Baroque music

From Wikipedia, the free encyclopedia
Jump to navigation Jump to search

Template:Short description Script error: No such module "Unsubst".

File:Baschenis - Musical Instruments.jpg
Painting by Evaristo Baschenis of Baroque instruments, including a cittern, viola da gamba, violin, and two lutes

Script error: No such module "Sidebar". Baroque music (Template:IPAc-en or Template:IPAc-en) refers to the period or dominant style of Western classical music composed from about 1600 to 1750.Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters". The Baroque style followed the Renaissance period, and was followed in turn by the Classical period after a short transition (the galant style). The Baroque period is divided into three major phases: early, middle, and late. Overlapping in time, they are conventionally dated from 1580 to 1650, from 1630 to 1700, and from 1680 to 1750. Baroque music forms a major portion of the "classical music" canon, and continues to be widely studied, performed, and listened to. The term "baroque" comes from the Portuguese word barroco, meaning "misshapen pearl".Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters". Key composers of the Baroque era include Johann Sebastian Bach, Antonio Vivaldi, George Frideric Handel, Georg Philipp Telemann, Domenico Scarlatti, Claudio Monteverdi, Alessandro Stradella, Jean-Baptiste Lully, Jean-Philippe Rameau, Arcangelo Corelli, François Couperin, Heinrich Schütz, Dieterich Buxtehude, and Heinrich Ignaz Franz Biber.

The Baroque saw the formalization of common-practice tonality, an approach to writing music in which a song or piece is written in a particular key; this type of harmony has continued to be used extensively in Western classical and popular music. During the Baroque era, professional musicians were expected to be accomplished improvisers of both solo melodic lines and accompaniment parts. Baroque concerts were typically accompanied by a basso continuo group (comprising chord-playing instrumentalists such as harpsichordists and lute players improvising chords from a figured bass part) while a group of bass instruments—viol, cello, double bass—played the bassline. A characteristic Baroque form was the dance suite. While the pieces in a dance suite were inspired by actual dance music, dance suites were designed purely for listening, not for accompanying dancers.

During the period composers experimented with finding a fuller sound for each instrumental part (thus creating the orchestra),Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters". made changes in musical notation (the development of figured bass as a quick way to notate the chord progression of a song or piece), and developed new instrumental playing techniques. Baroque music expanded the size, range, and complexity of instrumental performance, and also established the mixed vocal/instrumental forms of opera, cantata and oratorio and the instrumental forms of the solo concerto and sonata as musical genres. Dense, complex polyphonic music, in which multiple independent melody lines were performed simultaneously (a popular example of this is the fugue), was an important part of many Baroque choral and instrumental works. Overall, Baroque music was a tool for expression and communication.Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters".

Etymology and definition

File:Johann Sebastian Bach.jpg
Johann Sebastian Bach, 1748

The etymology of baroque is probably via the French baroque (which originally meant a pearl of irregular shape), and from the Portuguese barroco ("irregular pearl"); also related are the Spanish barrueco and the Italian barocco. The term is of uncertain ultimate origin, but possibly from Latin verrūca ("wart") or possibly from Baroco, a technical term from scholastic logic.[1]

The term "baroque" is generally used by music historians to describe a broad range of styles from a wide geographic region, mostly in Europe, composed over a period of about 150 years.Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters". Though it was long thought that the word as a critical term was first applied to architecture, in fact it appears earlier in reference to music, in an anonymous, satirical review of the première in October 1733 of Rameau's Hippolyte et Aricie, printed in the Mercure de France in May 1734. The critic implied that the novelty in this opera was "du barocque", complaining that the music lacked coherent melody, was filled with unremitting dissonances, constantly changed key and meter, and speedily ran through every compositional device.Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters".

Jean-Jacques Rousseau, who was a musician and composer as well as philosopher, wrote in 1768 in the Encyclopédie: "Baroque music is that in which the harmony is confused, and loaded with modulations and dissonances. The singing is harsh and unnatural, the intonation difficult, and the movement limited. It appears that term comes from the word 'baroco' used by logicians".[2] Rousseau was referring to the philosophical term baroco, in use since the 13th century to describe a type of elaborate and, for some, unnecessarily complicated academic argument.[3][4]

The systematic application by historians of the term "baroque" to music of this period is a relatively recent development. In 1919, Curt Sachs became the first to apply the five characteristics of Heinrich Wölfflin's theory of the Baroque systematically to music.Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters". Critics were quick to question the attempt to transpose Wölfflin's categories to music, however, and in the second quarter of the 20th century independent attempts were made by Manfred Bukofzer (in Germany and, after his immigration, in America) and by Suzanne Clercx-Lejeune (in Belgium) to use autonomous, technical analysis rather than comparative abstractions, in order to avoid the adaptation of theories based on the plastic arts and literature to music. All of these efforts resulted in appreciable disagreement about time boundaries of the period, especially concerning when it began. In English the term acquired currency only in the 1940s, in the writings of Bukofzer and Paul Henry Lang.Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters".

As late as 1960, there was still considerable dispute in academic circles, particularly in France and Britain, whether it was meaningful to lump together music as diverse as that of Jacopo Peri, Domenico Scarlatti, and Johann Sebastian Bach under a single rubric. Nevertheless, the term has become widely used and accepted for this broad range of music.Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters". It may be helpful to distinguish the Baroque from both the preceding (Renaissance) and following (Classical) periods of musical history.

History

Throughout the Baroque era, new developments in music originated in Italy, after which it took up to 20 years before they were broadly adopted in rest of the Western classical music practice. For instance, Italian composers switched to the galant style around 1730, while German composers such as Johann Sebastian Bach largely continued to write in the baroque style up to 1750.Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters".Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters".

Phases of Baroque musicScript error: No such module "Footnotes".Script error: No such module "Check for unknown parameters".Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters".
Subperiod Time In Italy Elsewhere
Early baroque 1580–1650 Template:Flatlist Template:Flatlist
Middle baroque 1630–1700 Template:Flatlist Template:Flatlist
Late baroque 1680–1750 Template:Flatlist Template:Flatlist

Early baroque music (1580–1650)

Script error: No such module "labelled list hatnote".

File:Claudio Monteverdi.jpg
Claudio Monteverdi in 1640

The Florentine Camerata was a group of humanists, musicians, poets and intellectuals in late Renaissance Florence who gathered under the patronage of Count Giovanni de' Bardi to discuss and guide trends in the arts, especially music and drama. In reference to music, they based their ideals on a perception of Classical (especially ancient Greek) musical drama that valued discourse and oration.Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters". Accordingly, they rejected their contemporaries' use of polyphony (multiple, independent melodic lines) and instrumental music, and discussed such ancient Greek music devices as monody, which consisted of a solo singing accompanied by a kithara (an ancient strummed string instrument).Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters". The early realizations of these ideas, including Jacopo Peri's Dafne and L'Euridice, marked the beginning of opera,Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters". which was a catalyst for Baroque music.Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters".

Concerning music theory, the more widespread use of figured bass (also known as thorough bass) represents the developing importance of harmony as the linear underpinnings of polyphony.Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters". Harmony is the result of counterpoint, and figured bass is a visual representation of those harmonies commonly employed in musical performance. With figured bass, numbers, accidentals or symbols were placed above the bassline that was read by keyboard instrument players such as harpsichord players or pipe organists (or lutenists). The numbers, accidentals or symbols indicated to the keyboard player what intervals are to be played above each bass note. The keyboard player would improvise a chord voicing for each bass note.Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters". Composers began concerning themselves with harmonic progressions,Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters". and also employed the tritone, perceived as an unstable interval,Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters". to create dissonance (it was used in the dominant seventh chord and the diminished chord). An interest in harmony had also existed among certain composers in the Renaissance, notably Carlo Gesualdo;Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters". However, the use of harmony directed towards tonality (a focus on a musical key that becomes the "home note" of a piece), rather than modality, marks the shift from the Renaissance into the Baroque period.Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters". This led to the idea that certain sequences of chords, rather than just notes, could provide a sense of closure at the end of a piece—one of the fundamental ideas that became known as tonality.Script error: No such module "Unsubst".

By incorporating these new aspects of composition, Claudio Monteverdi furthered the transition from the Renaissance style of music to that of the Baroque period. 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). With basso continuo, a small group of musicians would play the bassline and the chords which formed the accompaniment for a melody. The basso continuo group would typically use one or more keyboard players and a lute player who would play the bassline and improvise the chords and several bass instruments (e.g., bass viola, cello, double bass) which would play the bassline. With the writing of the operas L'Orfeo and L'incoronazione di Poppea among others, Monteverdi brought considerable attention to this new genre.Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters". This Venetian style was taken handily to Germany by Heinrich Schütz, whose diverse style also evolved into the subsequent period.

Idiomatic instrumental textures became increasingly prominent. In particular, the style luthé—the irregular and unpredictable breaking up of chordal progressions, in contrast to the regular patterning of broken chords—referred to since the early 20th century as style brisé, was established as a consistent texture in French music by Robert Ballard,Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters".Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters". in his lute books of 1611 and 1614, and by Ennemond Gaultier.Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters". This idiomatic lute figuration was later transferred to the harpsichord, for example in the keyboard music of Louis Couperin and Jean-Henri D'Anglebert, and continued to be an important influence on keyboard music throughout the 18th and early 19th centuries (in, for example, the music of Johann Sebastian Bach and Frédéric Chopin).Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters".

Middle baroque music (1630–1700)

The rise of the centralized court is one of the economic and political features of what is often labelled the Age of Absolutism, personified by Louis XIV of France. The style of palace, and the court system of manners and arts he fostered became the model for the rest of Europe. The realities of rising church and state patronage created the demand for organized public music, as the increasing availability of instruments created the demand for chamber music, which is music for a small ensemble of instrumentalists.Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters".

File:Paul Mignard - Jean-Baptiste Lully.jpg
Jean-Baptiste Lully by Paul Mignard

One pre-eminent example of a court style composer is Jean-Baptiste Lully. He purchased patents from the monarchy to be the sole composer of operas for the French king and to prevent others from having operas staged. He completed 15 lyric tragedies and left unfinished Achille et Polyxène.Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters". Lully was an early example of a conductor; he would beat the time with a large staff to keep his ensembles together.

Musically, he did not establish the string-dominated norm for orchestras, which was inherited from the Italian opera, and the characteristically French five-part disposition (violins, violas—in hautes-contre, tailles and quintes sizes—and bass violins) had been used in the ballet from the time of Louis XIII. He did, however, introduce this ensemble to the lyric theatre, with the upper parts often doubled by recorders, flutes, and oboes, and the bass by bassoons. Trumpets and kettledrums were frequently added for heroic scenes.Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters".

The middle Baroque period in Italy is defined by the emergence of the vocal styles of cantata, oratorio, and opera during the 1630s, and a new concept of melody and harmony that elevated the status of the music to one of equality with the words, which formerly had been regarded as pre-eminent. The florid, coloratura monody of the early Baroque gave way to a simpler, more polished melodic style. These melodies were built from short, cadentially delimited ideas often based on stylized dance patterns drawn from the sarabande or the courante. The harmonies, too, might be simpler than in the early Baroque monody, to show expression in a lighter manner on the string and crescendos and diminuendos on longer notes. The accompanying bass lines were more integrated with the melody, producing a contrapuntal equivalence of the parts that later led to the device of an initial bass anticipation of the aria melody. This harmonic simplification also led to a new formal device of the differentiation of recitative (a more spoken part of opera) and aria (a part of opera that used sung melodies). The most important innovators of this style were the Romans Luigi Rossi and Giacomo Carissimi, who were primarily composers of cantatas and oratorios, respectively, and the Venetian Francesco Cavalli, who was principally an opera composer. Later important practitioners of this style include Antonio Cesti, Giovanni Legrenzi, and Alessandro Stradella, who additionally originated the concerto grosso style in his Sonate di viole.Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters".

Arcangelo Corelli is remembered as influential for his achievements on the other side of musical technique—as a violinist who organized violin technique and pedagogy—and in purely instrumental music, particularly his advocacy and development of the concerto grosso.Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters". Whereas Lully was ensconced at court, Corelli was one of the first composers to publish widely and have his music performed all over Europe. As with Lully's stylization and organization of the opera, the concerto grosso is built on strong contrasts—sections alternate between those played by the full orchestra, and those played by a smaller group. Fast sections and slow sections were juxtaposed against each other. Numbered among his students is Antonio Vivaldi, who later composed hundreds of works based on the principles in Corelli's trio sonatas and concerti.Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters".

In contrast to these composers, Dieterich Buxtehude was not a creature of court but instead was church musician, holding the posts of organist and Werkmeister at the Marienkirche at Lübeck. His duties as Werkmeister involved acting as the secretary, treasurer, and business manager of the church, while his position as organist included playing for all the main services, sometimes in collaboration with other instrumentalists or vocalists, who were also paid by the church. Entirely outside of his official church duties, he organised and directed a concert series known as the Abendmusiken, which included performances of sacred dramatic works regarded by his contemporaries as the equivalent of operas.Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters".

France:

  • Denis GaultierScript error: No such module "Footnotes".Script error: No such module "Check for unknown parameters".
  • Jean-Henri d'AnglebertScript error: No such module "Footnotes".Script error: No such module "Check for unknown parameters".
  • Jacques Champion de ChambonnièresScript error: No such module "Footnotes".Script error: No such module "Check for unknown parameters".
  • Louis CouperinScript error: No such module "Footnotes".Script error: No such module "Check for unknown parameters".

Late baroque music (1680–1750)

Script error: No such module "Unsubst".

File:Retrato de Handel.jpg
George Frideric Handel

Onset

Italy:

Marc-Antoine Charpentier
Marc-Antoine Charpentier

France:

Wider adoption

Italy:

Proliferation:

France:

Germany:

Bohemia:

Poland:

Transition to Classical era

Galant music:

Bach's elder sons and pupils:

Mannheim school:


Timeline of composers

Script error: No such module "Labelled list hatnote". <timeline> Preset = TimeHorizontal_AutoPlaceBars_UnitYear ImageSize = width:760

Colors = 

 id:transbar value:rgb(0.815,1,0.875)     legend:Renaissance-Baroque 
 id:offWhite     value:rgb(0.97,0.97,0.97)
 id:paleGray     value:rgb(0.86,0.86,0.86)
 id:darkGray     value:gray(0.6)
 id:baroqueBlue  value:rgb(0.75,1,0.75)

BackgroundColors = canvas:offWhite

Period = from:1600 till:1760 ScaleMajor = gridcolor:paleGray increment:10 start:1600 unit:year

Legend = orientation:vertical left:100 top:50

LineData = 

 at:1600 color:darkGray layer:back width:0.5
 at:1650 color:darkGray layer:back width:0.5
 at:1700 color:darkGray layer:back width:0.5
 at:1750 color:darkGray layer:back width:0.5

Define $bold = fontsize:M shift:(10,-5)

BarData= 

 barset:Composers


PlotData=

  1. set defaults
 width:15 fontsize:S textcolor:black align:left anchor:from shift:(10,-4) color:baroqueBlue

 barset:Composers

 from:1600 till:1621 color:transbar text:"JP Sweelinck" $bold  #from 1562
 from:1600 till:1621 color:transbar text:"Michael Praetorius" $bold  #from 1571
 from:1600 till:1633 color:transbar text:"Jacopo Peri"                                   #from 1561
 from:1600 till:1643 color:transbar text:"Claudio Monteverdi" $bold                      #from 1567
 from:1600 till:1643 color:transbar text:"Girolamo Frescobaldi" $bold                    #from 1583
 from:1600 till:1652 text:"Gregorio Allegri"                              #from 1582
 from:1600 till:1654 text:"Samuel Scheidt"                                #from 1587
 from:1600 till:1672 text:"Heinrich Schütz" $bold                         #from 1585
 from:1602 till:1645 text:"William Lawes"
 from:1602 till:1676 text:"Francesco Cavalli" $bold
 from:1605 till:1669 text:"Antonio Bertali"
 from:1605 till:1674 text:"Giacomo Carissimi"
 from:1616 till:1667 text:"Johann Jakob Froberger"
 from:1619 till:1677 text:"Barbara Strozzi"
 from:1620 till:1680 text:"Johann Heinrich Schmelzer"
 # from:1626 till:1661 text:"Louis Couperin"
 from:1629 till:1691 text:"Jean-Henri d'Anglebert"
 from:1632 till:1687 text:"Jean-Baptiste Lully"  $bold
 from:1634 till:1704 text:"Marc Antoine Charpentier"
 from:1637 till:1707 text:"Dieterich Buxtehude" $bold
 # from:1638 till:1700 text:"Diogo Dias Melgás" # Renaissance style?
 from:1644 till:1704 text:"Heinrich Ignaz Franz von Biber"
 #from:1649 till:1686 text:"Giovanni Cesare Netti"
 # from:1653 till:1704 text:"Georg Muffat"
 from:1653 till:1706 text:"Johann Pachelbel" $bold
 from:1653 till:1713 text:"Arcangelo Corelli" $bold
 from:1656 till:1728 text:"Marin Marais"
 from:1657 till:1726 text:"Michel Richard Delalande"
 from:1659 till:1695 text:"Henry Purcell" $bold
 from:1660 till:1725 text:"Alessandro Scarlatti" $bold
 from:1668 till:1733 text:"François Couperin" $bold
 from:1670 till:1736 text:"Antonio Caldara" $bold
 from:1670 till:1738 text:"Turlough O'Carolan"
 from:1670 till:1746 text:"Johann Caspar Ferdinand Fischer"
 from:1674 till:1754 text:"Tomaso Albinoni"
 from:1678 till:1741 text:"Antonio Vivaldi" $bold
 from:1679 till:1745 text:"Jan Dismas Zelenka
 from:1681 till:1760 text:"Georg Philipp Telemann" $bold                   #till 1767
 from:1683 till:1760 text:"Christoph Graupner"
 from:1683 till:1729 text:"Johann David Heinichen"
 from:1683 till:1760 text:"Jean-Philippe Rameau" $bold                     #till 1764
 from:1684 till:1748 text:"Johann Gottfried Walther" $bold
 from:1685 till:1750 text:"Johann Sebastian Bach" $bold
 from:1685 till:1757 text:"Domenico Scarlatti" $bold
 from:1685 till:1759 text:"George Frideric Handel" $bold
 from:1686 till:1750 text:"Silvius Leopold Weiss"
 from:1686 till:1760 text:"Nicola Porpora"                                 #till 1768
 from:1687 till:1760 text:"Francesco Geminiani"                            #till 1762
 from:1688 till:1758 text:"Johann Friedrich Fasch"
 from:1692 till:1730 text:"Leonardo Vinci"
 # from:1692 till:1760 text:"Unico Wilhelm van Wassenaer"                  #till 1766
 from:1692 till:1760 text:"Giuseppe Tartini"                               #till 1770
 from:1695 till:1760 text:"Pietro Locatelli"                               #till 1764
 from:1697 till:1760 text:"Johann Joachim Quantz"                          #till 1773
 from:1698 till:1756 text:"Riccardo Broschi"                              
 from:1699 till:1760 text:"Johann Adolf Hasse"                             #till 1783
 # from:1702 till:1755 text:"Francisco António de Almeida"
 from:1704 till:1742 text:"Carlos Seixas"
 from:1706 till:1760 text:"Baldassare Galuppi"                             #till 1785
 # from:1707 till:1760 text:"António Teixeira"                             #till 1774
 from:1710 till:1736 text:"GB Pergolesi" $bold
 from:1711 till:1760 text:"Jean-Joseph de Mondonville"                     #till 1772

</timeline>

Instruments

Script error: No such module "Labelled list hatnote". Script error: No such module "Labelled list hatnote".

Strings

File:Harpsichord VitalJulianFrey.jpg
Double-manual harpsichord by Vital Julian Frey, after Jean-Claude Goujon (1749)
File:Archive-ugent-be-F10D9E4E-7E68-11E5-B44A-58F8D43445F2 DS-4 (cropped).jpg
Individual sheet music for a seventeenth-century harp.[5]

Woodwinds

Brass

Keyboards

Percussion

Styles and forms

Script error: No such module "anchor".

Dance suite

Script error: No such module "Labelled list hatnote".

File:Pannini, Giovanni Paolo - Musical Fête - 1747.png
A large instrumental ensemble's performance in the lavish Teatro Argentina, as depicted by Panini (1747)

A characteristic of the Baroque form was the dance suite. Some dance suites by Bach are called partitas, although this term is also used for other collections of pieces. While the pieces in a dance suite were inspired by actual dance music, dance suites were intended for listening, not for accompanying dancers. Composers used a variety of different movements in their dance suites. A dance suite commonly has these movements:

  • Overture – The Baroque suite often began with a French overture ("Ouverture" in French), a slow movement followed by a succession of principally four different types of dances:
  • Allemande – Often the first dance of an instrumental suite, the allemande was a very popular dance that had its origins in the German Renaissance era. The allemande was played at a moderate tempo and could start on any beat of the bar.Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters".
  • Courante – The second dance is the courante, in triple meter. It can be either fast and lively or slow and stately. The Italian version is called the corrente.Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters".
  • Sarabande – The sarabande, a Spanish dance, is the third of the four basic dances, and is one of the slowest of the baroque dances. It is also in triple meter and can start on any beat of the bar, although there is an emphasis on the second beat, creating the characteristic 'halting', or iambic rhythm of the sarabande.Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters".
  • Gigue – The gigue is an upbeat and lively baroque dance in compound meter, typically the concluding movement of an instrumental suite, and the fourth of its basic dance types. The gigue can start on any beat of the bar and is easily recognized by its rhythmic feel. The gigue originated in the British Isles. Its counterpart in folk music is the jig.Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters".

The four dance types (allemande, courante, sarabande, and gigue) make up the majority of 17th-century suites. Later suites interpolate one or more additional dances between the sarabande and gigue:

  • Gavotte – The gavotte is in duple metre, with phrases which start on an offbeat. The gavotte is played at a moderate tempo, although those in an Italian style may be faster.Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters".
  • Bourrée – The bourrée is similar to the gavotte as it is in Template:Time signature time, although it starts on the second half of the last beat of the bar, creating a different feel to the dance. The bourrée is commonly played at a moderate tempo, although for some composers, such as Handel, it can be taken at a much faster tempo.Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters".
  • Minuet – in triple meter at moderate tempo. It does not have an anacrusis. The Italian minuet was typically faster, with longer phrases.Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters".
  • Passepied – The passepied is a fast dance in binary form and triple meter that originated as a court dance in Brittany.Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters".
  • Rigaudon – The rigaudon is a lively French dance in duple meter, similar to the bourrée, but rhythmically simpler. It originated as a family of closely related southern-French folk dances, traditionally associated with the provinces of Vavarais, Languedoc, Dauphiné, and Provence.Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters".

There are many other dance forms as well as other pieces that could be included in a suite, such as Polonaise, Loure, Scherzo, Air, etc.

Other features

  • Prelude – a suite might be started by a prelude, a slow piece written in an improvisatory style. Some Baroque preludes were not fully written out; instead, a sequence of chords were indicated, with the expectation that the instrumentalist would be able to improvise a melodic part using the indicated harmonic framework. The prelude was not based on a type of dance.
  • Entrée – Sometimes an entrée is composed as part of a suite; but there it is purely instrumental music and no dance is performed. It is an introduction, a march-like piece played during the entrance of a dancing group, or played before a ballet. Usually in Template:Time signature time. It is related to the Italian 'intrada'.
  • Basso continuo – a kind of continuous accompaniment notated with a new music notation system, figured bass, usually for one or more sustaining bass instruments (e.g., cello) and one or more chord-playing instruments (e.g., keyboard instruments such as harpsichord, pipe organ or lute)
  • The concerto (a solo piece with orchestral accompaniment) and concerto grosso
  • Monody – an accompanied Italian solo song, an outgrowth of arrangements of ensemble music for solo instruments in the late 16th centuryScript error: No such module "Footnotes".Script error: No such module "Check for unknown parameters".
  • Homophony – music with one melodic voice and rhythmically similar (and subordinate) chordal accompaniment (this and monody are contrasted with the typical Renaissance texture, polyphony)Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters".
  • Dramatic musical forms like opera, dramma per musicaScript error: No such module "Footnotes".Script error: No such module "Check for unknown parameters".
  • Combined instrumental-vocal forms, such as the oratorio and cantata,Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters". both of which used singers and orchestra
  • New instrumental techniques, like tremolo and pizzicatoScript error: No such module "Footnotes".Script error: No such module "Check for unknown parameters".
  • The da capo aria had become the dominant form of aria by 1680Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters".
  • The ritornello aria – repeated short instrumental interruptions of vocal passages.Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters".
  • The concertato style – contrast in sound between groups of instruments.Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters".
  • Extensive ornamentation,Script error: No such module "Footnotes".Script error: No such module "Check for unknown parameters". which was typically improvised by singers and instrumentalists (e.g., trills, mordents, etc.)

Genres

Vocal

Instrumental

Notes

<templatestyles src="Reflist/styles.css" />

  1. ↑ Script error: No such module "citation/CS1".
  2. ↑ Encyclopedie; Lettre sur la Musique Francaise under the direction of Denis Diderot
  3. ↑ Antoine Arnauld, Pierre Nicole, La logique ou l'art de penser, Part Three, chapter VI (1662) (in French)
  4. ↑ Script error: No such module "citation/CS1".
  5. ↑ Script error: No such module "citation/CS1".

Script error: No such module "Check for unknown parameters".

Sources

<templatestyles src="Div col/styles.css"/>

Script error: No such module "Check for unknown parameters".
  • Script error: No such module "citation/CS1".
  • Script error: No such module "citation/CS1".
  • Script error: No such module "template wrapper".
  • Script error: No such module "citation/CS1". Template:Grove Music subscription
  • Script error: No such module "citation/CS1".
  • Script error: No such module "citation/CS1".
  • Script error: No such module "citation/CS1".
  • Script error: No such module "citation/CS1".
  • Script error: No such module "citation/CS1".
  • Script error: No such module "citation/CS1". Template:Grove Music subscription
  • Script error: No such module "citation/CS1".
  • Script error: No such module "citation/CS1".
  • Script error: No such module "citation/CS1".
  • Script error: No such module "citation/CS1". Template:Grove Music subscription
  • Script error: No such module "citation/CS1". Template:Grove Music subscription
  • Script error: No such module "citation/CS1".
  • Script error: No such module "citation/CS1".
  • Script error: No such module "citation/CS1".
  • Script error: No such module "citation/CS1".
  • Script error: No such module "citation/CS1". Template:Grove Music subscription
  • Script error: No such module "citation/CS1". Template:Grove Music subscription
  • Script error: No such module "citation/CS1". Template:Grove Music subscription
  • Script error: No such module "citation/CS1".
  • Script error: No such module "citation/CS1".
  • Script error: No such module "citation/CS1".
  • Script error: No such module "citation/CS1".
  • Script error: No such module "citation/CS1".
  • Script error: No such module "citation/CS1".
  • Script error: No such module "citation/CS1".
  • Script error: No such module "citation/CS1".
  • Script error: No such module "citation/CS1". Reprinted in Muse Baroque: La magazine de la musique baroque Script error: No such module "webarchive"., n.d.
  • Script error: No such module "citation/CS1".
  • Script error: No such module "citation/CS1". Template:Grove Music subscription
  • Script error: No such module "citation/CS1". Template:Subscription or membership required
  • Script error: No such module "citation/CS1".
  • Script error: No such module "citation/CS1". Template:Grove Music subscription
  • Script error: No such module "citation/CS1". Template:Grove Music subscription
  • Script error: No such module "citation/CS1". Template:Grove Music subscription
  • Script error: No such module "citation/CS1".
  • Script error: No such module "citation/CS1".
  • Script error: No such module "citation/CS1".
  • Script error: No such module "citation/CS1". Template:Grove Music subscription
  • Script error: No such module "citation/CS1".

Further reading

<templatestyles src="Div col/styles.css"/>

Script error: No such module "Check for unknown parameters".
  • Christensen, Thomas Street, and Peter Dejans. Towards Tonality Aspects of Baroque Music Theory. Leuven: Leuven University Press, 2007. Template:ISBN
  • Cyr, Mary. Essays on the Performance of Baroque Music Opera and Chamber Music in France and England. Variorum collected studies series, 899. Aldershot, Hants, England: Ashgate, 2008. Template:ISBN
  • Foreman, Edward. A Bel Canto Method, or, How to Sing Italian Baroque Music Correctly Based on the Primary Sources. Twentieth century masterworks on singing, v. 12. Minneapolis, Minn: Pro Musica Press, 2006. Template:ISBN
  • Script error: No such module "citation/CS1".
  • Script error: No such module "citation/CS1".
  • Hebson, Audrey (2012). "Dance and Its Importance in Bach's Suites for Solo Cello", Musical Offerings: Vol. 1: No. 2, Article 2. Available at http://digitalcommons.cedarville.edu/musicalofferings/vol1/iss2/2.
  • Hoffer, Brandi (2012). "Sacred German Music in the Thirty Years' War", Musical Offerings: Vol. 3: No. 1, Article 1. Available at http://digitalcommons.cedarville.edu/musicalofferings/vol3/iss1/1.
  • Schubert, Peter, and Christoph Neidhöfer. Baroque Counterpoint. Upper Saddle River, NJ: Pearson Prentice Hall, 2006. Template:ISBN
  • Schulenberg, David. Music of the Baroque. New York: Oxford UP, 2001. Template:ISBN
  • Stauffer, George B. The World of Baroque Music New Perspectives. Bloomington: Indiana University Press, 2006. Template:ISBN
  • Strunk, Oliver. Source Readings in Music History. From Classical Antiquity to the Romantic Era. London: Faber & Faber, 1952.

External links

Script error: No such module "Side box".

Template:Baroque music Template:Classical music Script error: No such module "Navbox". Template:Portal bar Script error: No such module "Authority control".

Retrieved from "http://debianws.lexgopc.com/wiki143/index.php?title=Baroque_music&oldid=8433041"