Music of the Baroque Period (1)

Class Announcements

• Grades: Updates were given regarding student grades due to Professor Nguyen's absence.

• Syllabus Updated: Important changes in the syllabus were discussed, including the schedule, grading system, and signature assignment requirements.

• Baroque Playlist: A playlist highlighting Baroque music was introduced.

Think-Pair-Share

1. General Thoughts: Students were encouraged to share their personal insights or reflections on the topic.

2. Comparison with Middle Ages and Renaissance: Discussion aimed to contrast the Baroque style with the music of prior periods, specifically the Middle Ages and Renaissance.

Musical Periods Timeline

• Middle Ages: 450 - 1450

• Renaissance: 1450 - 1600

• Baroque: 1600 - 1750

• Classical: 1750 - 1820

• Romantic: 1820 - 1900

• 20th and 21st Century: 1900 - present

The Baroque Style

• Definition: The term "baroque" has historically described styles as bizarre, flamboyant, and elaborately ornamented.

• Characteristics: Baroque art prioritizes the expression of action and movement, akin to stage-setting.

• Dramatic Potential: Artists aimed for enhanced expression through color contrasts, depth, and light variation.

  • Examples:

    • Bernini’s David Slaying Goliath (1623)

    • Rubens’ Adoration of the Shepherds (1608)

Baroque Music

• Overview: Flourished from 1600 to 1750.

• Phases:

  • Early Baroque (1600-1640): Captured significant revolutionary changes in music.

  • Middle Baroque (1640-1690)

  • Late Baroque (1690-1750): This phase produced most of the well-known Baroque music today.

• Texture: Early Baroque favored homophony over the polyphony of the Renaissance.

• Instruments: Increase in popularity of instruments as church modes gave way to major and minor scales.

Characteristics of Baroque Music

Unity of Mood

• A Baroque piece typically conveys one primary mood throughout.

• Emotional States: Joy, grief, and agitation, termed affections, were depicted through specific musical elements.

Rhythm

• Continuity: Rhythmic patterns established at the beginning are maintained throughout.

• Emphasized beat compared to the Renaissance, contributing to energy and drive.

Melody

• Melodies are often intricate and ornamental, challenging to sing or remember.

• Melodic continuity is emphasized, with recurring themes expanding and evolving over time.

Dynamics

• Terraced Dynamics: Sudden changes in volume rather than gradual transitions; common due to the limitations of organs and harpsichords.

Texture

• Late Baroque music tended toward polyphony; significant use of imitation among different instrumental lines.

Chords and Basso Continuo

• Chords became vital in composition, moving from a focus on melodic beauty towards harmony.

• Basso Continuo: A foundational accompaniment part consisting of basslines and harmonies.

Music in Society

• By the 1800s, music was often composed on demand due to audience preferences for new styles.

• Aristocratic courts were significant venues for musical performances, leading to the establishment of music director roles responsible for conducting, composing, rehearsing, teaching, concert planning, and supervision.

• Social Status: Musicians were well-paid yet treated like servants in many cases.

Musicians' Pathways

• Many musicians inherited their roles and faced rigorous examinations to secure positions within orchestras or churches.

Prominent Composers of the Baroque Period

• Johann Sebastian Bach

• George Frideric Handel

• Antonio Vivaldi

• Claudio Monteverdi

Johann Sebastian Bach (1685-1750)

• Background: German, with strong Lutheran faith; organist and improviser.

• His music underwent cycles of forgetfulness and resurgence, leading to its acclaim in music education.

• Bach's death is often marked as the end of the Baroque period.

Bach's Compositions

• Composed in all major Baroque forms, except opera.

• Works encompass instrumental and vocal music, particularly for the Lutheran Church.

• Noted for blending polyphonic textures with rich harmonies, his music effectively bridged secular and sacred genres.

New Forms

Concerto Grosso & Ritornello Form

• Concerto Grosso Definition: Features a small group of soloists contrasted against a larger ensemble (tutti).

• Structure: Typically consists of multiple movements, with the first and last often employing ritornello form, characterized by alternating between tutti and soloist sections.

Brandenburg Concerto No. 5 in D Major

• Composer: Johann Sebastian Bach (1721)

• Instrumentation: String orchestra with soloists on flute, violin, and harpsichord.

• Movements: Fast - Slow - Fast

• Features: Notable use of contrast between tutti and solo sections; unique flute sound.

The Fugue

• Definition: A complex polyphonic form featuring one main theme or subject.

• Structure: Begins with the solo presentation of the subject, followed by imitative counterpoint.

• While not as popular, it remains significant for musician training.

Organ Fugue in G Minor (Little Fugue)

• Composer: Johann Sebastian Bach

• Characteristics: Written for organ, in minor key, and duple meter.

• Listening Cues: Initial presentation of the subject in the highest voice, imitation in varying voices, and subject variation.