Baroque Beginnings:

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Baroque Beginnings

• Music in an Age of Excess
• (please take handout)

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Italy, ca. 1600
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Italy ca. 1600
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Italy ca. 1600
1. Incredible vocal virtuosity
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2. Instruments in new combinations
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3. Works for more than 1 choir (Gabrieli
Blow the Trumpet from listening list,
conclusion)
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4. New genre opera
5. New aesthetic goal musics goal to move
emotions
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Renaissance Lamb of God, who takes away the sins
of the world, have mercy on us
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Baroque No, I fear nothing, for I have fighting
for me . . . . Love and Fortune!
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I. The Baroque Era
A. Dates 1600-1750
B. New Sources ca. 1600 (on handout)

• First Dramatic Work Set Entirely to Music
• Emilio de Cavalieri, Representation of
  the
• Spirit and the Body (1600)

• First Opera
• Jacop Peri, Euridice (1600)
• Giulio Caccini, Euridice (1601)

• First Music with Basso Continuo Accompaniment
• Lodovico da Viadana, Cento concerti
  ecclesiastici (1602)

• First Collection of Secular Monody
• Giulio Caccini, Le nuove musiche (1602)

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II. Baroque Music Culture
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II. Baroque Music Culture
A. Age of Excess Love of Extravagant,
Excessive, Massive
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II. Baroque Music Culture
A. Age of Excess Love of Extravagant,
Excessive, Massive

• The Polychoral Style Composition for 2 or more
  choirs

• Polychoral Style esp. prized _at_ San Marco (St.
  Marks), Venice

• Important composers in polychoral style Andrea
  Giovanni Gabrieli

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• Cori spezzati (lit. broken choirs) polychoral
  w. spatial separation

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II. Baroque Music Culture
A. Age of Excess Love of Extravagant,
Excessive, Massive

• The Polychoral Style

• San Marco (St. Marks) Venice

• Andrea Giovanni Gabrieli

• Cori spezzati (lit. broken choirs)

B. Baroque Love of Ornament
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II. Baroque Music Culture
A. Age of Excess Love of Extravagant,
Excessive, Massive

• The Polychoral Style and Cori spezzati

B. Baroque Love of Ornament

• Works with Steady Pulses, each filled with
  fast notes

• Ornaments (Embellishments)

C. Baroque Expression The Doctrine of Affections

• Rejects cool, detached Renaissance Aesthetic

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II. Baroque Music Culture
A. Age of Excess Love of Extravagant,
Excessive, Massive

• The Polychoral Style and Cori spezzati

B. Baroque Love of Ornament

• Works with Steady Pulses, each filled with
  fast notes

• Ornaments (Embellishment)

C. Baroque Expression The Doctrine of Affections

• Rejects cool, detached Renaissance Aesthetic

• Portray (represent) a single, intense, vivid
  emotional state

D. Basso Continuo Accompaniment

• Bipolar Musical Conception

• Figured Bass Accompaniment
• (basso continuo or throughbass)

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Basso Continuo
Vocal part (top line)
Instrumental accompaniment (lower line)

• Chordal accompaniment of
• Baroque

• Improvised above written
• bass notes

• Harmony indicated by
• number-shorthand
• (figured bass notation)

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II. Baroque Music Culture
A. Age of Excess Love of Extravagant,
Excessive, Massive

• The Polychoral Style and Cori spezzati

B. Baroque Love of Ornament

• Works with Steady Pulses, each filled with
  fast notes

• Ornaments (Embellishment)

C. Baroque Expression The Doctrine of Affections

• Portray (represent) a single emotional state
  intensely

D. Basso Continuo Accompaniment

• Bipolar Musical Conception

• Figured Bass Accompaniment (basso continuo)

E. Monody
17th century solo song (usually Italian)
F. The Concertato Style
sections of composition juxtapose
contrasting groups of voices and/or instruments
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III. Other Musical Features

1. The Emergence of Modern Functional Harmony

B. Meters Projected Clearly
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