Chapter 8: The Baroque 16001750 continued

1
Chapter 8 The Baroque(1600-1750)continued
2
Architecture

• Basically the same fundamental forms, but with
  added profuse ornamentation, feeling of movement
  and use of light shade - like baroque painting
• Differences between Renaissance and Baroque
  styles shown by examples of stairwells (fig. 8.6
  8.7, pgs.186-7)
• The Monastery Church of Melk in Austria is an
  example of northern Baroque architecture
• Exterior (fig. 8.10) Interior (fig.8.11)
• Richly decorative and ornamental interior is a
  complex series of variations on the curves of the
  round arch

3
Architecture

• Englishman Christopher Wren one of the greatest
  architects, helped to rebuild London after the
  tragic fire in 1666
• St. Pauls Cathedral exterior (fig. 8.12) and
  interior (fig. 8.13)
• Secular buildings share many of the same features
  as the sacred structures.
• Versailles near Paris
• Schönbrunn in Vienna
• Wilton House in England (colorplate 41)

4
Music

• Evolution of dramatic vocal music
• Opera
• Oratorio
• Cantata
• Emancipation of instrumental music from vocal
  forms

5
Music

• Stylistic traits become the four unifying
  elements in Baroque music
• Tonality as basis of harmonic organization
• Basso continuo above which the harmonies were
  played
• The declamatory recitative
• The development of distinct instrumental vocal
  idioms

6
Tonality

• Use of tonality gave rise to new methods of
  handling musical materials
• Homophony - single melody with carefully crafted
  supporting harmonies chord progressions became
  equal in importance to richly imitative polyphony
  
• The chordal progression was designed to create a
  sense of tension and release through alternating
  dissonance and consonance
• Unlike the Renaissance counterpoint, the concern
  for tonality affected the treatment of Baroque
  counterpoint as well as homophonic composition

7
Music (cont.)

• Figured Bass -
• A system of musical shorthand that indicated the
  harmonies to be played between the bass line and
  melody that were written out
• Becomes the basis for teaching harmony for the
  next 200 years
• Opera -
• Fused drama and music through the use of
  recitatives, arias, solo ensembles and choral
  ensembles

8
Music (cont.)

• Recitative -
• A simple musical setting of a dramatic text so
  the words can be clearly heard
• Developed by a literary and artistic group in
  Florence, known as the Camerata
• Aria -
• An extended vocal solo which expresses the highly
  emotional content of the drama
• Solo Ensembles -
• A composition where two or more characters of the
  drama express their emotions and thoughts

9
Music (cont.)

• Instrumental and vocal music is no longer
  interchangeable
• Every Valley, from the Messiah
• The Little Organ Fugue in G minor
• Music not just for the elite- middle class
  prompted artists to write music which would lead
  listeners to new aesthetic experiences through
  the emotions
• Expressive melodies and recitatives
• Frequent chromaticism (notes not in the tonal
  scale)
• Energetic rhythm

10
Vocal Music

• Monteverdi
• Early Operatic composer
• Orfeo tu sé morta
• recitative
• Gabrieli
• St. Marks Cathedral, Venice
• Antiphonal sound, due in part to design of St.
  Marks

11
Instrumental Music

• Instruments reached a higher degree of
  development
• Violin, Viola, Cello Organ
• Homophonic and polyphonic textures both featured
• Forms
• Sonata, suite and concerto
• Suite (made up of a number of short dances)

12
Instrumental Music

• Corelli
• Concerto Grosso
• Vivaldi
• Concerto Grosso
• Spring
• Polyphonic Texture
• fugue

13
Instrumental Music

• Bach
• Compositions prompted by his patron based
  positions
• Both secular sacred positions
• Both instrumental and vocal compositions
• Brandenburg Concerto
• Cantata No. 40
• Handel
• Moves to England as a composer of Italian Operas,
  later also known for instrumental and choral
  music
• Water Music Suite
• Turned to writing oratorios
• Messiah

14

• Next Time
• Ch. 9