What Best Describes the Dualism Found in Baroque Art and Music

Baroque theatre in Český Krumlov

Teatro Argentina (Panini, 1747,Musée du Louvre)

Baroque music

Bizarre music is a mode of Western art music composed from approximately 1600 to 1750. This era followed the Renaissance, and was followed in plow by the Classical era. The word "baroque" comes from the Portuguese word barroco meaning misshapen pearl, a negative description of the ornate and heavily ornamented music of this period. Afterwards, the proper name came to apply also to the architecture of the same period.

Baroque music forms a major portion of the "classical music" canon, beingness widely studied, performed, and listened to. Composers of the Baroque era include Johann Sebastian Bach, George Frideric Handel, Alessandro Scarlatti, Domenico Scarlatti, Antonio Vivaldi, Henry Purcell, Georg Philipp Telemann, Jean-Baptiste Lully, Arcangelo Corelli, Tomaso Albinoni, François Couperin,Denis Gaultier, Claudio Monteverdi, Heinrich Schütz, Jean-Philippe Rameau, Jan Dismas Zelenka, and Johann Pachelbel.

The Baroque flow saw the creation of tonality. During the menstruum, composers and performers used more elaborate musical ornamentation, made changes in musical annotation, and adult new instrumental playing techniques. Bizarre music expanded the size, range, and complexity of instrumental performance, and also established opera, cantata, oratorio, concerto, and sonata equally musical genres. Many musical terms and concepts from this era are notwithstanding in use today.

Etymology

Periods of Western classical music
Advertisement / CE Early
Medieval	c. 500–1400
Renaissance	c. 1400–1600
Common practice
Baroque	c. 1600–1760
Classical	c. 1730–1820
Romantic	c. 1815–1910
Modern and contemporary
Modernistic	c. 1890–1930
20th century	1901–2000
Contemporary	c. 1975–present
21st century	2001–present

History of European art music

The term "Bizarre" is more often than not used by music historians to describe a broad range of styles from a wide geographic region, generally in Europe, composed over a menstruation of approximately 150 years.

Although information technology was long idea that the discussion equally a critical term was first applied to compages, in fact it appears before in reference to music, in an anonymous, satirical review of the première in October 1733 of Rameau'sHippolyte et Aricie, printed in theMercure de France in May 1734. The critic unsaid 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.

The systematic application past historians of the term "bizarre" to music of this period is a relatively contempo development. In 1919, Curt Sachs became the kickoff to apply the five characteristics of Heinrich Wölfflin's theory of the Baroque systematically to music. Critics were quick to question the attempt to transpose Wölfflin's categories to music, however, and in the second quarter of the 20th century contained attempts were made by Manfred Bukofzer (in Frg and, after his immigration, in America) and past Suzanne Clercx-Lejeune (in Belgium) to utilize 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, particularly concerning when it began. In English the term acquired currency just in the 1940s, in the writings of Bukofzer and Paul Henry Lang.

Every bit late as 1960 there was still considerable dispute in academic circles, particularly in French republic and Uk, whether it was meaningful to lump together music as diverse equally that of Jacopo Peri, Domenico Scarlatti, and J.S. Bach nether a single rubric. Nevertheless, the term has become widely used and accepted for this broad range of music. It may exist helpful to distinguish the Bizarre from both the preceding (Renaissance) and following (Classical) periods of musical history.

History

The Baroque period is divided into three major phases: early on, middle, and late. Although they overlap in time, they are conventionally dated from 1580 to 1630, from 1630 to 1680, and from 1680 to 1730.

Early baroque music (1580–1630)

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 ethics on a perception of Classical (especially ancient Greek) musical drama that valued discourse and oration. As such, they rejected their contemporaries' apply of polyphony and instrumental music, and discussed such aboriginal Greek music devices as monody, which consisted of a solo singing accompanied past a kithara. The early realizations of these ideas, including Jacopo Peri'sDafne andL'Euridice, marked the beginning of opera, which in turn was somewhat of a catalyst for Baroque music.

Apropos music theory, the more than widespread utilize offigured bass (also known every bitthorough bass) represents the developing importance of harmony as the linear underpinnings of polyphony. Harmony is the end upshot of counterpoint, and figured bass is a visual representation of those harmonies ordinarily employed in musical performance. Composers began apropos themselves with harmonic progressions,and also employed the tritone, perceived equally an unstable interval, to create racket. Investment in harmony had also existed amid certain composers in the Renaissance, notably Carlo Gesualdo; Nevertheless, the use of harmony directed towards tonality, rather than modality, marks the shift from the Renaissance into the Baroque menstruum. This led to the thought that chords, rather than notes, could provide a sense of closure—one of the fundamental ideas that became known as tonality.

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 2 individual styles of limerick – the heritage of Renaissance polyphony (prima pratica) and the new basso continuo technique of the Baroque (seconda pratica). With the writing of the operasL'Orfeo andL'incoronazione di Poppea among others, Monteverdi brought considerable attending to the new genre of opera.

Middle baroque music (1630–1680)

The ascension of the centralized court is one of the economical and political features of what is oft labelled the Age of Authoritarianism, personified past Louis XIV of France. The style of palace, and the court system of manners and arts he fostered became the model for the remainder 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 need for chamber music.

Jean-Baptiste Lully

The middle Baroque period in Italy is defined by the emergence in the cantata, oratorio, and opera during the 1630s of the bel-canto way. This way, one of the virtually important contributions to the development of Baroque as well as the afterwards Classical style, was generated by 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 fashion to a simpler, more polished melodic style, usually in a ternary rhythm. These melodies were built from short, cadentially delimited ideas often based on stylized dance patterns drawn from the sarabande or thecourante. The harmonies, besides, were simpler than in the early Baroque monody, and the accompanying bass lines were more integrated with the tune, 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 and aria. The most of import innovators of this manner were the Romans Luigi Rossi and Giacomo Carissimi, who were primarily composers of cantatas and oratorios, respectively, and the VenetianFrancesco Cavalli, who was principally an opera composer. After important practitioners of this style include Antonio Cesti, Giovanni Legrenzi, and Alessandro Stradella.

The heart Baroque had admittedly no begetting at all on the theoretical work of Johann Fux, who systematized the strict counterpoint characteristic of earlier ages in hisGradus ad Paranassum (1725).

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 king and to prevent others from having operas staged. He completed fifteen lyric tragedies and left unfinishedAchille et Polyxène.

Musically, he did non 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, innovate 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.

Arcangelo Corelli

Arcangelo Corelli is remembered equally influential for his achievements on the other side of musical technique—equally a violinist who organized violin technique and educational activity—and in purely instrumental music, particularly his advocacy and development of the concerto grosso. Whereas Lully was ensconced at courtroom, Corelli was 1 of the first composers to publish widely and take his music performed all over Europe. Equally with Lully's stylization and arrangement of the opera, the concerto grosso is built on potent contrasts—sections alternating between those played past the total orchestra, and those played by a smaller grouping. Dynamics were "terraced", that is with a sharp transition from loud to soft and back over again. Fast sections and slow sections were juxtaposed against each other. Numbered among his students is Antonio Vivaldi, who after composed hundreds of works based on the principles in Corelli'south trio sonatas and concerti.

In contrast to these composers, Dieterich Buxtehude was not a fauna of court but instead was church building 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 chief 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 theAbendmusiken, which included performances of sacred dramatic works regarded past his contemporaries as the equivalent of operas.

Late baroque music (1680–1730)

George Frideric Handel

Johann Sebastian Bach, 1748

Through the work of Johann Fux, the Renaissance style of polyphony was made the basis for the study of composition.

A continuous worker, Handel borrowed from others and often recycled his own material. He was also known for reworking pieces such as the famousMessiah, which premiered in 1742, for available singers and musicians.

Timeline of Baroque composers

Baroque instruments

Baroque instruments including hurdy gurdy, harpsichord, bass viol, lute, violin, and guitar

A double-manual harpsichord after Jean-Claude Goujon (1749)

Strings

Violino piccolo
Violin
Viol
Viola
Viola d'affection
Viola pomposa
Tenor violin
Cello
Contrabass
Lute
Theorbo
Archlute
Angélique
Mandolin
Guitar
Harp
Hurdy gurdy

Woodwinds

Baroque flute
Chalumeau
Cortol (also known as Cortholt, Curtall, Oboe family)
Dulcian
Musette de cour
Baroque oboe
Rackett
Recorder
Bassoon
Clarinet

Brasses

Cornett
Natural horn
Baroque trumpet
Tromba da tirarsi (likewise calledtromba spezzata)
Flatt trumpet
Serpent
Sackbut (16th- and early on 17th-century English name for FR:saquebute,saqueboute; ES:sacabuche; IT:trombone; MHG:busaun,busîne,busune / DE (since the early on 17th century)Posaune)
Trombone (English name for the same instrument, from the early 18th century)

Keyboards

Clavichord
Tangent piano
Fortepiano – early version of pianoforte
Harpsichord
Organ

Percussion

Bizarre timpani
Wood snare pulsate
Tenor pulsate
Tambourine
Castanets

Styles and forms

The Baroque suite

The Baroque suite often consists of the following movements:

Overture – The Baroque suite oftentimes began with a French overture ("Ouverture" in French), which was followed by a succession of dances of unlike types, principally the following 4:
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, when it was more often called the almain.^{[citation needed]} The allemande was played at a moderate tempo and could start on any beat of the bar.
Courante – The 2d trip the light fantastic is the courante, a lively, French dance in triple meter. The Italian version is chosen the corrente.
Sarabande – The sarabande, a Spanish trip the light fantastic toe, is the third of the four basic dances, and is i of the slowest of the baroque dances. It is also in triple meter and can start on whatever beat of the bar, although there is an emphasis on the second vanquish, creating the feature 'halting', or iambic rhythm of the sarabande.
Gigue – The gigue is an upbeat and lively baroque trip the light fantastic in chemical compound meter, typically the concluding move of an instrumental suite, and the fourth of its bones dance types. The gigue can start on any beat of the bar and is easily recognized past its rhythmic feel. The gigue originated in the British Isles. Its counterpart in folk music is thejig.

These 4 dance types (allemande, courant, sarabande, and gigue) make up the bulk of 17th-century suites; later on suites interpolate 1 or more additional dances between the sarabande and gigue:

Gavotte – The gavotte can exist identified by a variety of features; it is in 4/iv time and always starts on the third crush of the bar, although this may audio similar the outset beat in some cases, every bit the first and third beats are the strong beats in quadruple time. The gavotte is played at a moderate tempo, although in some cases information technology may be played faster.
Bourrée – The bourrée is similar to the gavotte every bit it is in 2/2 time although it starts on the second one-half of the last crush of the bar, creating a different experience to the trip the light fantastic. The bourrée is commonly played at a moderate tempo, although for some composers, such as Handel, information technology can be taken at a much faster tempo.
Minuet – The minuet is possibly the best-known of the bizarre dances in triple meter. It tin commencement on any beat of the bar. In some suites there may be a Minuet I and Two, played in succession, with the Minuet I repeated.
Passepied – The passepied is a fast trip the light fantastic toe in binary form and triple meter that originated as a courtroom trip the light fantastic in Brittany. Examples can be found in later suites such as those of Bach and Handel.
Rigaudon – The rigaudon is a lively French dance in duple meter, similar to the bourrée, only rhythmically simpler. It originated equally a family of closely related southern-French folk dances, traditionally associated with the provinces of Vavarais, Languedoc, Dauphiné, and Provence.

Other features

Basso continuo – a kind of continuous accessory notated with a new music note organization, figured bass, ordinarily for a sustaining bass musical instrument and a keyboard musical instrument.
The concerto and concerto grosso
Monody – an outgrowth of song
Homophony – music with one melodic voice and rhythmically similar accompaniment (this and monody are contrasted with the typical Renaissance texture,polyphony)
Dramatic musical forms like opera,dramma per musica
Combined instrumental-vocal forms, such as the oratorio and cantata
New instrumental techniques, liketremolo andpizzicato
The da capo aria "enjoyed sureness".
Theritornello aria – repeated brusk instrumental interruptions of vocal passages.
The concertato style – contrast in sound between groups of instruments.
Extensive ornamentation

Genres

Vocal

Opera
- Zarzuela
- Opera seria
- Opéra comique
- Opera-ballet
Masque
Oratorio
Passion (music)
Cantata
Mass (music)
Anthem
Monody
Chorale

Instrumental

Chorale limerick
Concerto grosso
Fugue
Suite
- Allemande
- Courante
- Sarabande
- Gigue
- Gavotte
- Minuet
Sonata
- Sonata da camera
- Sonata da chiesa
- Trio sonata
Partita
Canzona
Sinfonia
Fantasia
Ricercar
Toccata
Prelude
Chaconne
Passacaglia
Chorale prelude
Stylus fantasticus

External links

Barock Music (webradio)
Pandora Radio: Baroque Period (not available outside the U.S.)
Handel's Harpsichord Room – gratuitous recordings of harpsichord music of the Baroque era
Renaissance & Bizarre Music Chronology: Composers
Orpheon Foundation in Vienna, Austria
Free scores by various baroque composers at the International Music Score Library Project
Music, Touch and Burn down: Thesis on Affect Theory with Burn every bit the special topic
Répertoire International des Sources Musicales (RISM), a gratis, searchable database of worldwide locations for music manuscripts up to c. 1800

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Source: https://courses.lumenlearning.com/musicapp_historical/chapter/chapter-1/