Music in the baroque era : From Monteverdi to Bach. by Manfred F Bukofzer, Manfred F Bukhofzer

By Manfred F Bukofzer, Manfred F Bukhofzer

An research of the Baroque sort of track and its creative varieties of expression, resembling the opera, from 1600 to 1750.

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Extra resources for Music in the baroque era : From Monteverdi to Bach.

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Tablished the secular oratorio; operatic performance the opera is With its the Combattimento Monteverdi es- partly narrated and partly enacted, semi- clear testimony to the all-embracing influence of on other vocal forms. THE INFLUENCE OF THE DANCE ON VOCAL MUSIC Beside the higher forms of vocal art music period, less music. sance, seriously See for example words we find, in the early types, all in varying degree affected baroque by dance The unpretentious canzonettas and villanellas of the late renaiswhich had found in Gastoldi and Vecchi their most spirited masters, had never 22 demanding dclorosi gum been touched by polyphonic writing.

RENAISSANCE One practice, one BAROQUE Two style practices, three styles Restrained representation of the words, Affective representation of the words, musica rcservata and madrigalism textual absolutism All voices equally balanced Polarity of the outermost voices Diatonic melody in small range Diatonic and Modal counterpoint wide range. Tonal counterpoint Intervallic harmony, and intervallic dissonance treatment chromatic melody in Chordal harmony and chordal dissonance treatment Chords are by-products of the part- Chords are self-contained entities writing Chord progressions are governed by Chord progressions are governed by modality tonality Evenly flowing rhythm regulated by Extremes of rhythm, free declamation and mechanical pulsations the tactus No pronounced idioms, voice and strument are interchangeable in- Vocal and instrumental idioms, the idioms are interchangeable The above outline seems to imply that the two styles can be contrasted two disconnected and their as have no internal development of incorrect, but unavoidable.

He served first as string player and singer at the court living music. Mantua of (after 1590) and from 1613 to his death greatest prestige in Italy, that of chapel master at he held the position of San Marco in Venice. Aside from the Orjeo all his printed secular music was published in only nine madrigal books and a few smaller collections. His non-operatic monodies appeared in his late madrigal books, especially the seventh The and eighth. monodic style became proverbial through expressive power Lamento d'Arianna, 14 published at the time as an independent monody.

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