Editing Adriano Banchieri (section)

==Biography==
He was born and died in Bologna (then in the [[Papal States]]).  In 1587 he became a monk of the [[Benedictine order]], taking his vows in 1590, and changing his name to Adriano (from Tommaso). One of his teachers at the monastery was [[Gioseffo Guami]], who had a strong influence on his style.

Like [[Orazio Vecchi]] he was interested in converting the [[madrigal (music)|madrigal]] to dramatic purposes.<ref name="eb1911"/> Specifically, he was one of the developers of a form called "[[madrigal comedy]]" &mdash; unstaged but dramatic collections of madrigals which, when sung consecutively, told a story.  Formerly, madrigal comedy was considered to be one of the important precursors to opera, but most music scholars now see it as a separate development, part of a general interest in Italy at the time in creating musico-dramatic forms.  In addition, he was an important composer of [[canzonetta]]s, a lighter and hugely popular alternative to the madrigal in the late 16th century.
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Banchieri disapproved of the [[monody|monodists]] with all their revolutionary [[harmonic]] tendencies, about which he expressed himself vigorously in his ''Moderna Practica Musicale''<ref>{{Cite web |title=Cartella musicale (Banchieri, Adriano) - IMSLP: Free Sheet Music PDF Download |url=https://imslp.org/wiki/Cartella_musicale_(Banchieri,_Adriano) |access-date=2022-09-03 |website=imslp.org}}</ref> (1613), while systematizing the legitimate use of the monodic art of [[figured bass]].<ref name="eb1911" />

In several editions beginning in 1605 (reprinted at least six times before 1638), Banchieri published a series of [[organ (music)|organ]] works entitled ''l'Organo suonarino''.<ref>{{cite journal|last=Bonta|first=Stephen|title=The Uses of the 'Sonata de Chiesa'|location=Richmond, Va.|journal=Journal of the American Musicological Society|date=Spring 1969|volume=22|issue=1|issn=0003-0139|publisher=American Musicological Society|pages=56|jstor=830812|doi=10.2307/830812}}</ref>

Banchieri's last publication was the ''Trattenimenti da villa'' of 1630.<ref name="farahat">{{cite journal|journal=Early Music History|volume=10|pages=123–143|last=Farahat|first=Martha|
title=On the Staging of Madrigal Comedies|oclc=8595852|publisher=Cambridge University Press|location=Cambridge, U.K.|year=1991|doi=10.1017/S026112790000111X|issn=0261-1279|jstor=942452|s2cid=190706532}} Farahat's article concerns itself with the consensus among scholars that Banchieri's madrigal comedies were not intended to be staged but only for concert use, and some evidence that they were so intended; and a few related questions.</ref> According to Martha Farahat<ref name="farahat" /> he wrote five madrigal comedies between 1598 and 1628 with "plot and character development", starting with ''La pazzia senile'' of 1598, the last of them ''La saviezza giovenile''.