.: Baroque
PERIOD
Dates
of the Baroque period in music history are not
exact and overlap with the Renaissance and Classical
eras. However, the period "officially"
began in 1600 and ended with the death of J.S.
Bach in 1750. With each section overlapping, the
Baroque can also be divided into three parts:
early (1600-1640), middle (1640-1680), and late
(1680-1750). Baroque is defined as "a deformed
pearl," and the period was certainly a time
of change, in music, as well as in art, literature,
and society. A group known as the Florentine Camerata
regularly met to discuss the "expressive
style" developing in literature, science,
art, and music. Foreshadowed by great artists
like Michelangelo, there was a love for the dramatic
in all art forms. The ceiling paintings of Baroque
artists were extremely expressive. In fact, the
Baroque period focused intensely on the emotions,
and composers were highly concerned with expressive
possibilities in their music. With extreme feelings
of joy and sadness, musical compositions ran a
gamut of emotions and were of a driving nature.
There were no gray areas nor blurring of emotional
boundaries in the music of the Baroque masters.
In
a worldly system of learning a certain skill,
the composer was a "servant," and music
was produced for a specific requirement. Generally
this meant for practical use, such as in weddings
and other church services, with the intention
to perform the compositions right after they were
written. Each social class had different forms
of music making. Aristocratic courts produced
elaborate operas that were favorites of the nobility.
For the middle class, music was created at home
and in the church, as well as among a group of
university musicians bearing the title "Collegium
Musicum," some of which are still active
today.
|
Regarding typical Baroque style, the basic melody
of a piece is often heard immediately at the beginning.
For the rest of the composition, the music is regular
and repetitive. Baroque melodies were frequently
very technically difficult, consisting of sequences
to create a feeling of moving forward to the end.
Rhythms were also very driving and persistent in
character. In conjunction with one prominent melody,
a single theme is typically heard throughout any
given piece. A famous example is J.S. Bach’s Art
of Fugue, a collection of 17 canons
and fugues written all on the same theme.
Harmony in this period was based on counterpoint,
or different instrumental and vocal parts each with
their own musical line. These melodies and harmonies
were then supported by the bass part, or the foundation,
which was labeled "figured bass"
or "continuo." In contrast to specified
note combinations in the musical score, dynamics
were usually not marked. Simple loud and soft dynamics,
called "terraced," were naturally set
up by soloists and orchestras when playing in alternation.
As with dynamics, performers were supposed to embellish
what the composer had written.
Creating
major/minor tonality, or the use of certain
key centers for a given composition, was a significant
change and expansion from earlier musical eras.
Twelve major and twelve minor keys were formed,
highly evident in J.S. Bach’s exploitation of
this concept with The Well-Tempered Clavier.
In this work, Bach wrote one keyboard piece in
each major and minor key, for a total of 24 keyboard
pieces. This change in tonality also brought improvement
to the keyboard and the tuning of instruments.
With new key schemes, musicians evolved to "Equal-Tempered"
tuning. This was the first period in which instrumental
music became as important as vocal, resulting
in a rearrangement of music for different instruments.
String instruments rapidly improved, including
the guitar, and the well-known Italian violin
maker, Antonio Stradivarius (1644-1737), was brought
to the forefront. With modern pianos still many
years off, the three most important keyboard instruments
of the time included the organ, harpsichord (the
common keyboard instrument), and clavichord. Associated
with Germany, the organ became most important
in the church. Evidence of this instrument’s significance
is seen in Bach’s organ fugues and chorale
preludes, of which he wrote around 170.
One
of the most substantial achievements of the Baroque
was the invention of opera, which accurately captured
the exciting spirit characteristic of the era.
Greek tragedy served as a model for the early
operas, and Baroque composers experimented with
these new ideas. Most opera librettos were then
derived from objects of mythology. These concepts
of singing the tragedies were easily applied to
a whole drama, or opera. The most famous early
composer of opera was Claudio Monteverdi (1567-1643).
Later, influential opera composers included Englishman
Henry Purcell (1659-1695) who was well known for
Dido and Aeneas, and G.F. Handel, who wrote
late Italian Baroque opera for England that was
popular with the nobility.
.: Musical Terms
Basso
Continuo: An independent bass line that continues
throughout a piece and consists of doubling the
lowest vocal part. Also known as thoroughbass
or figured bass, this line was played by
organists in the 17th and 18th centuries.
Canon:
Meaning "rule," this word applies to
the strictest form of contrapuntal imitation.
One melodic voice is imitated by all other voices,
note by note, after an interval of time. A
canon is "free" if the imitation
is not exact, but varies slightly.
Chorale:
Congregational song or hymn of the German Protestant
Church. Derived from the German term "choral,"
this style first applied to a unison and unaccompanied
performance. In the 17th century, the term grew
to include the text and tune together. Associated
with Baroque composer J.S. Bach and Reformist
Martin Luther.
Chorale
Prelude: Derived from playing organ preludes
and interludes to the chorale, two types
of this composition included a line-by-line melody
of counterpoint and a freer form with elaboration
of theme. Designed specifically as an introduction
to chorale singing.
Concerto:
A multimovement work in which an instrument is
blended with orchestra or contrasted as a soloist.
Counterpoint:
Derived from the expression meaning "note
against note," this term is the combination
of two or more melodic lines sounding together
in a linear sense; the musical ability to hear
and understand two lines at once. Beginning in
the 9th century, counterpoint reached its
height between the 16th and 17th centuries.
Equal
Temperament: Adjustment in tuning of musical intervals,
or the space between notes, so that pairs of notes
are like partners instead of sounding unrelated.
The fortepiano and organ are tuned to equal
temperament, in which each half-step is made
equal. In the 20th century, this temperament of
12-note equal distribution has predominated.
Figured
Bass: See Basso Continuo.
Fugue:
One type of contrapuntal composition for
a certain number of voices, each entering one
at a time in imitation of each other. The theme
of the first voice is known as the subject, whereas
the next voice to enter would be the answer. When
all voices have stated their theme, the exposition
is complete. Subjects alternate with brief episodes,
or short independent sections, throughout the
piece.
Oratorio:
A sacred musical composition for solo vocalists,
chorus, and orchestra. Performed without scenery
or costumes and emphasizing narration; secular
works also scored for a combination of solo singers,
chorus, and orchestra.
Sonata
("to sound"): Instrumental composition
in several movements for piano solo or instrumental
combinations with piano accompaniment. Originated
in the 16th century for any work played and not
sung, becoming prevalent during the 17th century.
Tonality:
The key of a particular composition, derived from
the relationships of tones. Related terms include
bitonality (use of two keys at once in
a piece of music); polytonality (the use
of several keys at one time); and atonality
(no key center).
.:
Suggested Listening
Claudio
Monteverdi: Act III, Scene 7 from The Coronation
of Poppea
Henry
Purcell: "Dido's Lament" from Act III
of Dido and Aeneas
Antonio
Vivaldi: Spring Violin Concerto (No. 1
from The Four Seasons, Op. 8)
J.S.
Bach: Prelude & Fugue No. 2 in C minor (from
The Well-Tempered Clavier, Book I)
G.F.
Handel: Suite in D Major, Water Music
|
