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The Early Baroque Period (~1590–1640)

The Early Baroque Period (~1590–1640). Baroque: The period of Western music history extending from the end of the 16 th century to ca. 1750; also the musical styles of that period. Baroque. Etymology: French (1765) Portuguese barroco (irregularly shaped pearl)

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The Early Baroque Period (~1590–1640)

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  1. The Early Baroque Period (~1590–1640) Baroque: The period of Western music history extending from the end of the 16th century to ca. 1750; also the musical styles of that period.

  2. Baroque • Etymology: French (1765) • Portuguese barroco (irregularly shaped pearl) • Middle French barroque (irregularly shaped)

  3. Baroque • Early Usage (all pejorative) • “wrest laboriously from the bottom of the sea some baroque pearls, when diamonds can be found on the surface of the earth.” • Noel Antoine Pluche (Spectacle de la nature, Paris, 1746) on Jean-Pierre Guignon’s Italian style violin playing • “A baroque music is that in which the harmony is confused, charged with modulations and dissonances, the melody is harsh and little natural, the intonation difficult, and the movement constrained.” • J.-J. Rousseau (Dictionnaire de musique, Paris, 1768)

  4. Baroque • Modern Usage (positive) • Cornelius Gurlitt (Geschichte des Barokstiles in Italien, 1887) • Heinrich Wölfflin (Renaissance und Barock, 1888) • Curt Sachs (“Barockmusik,” 1919) • Robert Haas (Die Musik des Barocks, 1928) • Manfred Bukofzer (Music in the Baroque Era, 1947)

  5. Baroque • Alternative • “Figured-Bass Era” (Hugo Riemann, Handbuch der Musikgeschichte, ii, 1912) • “The Third Style Period” (Guido Adler, Handbuch der Musikgeschichte, 1924) • “Age of the Concertato Style” (Jacques Handschin)

  6. From Renaissance to Baroque • 1st Centres: Italian • 2nd Centres: German

  7. Firenze(Florence)

  8. Cathedral 1296-1436 (dome by Brunelleschi, 1420-36)

  9. From Renaissance to Baroque • Camerata in Florence against Renaissance madrigalism (word painting…) • a sort of humanistic discussion group with poets and musicians, whose experiments with monody were directed toward a revival of ancient Greek drama, in which, they felt, music and poetry were closely united • led in 1597 to the composition of the first opera, Dafne, by Jacopo Peri and the poet Ottavio Rinuccini (music now lost)

  10. From Renaissance to Baroque • A Florentine critic in 1581: • “Why cause words to be sung by 4 or 5 voices so that they cannot be distinguished, when the ancient Greeks aroused the strongest passions by means of a single voice supported by a lyre?” • “We must renounce counterpoint and the use of different kinds of instruments and return to simplicity.”

  11. Venezia (Venice) Canaletto: “Palazzo Ducale and the Piazza San Marco”

  12. Venice • Venice, Italian Venezia, Latin Venetia • An island city, it was once the centre of a maritime republic. • It was the greatest seaport in late medieval Europe and the continent's commercial and cultural link with Asia. • Venice is unique environmentally, architecturally, and historically, and in its days as a republic the city was styled la serenissima (“the most serene” or “sublime”).

  13. Music in Venice • Antiphonal singing led to the use of two choirs, one on each side of the church, or as at St. Mark’s, Venice, in the galleries. • Music for divided choirs, or cori spezzati, was developed in the early 16th century and reached a peak of excellence in the late 16th- and early 17th-century. • The works written for several separate choirs by Giovanni Gabrieli and Claudio Monteverdi for San Marco echoed around its Byzantine interior with stirring effect.

  14. Style Features • Form • more controlled, to balance against the extravagance in style (“baroque”) • Monody–Thoroughbass (basso continuo) • vocal–instrumental • Rhythm and Meter • more regular, one idea in a movement • the use of bar lines • Functional Harmony • major/minor tonality

  15. Gioseffo Zarlino (1517–90) Venetian composer and writer on music, celebrated music theorist of the mid-16th century. 1542 pupil of Willaert, 1565 music director of St. Mark’s. Le istitutioni harmoniche (Venice, 1558, 62, 73, 93) major minor

  16. Prima Practica vs. Seconda Practica • Monteverdi’s preface to his 5th Book of Madrigal (1605) • “Prima Practica (First Practice) refers to that style which is chiefly concerned with the perfection of the harmony; that is, in which harmony is not ruled, but rules, is not the servant but the mistress of the words…” • “Seconda Practica (Second Practice)… is that style which is chiefly concerned with the perfection of the setting; that is, in which harmony does not rule but is ruled, and where the words are mistress of the harmony…”

  17. Fugue polyphony, counterpoint,tradition thinking vocal exposition–episode(stable–modulating) Concerto homophony, concertato, modern playful instrumental ritornello–episode(stable–modulating) Genres • Opera

  18. Opera • Independent in style • Johann Joachim Quantz (1697–73): Versuch einer Anweisung die Flöte traversiere zu spielen (1752) • Chamber style: more lively and playful than • Church style: more artful elaboration than • Theatre style: more straightforward and explicit • Exemplary in dramatics, expressivity • Cantata and Oratorium as church opera • Instrumental as sound speech

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