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Baroque music From Wikipedia, the free encyclopedia Jump to navigation Jump to

Baroque music From Wikipedia, the free encyclopedia Jump to navigation Jump to search Baroque music Double-manual harpsichord by Vital Julian Frey, after Jean-Claude Goujon (1749) Cultural origins 16th–17th century, Europe Typical instruments Baroque instruments Periods, eras, and *movements of Western classical music Early period Medieval era c. 500–1400 Renaissance era c. 1400–1600 Common practice period Baroque era c. 1600–1730 Classical era c. 1730–1830 Romantic era c. 1830–1900 Late 19th-century to 20th- and 21st-centuries Modernist era c. 1890–1950 * Impressionist movement c. 1890–1930 * Expressionist c. 1900–1930 Postmodern era/Contemporary c. 1930–present * Minimalist movement c. 1950–present  v  t  e Baroque music (UK: /bəˈrɒk/ or US: /bəˈroʊk/) is a period or style of Western art music composed from approximately 1600 to 1750.[1] This era followed the Renaissance music era, and was followed in turn by the Classical era. Baroque music forms a major portion of the "classical music" canon, and is now widely studied, performed, and listened to. Key composers of the Baroque era include Johann Sebastian Bach, Antonio Vivaldi, George Frideric Handel, Claudio Monteverdi, Domenico Scarlatti, Alessandro Scarlatti, Henry Purcell, Georg Philipp Telemann, Jean-Baptiste Lully, Jean-Philippe Rameau, Marc-Antoine Charpentier, Arcangelo Corelli, Tomaso Albinoni, François Couperin, Giuseppe Tartini, Heinrich Schütz, Giovanni Battista Pergolesi, Dieterich Buxtehude, and Johann Pachelbel. The Baroque period saw the creation of common-practice tonality, an approach to writing music in which a song or piece is written in a particular key; this kind of arrangement has continued to be used in almost all Western 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 and performers used more elaborate[clarification needed] musical ornamentation (typically improvised by performers), 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. Many musical terms and concepts from this era, such as toccata, fugue and concerto grosso are still in use in the 2010s. 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. The term "baroque" comes from the Portuguese word barroco, meaning "misshapen pearl".[2] Negative connotations of the term first occurred in 1734, in a criticism of an opera by Jean- Philippe Rameau, and later (1750) in a description by Charles de Brosses of the ornate and heavily ornamented architecture of the Pamphili Palace in Rome; and from Jean Jacques Rousseau in 1768 in the Encyclopédie in his criticism of music that was overly complex and unnatural. Although the term continued to be applied to architecture and art criticism through the 19th century, it was not until the 20th century that the term "baroque" was adopted from Heinrich Wölfflin's art-history vocabulary to designate a historical period in music.[1] Contents  1 Etymology  2 History o 2.1 Early baroque music (1580–1630) o 2.2 Middle baroque music (1630–1680) o 2.3 Late baroque music (1680–1730)  3 Timeline of composers  4 Instruments o 4.1 Strings o 4.2 Woodwinds o 4.3 Brass o 4.4 Keyboards o 4.5 Percussion  5 Styles and forms o 5.1 Dance suite o 5.2 Other features  6 Genres o 6.1 Vocal o 6.2 Instrumental o 6.3 Other  7 Notes  8 References  9 Further reading  10 External links Etymology Johann Sebastian Bach, 1748 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 approximately 150 years.[1] Although 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.[3] 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."[4] 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.[5][6] 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.[7] 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.[1] 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.[1] It may be helpful to distinguish the Baroque from both the preceding (Renaissance) and following (Classical) periods of musical history. History The Baroque period is divided into three major phases: early, 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.[8] Early baroque music (1580–1630) Further information: Transition from Renaissance to Baroque in instrumental music 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.[9] As such, 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).[10] The early realizations of these ideas, including Jacopo Peri's Dafne and L'Euridice, marked the beginning of opera,[11] which were a catalyst for Baroque music.[12] 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.[13] Harmony is the end 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.[14] Composers began concerning themselves with harmonic progressions,[15] and also employed the tritone, perceived as an unstable interval,[16] 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;[17] 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.[18] This led to the idea that certain sequences of chords, rather than just notes, uploads/s3/ muzik-zaman-barok.pdf