seconda pratica造句

例句与造句

1. 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.
2. 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.
3. 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 ."
4. 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.
5. 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 ".
6. It's difficult to find seconda pratica in a sentence. 用seconda pratica造句挺难的
7. Monteverdi replied in the introduction to his fifth book of polyphonic ideal of the sixteenth century, with flowing counterpoint, prepared dissonance, and equality of voices; and " seconda pratica " being the new style of monody and accompanied recitative, which emphasized soprano and bass voices, and in addition showed the beginnings of conscious functional tonality.
8. Baldini published very little music for Alfonso between 1586 and 1594, and began publishing regularly again 1594-1596, when he printed anthologies containing madrigals by some of the most important madrigalists of the " seconda pratica ", including Luzzasco Luzzaschi, Carlo Gesualdo, and Alfonso Fontanelli, all of whom were part of the Este court at the time.
9. To Monteverdi, the words must be " the mistress of the harmony ", and he explained this doctrine in his preface to his Fifth Book of Madrigals with his coinage of the term " seconda pratica ", in response to the fierce criticism of Giovanni Artusi, who defended the polyphonic style of the 16th century with its controlled dissonance and equal voice parts, and attacked the " barbaric " new style.
10. The Ferrarese school of . . . "; however, in the section " The 1590s : the rise of the  seconda pratica . " it says " These two new types of text brought with them a new style, which caused the Italian madrigal without continuo to have a final period of several decades of splendid bloom . . . . . The most important composers involved at the outset were Marenzio, Luzzaschi and Gesualdo . " And the new style referred to is the " seconda pratica " . and then " These anti-canonical devices might violate norms of spacing, of rhythmic or melodic structure, of part-writing or of harmonic combination.
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