Katana VentraIP

Baroque music

Baroque music (UK: /bəˈrɒk/ or US: /bəˈrk/) refers to the period or dominant style of Western classical music composed from about 1600 to 1750.[1] The Baroque style followed the Renaissance period, and was followed in turn by the Classical period after a short transition (the galant style). The Baroque period is divided into three major phases: early, middle, and late. Overlapping in time, they are conventionally dated from 1580 to 1650, from 1630 to 1700, and from 1680 to 1750. Baroque music forms a major portion of the "classical music" canon, and is widely studied, performed, and listened to. The term "baroque" comes from the Portuguese word barroco, meaning "misshapen pearl".[2] The works of George Frideric Handel and Johann Sebastian Bach are considered the pinnacle of the Baroque period. Other key composers of the Baroque era include Claudio Monteverdi, Domenico Scarlatti, Alessandro Scarlatti, Alessandro Stradella, Tomaso Albinoni, Johann Pachelbel, Henry Purcell, Antonio Vivaldi, Georg Philipp Telemann, Jean-Baptiste Lully, Jean-Philippe Rameau, Marc-Antoine Charpentier, Arcangelo Corelli, François Couperin, Johann Hermann Schein, Heinrich Schütz, Samuel Scheidt, Dieterich Buxtehude, Gaspar Sanz, José de Nebra, Antonio Soler, Carlos Seixas and others.

The Baroque 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 type of harmony has continued to be used extensively in Western classical and 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 experimented with finding a fuller sound for each instrumental part (thus creating the orchestra),[2] 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. 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. Overall, Baroque music was a tool for expression and communication.[1]

[30]

Denis Gaultier

[31]

Jean-Henri d'Anglebert

[32]

Jacques Champion de Chambonnières

[33]

Louis Couperin

Violino piccolo

Violin

Viol

Viola

Viola d'amore

Viola pomposa

Tenor violin

Cello

Violone

Bass violin

Contrabass

Lute

Theorbo

Archlute

Mandora

Bandora

Angélique

Mandolin

Cittern

Guitar

Harp

Hurdy-gurdy

 – The Baroque suite often began with a French overture ("Ouverture" in French), a slow movement followed by a succession of principally four different types of dances:

Overture

 – Often the first dance of an instrumental suite, the allemande was a very popular dance that had its origins in the German Renaissance era. The allemande was played at a moderate tempo and could start on any beat of the bar.[37]

Allemande

 – The second dance is the courante, a lively, French dance in triple meter. The Italian version is called the corrente.

Courante

 – The sarabande, a Spanish dance, is the third of the four basic dances, and is one of the slowest of the baroque dances. It is also in triple meter and can start on any beat of the bar, although there is an emphasis on the second beat, creating the characteristic 'halting', or iambic rhythm of the sarabande.[37]

Sarabande

 – The gigue is an upbeat and lively baroque dance in compound meter, typically the concluding movement of an instrumental suite, and the fourth of its basic dance types. The gigue can start on any beat of the bar and is easily recognized by its rhythmic feel. The gigue originated in the British Isles. Its counterpart in folk music is the jig.[37]

Gigue

Opera

Singspiel

Ballet de cour

Masque

Oratorio

Passion (music)

Cantata

Mass (music)

Anthem

Monody

Chorale

Handel's Harpsichord Room – free recordings of harpsichord music of the Baroque era

: Composers

Renaissance & Baroque Music Chronology

in Vienna, Austria

Orpheon Foundation

at the International Music Score Library Project (IMSLP)

Free scores by various baroque composers

: Thesis on Affect Theory with Fire as the special topic

Music, Affect and Fire

a free, searchable database of worldwide locations for music manuscripts up to c. 1800.

Répertoire International des Sources Musicales (RISM)