vol. VI. Wiesbaden: Steiner. OCLC 651793960.

Further reading

stile, antico, this, article, about, musical, style, vocal, ensemble, stile, antico, literally, ancient, style, italian, pronunciation, ˈstiːle, anˈtiːko, term, describing, manner, musical, composition, from, sixteenth, century, onwards, that, historically, co. This article is about the musical style For the vocal ensemble see Stile Antico Stile antico literally ancient style Italian pronunciation ˈstiːle anˈtiːko is a term describing a manner of musical composition from the sixteenth century onwards that was historically conscious as opposed to stile moderno which adhered to more modern trends Prima pratica Italian first practice refers to early Baroque music which looks more to the style of Palestrina or the style codified by Gioseffo Zarlino than to more modern styles It is contrasted with seconda pratica music These terms are synonymous to stile antico and stile moderno respectively Contents 1 History 1 1 Monteverdi s era 1 2 18th 19th century 1 2 1 Late Baroque 1 2 2 Classical era 1 2 3 Romantic era 2 References 3 Sources 4 Further readingHistory EditStile antico has been associated with composers of the high Baroque and early Classical periods of music in which composers used controlled dissonance and modal effects and avoided overtly instrumental textures and lavish ornamentation to imitate the compositional style of the late Renaissance Stile antico was deemed appropriate in the conservative confines of church music or as a compositional exercise as in J J Fux s Gradus Ad Parnassum 1725 the classic textbook on strict counterpoint Much of the music associated with this style looks to the music of Palestrina as a model The term prima pratica was first used during the conflict between Giovanni Artusi and Claudio Monteverdi about the new musical style 1 For 18th century composers such as Johann Sebastian Bach stile antico can refer to music composed as late as the early years of that century e g by Antonio Lotti Pietro Torri a style Bach would imitate more frequently in his later compositions starting in the 1730s up to his death in 1750 2 Monteverdi s era Edit In the early Baroque Claudio Monteverdi and his brother coined the term prima pratica to refer to the older style of Palestrina and seconda pratica to refer to Monteverdis music At first prima pratica referred only to the style of approaching and leaving dissonances In his Seconda parte dell Artusi 1603 Giovanni Artusi writes about the new style of dissonances referring specifically to the practice of not properly preparing dissonances see Counterpoint and rising after a flattened note or descending after a sharpened note In another book his L Artusi overo Delle imperfettioni della moderna musica 1600 The Artusi or imperfections of modern music Artusi had also attacked Monteverdi specifically using examples from his madrigal Cruda Amarilli to discredit the new style 1 Monteverdi responded in a preface to his fifth book of madrigals and his brother Giulio Cesare Monteverdi responded in Scherzi Musicali 1607 to Artusi s attacks on Monteverdi s music advancing the view that the old music subordinated text to music whereas in the new music the text dominated the music Old rules of counterpoint could be broken in service of the text According to Giulio Cesare these concepts were a hearkening back to ancient Greek musical practice 1 18th 19th century Edit The great composers of the late Baroque all wrote compositions in the stile antico especially Bach His Mass in B minor has sections written in stile antico which contrast with up to date Baroque idioms Later composers such as Haydn and Mozart also used stile antico Beethoven s Missa Solemnis written after the composer s study of Palestrina is a late flowering of the style Late Baroque Edit This section needs expansion You can help by adding to it January 2020 For 18th century composers such as Bach stile antico can refer to music composed as late as the early years of that century for example by Antonio Lotti and Pietro Torri Bach s interest in this style grew in the 1730s and in the last two decades of his life 1730s 1740s he would write in this style more frequently leading to an outspoken style shift in this composer s work around 1740 2 3 Classical era Edit This section is empty You can help by adding to it January 2020 Romantic era Edit This section is empty You can help by adding to it January 2020 References Edit a b c Claude V Palisca a b Wolff 1968 Neuaufgefundenes Bach Autograph in Weissenfels at lisa wbr gerda henkel stiftung wbr deSources EditStephen R Miller Stile antico Grove Music Online ed L Macy accessed March 19 2006 grovemusic com subscription access Claude V Palisca Prima pratica Grove Music Online ed L Macy accessed March 19 2006 grovemusic com subscription access Grout Donald J A History of Western Music 6th ed W W Norton and Company New York 2001 ISBN 0 393 97527 4 Wolff Christoph 1968 Stile antico in der Musik Johann Sebastian Bachs Studien zu Bachs Spatwerk Stile antico in the music of Johann Sebastian Bach Studies on Bach s late work Beihefte zum Archiv fur Musikwissenschaft in German Vol VI Wiesbaden Steiner OCLC 651793960 Further reading EditWolff Christoph 1991 Bach and the Tradition of the Palestrina Style Bach Essays on His Life and Music Harvard University Press pp 84 104 ISBN 9780674059269 Retrieved from https en wikipedia org w index php title Stile antico amp oldid 1102756110, wikipedia, wiki, book, books, library,

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