The Institution’s purpose is the study, development, processing and dissemination of music, higher education in music, related music production and scientific research in the field of music and works to encourage its development.
The Institution works to spread the practice of music in different age groups, from young people to adults, organizing training activities on their own and in collaboration with public and private educational institutions, training institutions, institutions of music production, cultural associations, with particular attention to those operating in the area.
The Institution promotes the diffusion of the musical culture on the territory through cultural and concert events realized on its own and in collaboration with other Italian and foreign musical institutes, universities and cultural institutions that operate on the territory.
“Prima prattica intende che sia quella che versa intorno alla perfetione del armonia, cioè che considera l’armonia non comandata ma comandante, e non serva ma signora del oratione; e questa fu principata da que’ primi che ne nostri caratteri composero le loro cantilene a più di una voce, seguitata poi et ampliata da Occhegem, Iosquin de Pres, Pietro della Rue, Iovan Motton, Crequillon, Clemens non papa, Gombert et altri de que’ tempi, perfezionata ultimamente da messer Adriano Willaert con l’atto prattico, e dal eccellentissimo Zerlino con Regole giudicosissime. Seconda prattica, della quale è stato il primo rinovatore ne nostri caratteri il divino Cipriano Rore, come ben farà vedere mio fratello, seguitata et ampliata non solamente da li signori detti, ma dal Ingegner, dal Marenzo, da Giaches Wert, dal Luzzasco e parimenti da Giaccoppo Peri, da Giulio Caccini e finalmente da li spiriti più elevati et intendenti de la vera arte, intende che sia quella che versa intorno alla perfetione de la melodia, cioè che considera l’armonia comandata e non comandante, e per signora del armonia pone l’oratione.”
Giulio Cesare Monteverdi
da Scherzi Musicali (1607)
“The First Practice looks around at the perfection of harmony, that is, which considers harmony not as commanded but as commander, not as slave but as master of oration; and this was begun by the first ones who composed their compositions with more than one voice, followed then and enlarged by Occhegem, Iosquin de Pres, Pietro della Rue, Iovan Motton, Crequillon, Clemens non papa, Gombert and others, recently perfected by Adriano Willaert with the practical act, and by the very excellent Zerlino with very judicious Rules. The Second Practice, of which the first innovator was the divine Cipriano Rore, as my brother will show well, followed and enlarged not only by the above mentioned gentlemen, but by the Ingegner, Marenzo, Giaches Wert, Luzzasco, Giaccoppo Peri, Giulio Caccini and finally by the highest spirits and intendants of true art. The Second Practice means that it is the one that revolves around the perfection of the melody, and considers harmony commanded and not commander, and as master of harmony places the oration.”