seconda praticaの例文

• Her compositions are firmly rooted in the " seconda pratica " tradition.
• In addition to monodic works typical of the " Seconda pratica " style of early Monteverdi.
• It has a choir and an orchestra ( founded by Lutz as the " ensemble Schola Seconda Pratica " ) and features international soloists.
• Giacomo Vincenti, a music publisher, praised the women as " virtuose giovani " ( madrigal, and eventually the " seconda pratica ".
• I'm a bit confused about how there could be this strong tie to the " seconda pratica " and absolutely no relationship with opera.
• Marenzio was involved in this move towards the " seconda pratica " style, so I'm not sure where you think this " peak " is.
• He developed two individual styles of composition  the heritage of Renaissance polyphony ( prima pratica ) and the new basso continuo technique of the Baroque ( seconda pratica ).
• In the preface of his 5th Book of Madrigals ( 1605 ) Monteverdi announced a book of his own : " Seconda pratica, overo perfettione della moderna musica ".
• The " concerto delle donne " revolutionized the role of women in professional music, and continued the tradition of the madrigal, and eventually the " seconda pratica ".
• 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 Monteverdi's music.
• Newcomb's POV seems to be that the " luxuriant style " of the 1580s led in some ways to the more declamatory and dramatic " seconda pratica " type style of the 1590s.
• The four-part " Quam pulchra es " has choral " prima pratica " sections, Gabrielian refrains in a dance-like rhythm, while solo parts are in the new " seconda pratica " style.
• It is in his sixth book of madrigals, published in 1600, the year traditionally ( and arbitrarily ) marking the end of the musical Renaissance, that his shift to the new style of the " seconda pratica " is most prominent.
• In the field of historically informed performance, she has worked with the choir Junge Kantorei in Eberbach Abbey in works of " Gloria in excelsis Deo ", BWV 191 with Rudolf Lutz conducting the Vokalensemble der Schola Seconda Pratica and tenor Johannes Kaleschke.
• Madrigalism reached new heights of emotional expression and chromaticism in what Claudio Monteverdi called his " seconda pratica " ( second practice ), which he saw originating with Cipriano de Rore and developing in the music of composers such as Luca Marenzio and Giaches de Wert.
• In addition, many composers observed a division in their own works between a " prima pratica " ( music in the Renaissance polyphonic style ) and a " seconda pratica " ( music in the new style ) during the first part of the 17th century.
• Ironically, the usage of Monteverdi in the " seconda pratica " largely agreed with his book, at least conceptually; the differences between Monteverdi's music and Artusi's theory were in the importance of the different voices, and the exact intervals used in shaping the melodic line.
• In addition to his interest in the theory of painting ( he was well educated and bookish ), Domenichino was devoted to music, not as a performer but to the invention of instruments suited to the " stile moderno " or to what Monteverdi dubbed the " seconda pratica ."
• Now, Monteverdi didn't declare the name of this style until 1605-does that mean we can't call earlier music " in the style of the " seconda pratica " ? " I think we can, because Monteverdi was just codifying a musical movement which was already well on its way.
• As justification for the new liberties, the composers ( notably Luzzaschi in 1596 and Monteverdi in 1605 ) pointed explicitly to the need to reflect the style and emotional content of the text . " So . . . . it seems like Luzzaschi at least was pretty instrumental in the development of the " seconda pratica ".