Music of the Baroque

by Schulenberg, David

• ISBN13: 9780195331066
• ISBN10: 0195331060
• Edition: 2nd
• Format: Hardcover
• Copyright: 2008-01-23
• Publisher: Oxford University Press

Summary

An era of continuous and far-reaching musical evolution, the Baroque period witnessed the invention of opera and oratorio and the emergence of such instrumental genres as the sonata, suite, and concerto, which continue to engage composers today. An ideal instructional package for courses inmusic history and literature, Music of the Baroque, Second Edition, and its accompanying anthology of scores offer a vivid introduction to European music from 1600 through 1750. Integrating historical and cultural context with composer biography, music analysis, and performance practice, the textsurveys Baroque music while analyzing in depth more than forty works from the principal traditions of the period. An opening chapter on late-Renaissance vocal music and a closing chapter on galant instrumental music provide bridges to earlier and later European music. Thoroughly revised and updated to reflect current scholarship, this second edition of Music of the Baroque offers expanded coverage of instrumental music, with new sections on French lute music and the Italian trumpet sinfonia, along with enhanced discussion of chamber music from SalomoneRossi to Biber and Corelli. French sacred music also receives renewed attention. Offering models for musical criticism and analysis in a variety of compositional styles, author David Schulenberg analyzes familiar works like Monteverdi's Orfeo and a Bach cantata as well as lesser-known compositions,including works by Barbara Strozzi and Elizabeth-Claude Jacquet de La Guerre. Additional Features: * Incorporates a wealth of pedagogical resources including synopses of operatic works; biographical timelines for major composers; numerous illustrations, musical examples, and analytical tables; highlighting and explanations of technical terms upon first appearance; and carefully formulateddefinitions of each new concept * Revised to incorporate the latest in Baroque music scholarship, including an updated bibliography and many new music examples and illustrations * Accompanied by a companion anthology that contains more than fifty pieces for analysis * Supplemented by the author's website, www.wagner.edu/faculty/dschulenberg/oupcont.html, which provides a discography for pieces included in the anthology Designed for undergraduate and graduate students, Music of the Baroque, Second Edition, is also essential reading for anyone who desires an up-to-date introduction to the serious study of Baroque music.

Table of Contents

Preface	p. xi
Introduction	p. 1
Music History, 1600-1750: Some Basic Ideas	p. 1
Historical Background: Western Europe, 1600-1750	p. 3
Music in European History, 1600-1750	p. 7
The Place of Music and Musicians in Society	p. 8
Performance Practices	p. 12
A Sixteenth-Century Prologue: Motet and Madrigal	p. 15
The Late Renaissance Motet: Palestrina and Lassus	p. 18
The Madrigal: Gesualdo and Monteverdi	p. 34
Transitions around 1600	p. 41
Some General Developments	p. 42
The Basso Continuo	p. 45
Instruments	p. 46
Monody	p. 50
Monteverdi and Early Baroque Musical Drama	p. 61
Claudio Monteverdi	p. 61
Monteverdi's Orfeo	p. 65
The Combattimento di Tancredi e Clorinda	p. 76
Venetian Opera	p. 82
Secular Vocal Music of the Later Seventeenth Century	p. 90
Barbara Strozzi	p. 91
Alessandro Scarlatti and the Later Cantata	p. 95
The Dissemination of Italian Baroque Style	p. 106
Lully and French Musical Drama	p. 112
The French Style	p. 113
Lully's Armide	p. 125
Seventeenth-Century Sacred Music	p. 135
Sacred Music in Venice: Giovanni Gabrieli	p. 136
Sacred Music in Germany: Heinrich Schutz	p. 144
Seventeenth-Century Oratorio	p. 151
Sacred Music in France: Michel-Richard de Lalande	p. 154
Late Baroque Opera	p. 158
Handel	p. 167
Rameau	p. 175
Late Baroque Sacred Music	p. 185
J. S. Bach	p. 187
Handel and the Eighteenth-Century Oratorio	p. 204
Music for Solo Instruments I: Toccata and Suite	p. 214
The Lute and Its Repertory	p. 216
Keyboard Instruments of the Seventeenth and Eighteenth Centuries	p. 225
Baroque Keyboard Music in Italy	p. 230
Baroque Keyboard Music in France and Germany	p. 236
Music for Solo Instruments II: Fugues and Pieces	p. 248
Later Baroque Keyboard Music in Germany	p. 248
J. S. Bach's Music for Solo Instruments	p. 259
Eighteenth-Century Keyboard Music in France	p. 265
Other Eighteenth-Century Keyboard Composers	p. 269
Music for Instrumental Ensemble I: The Sonata	p. 272
The Chief Ensemble Instruments of the Baroque	p. 273
Types of Baroque Music for Instrumental Ensemble	p. 285
The Baroque Sonata	p. 289
Music for Instrumental Ensemble II: Sinfonia and Concerto	p. 310
The Bolognese Trumpet Sinfonia	p. 310
The Baroque Concerto	p. 312
A Mid-Eighteenth-Century Epilogue: The Galant Style	p. 326
The Galant Style	p. 327
Telemann	p. 330
Carl Philipp Emanuel Bach	p. 334
Bibliography	p. 343
Index	p. 360
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