Baroque music

tened to. Composers of the Baroque era include Johann

Sebastian Bach, George Frideric Handel, Alessandro
Scarlatti, Domenico Scarlatti, Antonio Vivaldi, Henry
Purcell, Georg Philipp Telemann, Jean-Baptiste Lully,
Arcangelo Corelli, Tomaso Albinoni, Franois Couperin,
Denis Gaultier, Claudio Monteverdi, Heinrich Schtz,
Jean-Philippe Rameau, Jan Dismas Zelenka, and Johann
Pachelbel.
The Baroque period saw the creation of tonality. During
the period, composers and performers used more elaborate musical ornamentation, made changes in musical
notation, and developed new instrumental playing techniques. Baroque music expanded the size, range, and
complexity of instrumental performance, and also established opera, cantata, oratorio, concerto, and sonata as
musical genres. Many musical terms and concepts from
this era are still in use today.

Baroque theatre in esk Krumlov

1 Etymology
1.1 History of European art music
The term Baroque is generally used by music historians
to describe a broad range of styles from a wide geographic
region, mostly in Europe, composed over a period of approximately 150 years.[1]
Although it was long thought that the word as a critical
term was rst applied to architecture, in fact it appears
earlier in reference to music, in an anonymous, satirical
review of the premire in October 1733 of Rameaus Hippolyte et Aricie, printed in the Mercure de France in May
1734. The critic implied that the novelty in this opera was
du barocque, complaining that the music lacked coherent melody, was lled with unremitting dissonances, constantly changed key and meter, and speedily ran through
every compositional device.[1]

Teatro Argentina (Panini, 1747, Muse du Louvre)

Baroque music is a style of music composed from

approximately 1600 to 1750.[1] This era followed the
Renaissance, and was followed in turn by the Classical
era. The word "baroque" comes from the Portuguese
word barroco, meaning misshapen pearl,.[2] The negative use of the word comes from a description by Charles
de Brosses of the ornate and heavily ornamented architecture of the Pamphili Palace in Rome. Although
the term was applied to architecture and art criticism in
the 19th century, it wasn't until the 20th century that
the term baroque was adopted from Heinrich Wlfins art-history vocabulary as a designator for a historical
period.[1]

The systematic application by historians of the term

baroque to music of this period is a relatively recent
development. In 1919, Curt Sachs became the rst to apply the ve characteristics of Heinrich Wlin's theory
of the Baroque systematically to music.[3] Critics were
quick to question the attempt to transpose Wlins categories to music, however, and in the second quarter
of the 20th century independent attempts were made by
Manfred Bukofzer (in Germany and, after his immigraBaroque music forms a major portion of the classical tion, in America) and by Suzanne Clercx-Lejeune (in Belmusic canon, being widely studied, performed, and lis- gium) to use autonomous, technical analysis rather than
1

2
comparative abstractions, in order to avoid the adaptation
of theories based on the plastic arts and literature to music. All of these eorts resulted in appreciable disagreement about time boundaries of the period, especially concerning when it began. In English the term acquired currency only in the 1940s, in the writings of Bukofzer and
Paul Henry Lang.[1]

HISTORY

musicians, poets and intellectuals in late Renaissance

Florence who gathered under the patronage of Count
Giovanni de' Bardi to discuss and guide trends in the arts,
especially music and drama. In reference to music, they
based their ideals on a perception of Classical (especially
ancient Greek) musical drama that valued discourse and
oration.[5] As such, they rejected their contemporaries
use of polyphony and instrumental music, and discussed
such ancient Greek music devices as monody, which consisted of a solo singing accompanied by a kithara.[6] The
early realizations of these ideas, including Jacopo Peri's
Dafne and L'Euridice, marked the beginning of opera,[7]
which in turn was somewhat of a catalyst for Baroque
music.[8]

As late as 1960 there was still considerable dispute in academic circles, particularly in France and Britain, whether
it was meaningful to lump together music as diverse as
that of Jacopo Peri, Domenico Scarlatti, and J.S. Bach
under a single rubric. Nevertheless, the term has become
widely used and accepted for this broad range of music.[1]
It may be helpful to distinguish the Baroque from both the
preceding (Renaissance) and following (Classical) peri- Concerning music theory, the more widespread use of
ods of musical history.
gured bass (also known as thorough bass) represents
the developing importance of harmony as the linear underpinnings of polyphony.[9] Harmony is the end result
of counterpoint, and gured bass is a visual representa2 History
tion of those harmonies commonly employed in musical performance.[10] Composers began concerning themThe Baroque period is divided into three major phases: selves with harmonic progressions,[11] and also employed
early, middle, and late. Although they overlap in time, the tritone, perceived as an unstable interval,[12] to crethey are conventionally dated from 1580 to 1630, from ate dissonance. Investment in harmony had also ex1630 to 1680, and from 1680 to 1730.[4]
isted among certain composers in the Renaissance, notably Carlo Gesualdo;[13] However, the use of harmony
directed towards tonality, rather than modality, marks the
2.1 Early baroque music (15801630)
shift from the Renaissance into the Baroque period.[14]
This led to the idea that chords, rather than notes, could
provide a sense of closureone of the fundamental ideas
that became known as tonality.
By incorporating these new aspects of composition,
Claudio Monteverdi furthered the transition from the
Renaissance style of music to that of the Baroque period. He developed two individual styles of composition the heritage of Renaissance polyphony (prima
pratica) and the new basso continuo technique of the
Baroque (seconda pratica). With the writing of the operas L'Orfeo and L'incoronazione di Poppea among others, Monteverdi brought considerable attention to the new
genre of opera.[15]

2.2 Middle baroque music (16301680)

The rise of the centralized court is one of the economic
and political features of what is often labelled the Age
of Absolutism, personied by Louis XIV of France. The
style of palace, and the court system of manners and arts
he fostered became the model for the rest of Europe.
The realities of rising church and state patronage created the demand for organized public music, as the inClaudio Monteverdi in 1640
creasing availability of instruments created the demand
For more details on this topic, see Transition from for chamber music.[16]
Renaissance to Baroque in instrumental music.
The middle Baroque period in Italy is dened by the
emergence of the cantata, oratorio, and opera during
The Florentine Camerata was a group of humanists, the 1630s, and a new concept of melody and harmony

2.2

Middle baroque music (16301680)

3
for orchestras, which was inherited from the Italian opera,
and the characteristically French ve-part disposition (violins, violasin hautes-contre, tailles and quintes sizes
and bass violins) had been used in the ballet from the time
of Louis XIII. He did, however, introduce this ensemble to the lyric theatre, with the upper parts often doubled by recorders, utes, and oboes, and the bass by bassoons. Trumpets and kettledrums were frequently added
for heroic scenes.[19]

Jean-Baptiste Lully

that elevated the status of the music to one of equality with the words, which formerly had been regarded as
pre-eminent. The orid, coloratura monody of the early
Baroque gave way to a simpler, more polished melodic
style. These melodies were built from short, cadentially
delimited ideas often based on stylized dance patterns
drawn from the sarabande or the courante. The harmonies, too, might be simpler than in the early Baroque
monody, and the accompanying bass lines were more
integrated with the melody, producing a contrapuntal
equivalence of the parts that later led to the device of
an initial bass anticipation of the aria melody. This harmonic simplication also led to a new formal device of
the dierentiation of recitative and aria. The most important innovators of this style were the Romans Luigi
Rossi and Giacomo Carissimi, who were primarily composers of cantatas and oratorios, respectively, and the
Venetian Francesco Cavalli, who was principally an opera
composer. Later important practitioners of this style include Antonio Cesti, Giovanni Legrenzi, and Alessandro
Stradella.[17]
The middle Baroque had absolutely no bearing at all on
the theoretical work of Johann Fux, who systematized
the strict counterpoint characteristic of earlier ages in his
Gradus ad Paranassum (1725).[18]
One pre-eminent example of a court style composer is
Jean-Baptiste Lully. He purchased patents from the
monarchy to be the sole composer of operas for the king
and to prevent others from having operas staged. He
completed 15 lyric tragedies and left unnished Achille
et Polyxne.[19]

Arcangelo Corelli

Arcangelo Corelli is remembered as inuential for his

achievements on the other side of musical technique
as a violinist who organized violin technique and
pedagogyand in purely instrumental music, particularly his advocacy and development of the concerto
grosso.[20] Whereas Lully was ensconced at court, Corelli
was one of the rst composers to publish widely and have
his music performed all over Europe. As with Lullys stylization and organization of the opera, the concerto grosso
is built on strong contrastssections alternate between
those played by the full orchestra, and those played by a
smaller group. Dynamics were terraced, that is with a
sharp transition from loud to soft and back again. Fast
sections and slow sections were juxtaposed against each
other. Numbered among his students is Antonio Vivaldi,
who later composed hundreds of works based on the principles in Corellis trio sonatas and concerti.[20]

In contrast to these composers, Dieterich Buxtehude was

not a creature of court but instead was church musician, holding the posts of organist and Werkmeister at
the Marienkirche at Lbeck. His duties as Werkmeister involved acting as the secretary, treasurer, and busiMusically, he did not establish the string-dominated norm ness manager of the church, while his position as organ-

BAROQUE INSTRUMENTS

ist included playing for all the main services, sometimes

in collaboration with other instrumentalists or vocalists,
who were also paid by the church. Entirely outside of his
ocial church duties, he organised and directed a concert series known as the Abendmusiken, which included
performances of sacred dramatic works regarded by his
contemporaries as the equivalent of operas.[21]

2.3

Late baroque music (16801730)

Johann Sebastian Bach, 1748

George Frideric Handel

The work of George Frederic Handel, Johann Sebas- Baroque instruments including hurdy gurdy, harpsichord, bass
viol, lute, violin, and guitar
tian Bach and their contemporaries, including Domenico
Scarlatti, Antonio Vivaldi, Jean-Philippe Rameau, Georg
Philipp Telemann, and others advanced the Baroque era 4 Baroque instruments
to its climax.[22]
Through the work of Johann Fux, the Renaissance style See also: List of period instruments
of polyphony was made the basis for the study of
composition.[18]
A continuous worker, Handel borrowed from others and
4.1 Strings
often recycled his own material. He was also known for
reworking pieces such as the famous Messiah, which pre Violino piccolo
miered in 1742, for available singers and musicians.[23]
Violin
Viol

Timeline of Baroque composers

See also: List of Baroque composers

Viola
Viola d'amore
Viola pomposa

4.3

Brasses

5
Dulcian
Musette de cour
Baroque oboe
Rackett
Recorder
Bassoon

4.3 Brasses
Cornett
Natural horn
Baroque trumpet
Tromba da tirarsi (also called tromba spezzata)
A double-manual harpsichord after Jean-Claude Goujon (1749)

Flatt trumpet
Serpent

Tenor violin
Cello
Bass violin
Contrabass
Lute

Sackbut (16th- and early 17th-century English name

for FR: saquebute, saqueboute; ES: sacabuche; IT:
trombone; MHG: busaun, busne, busune / DE (since
the early 17th century) Posaune)
Trombone (English name for the same instrument,
from the early 18th century)

Theorbo
Archlute
Mandora
Bandora
Anglique
Mandolin
Cittern
Guitar
Harp
Hurdy-gurdy

4.4 Keyboards
Clavichord
Tangent piano
Fortepiano early version of piano
Harpsichord
Organ

4.5 Percussion
Timpani

4.2

Woodwinds

Baroque ute
Chalumeau
Cortol (also known as Cortholt, Curtall, Oboe family)

Snare drum
Tenor drum
Tambourine
Castanets

5 STYLES AND FORMS

Styles and forms

5.1

Dance suite

See also: Suite (music) Dance suite

A characteristic Baroque form was the dance suite. Some
Dance suites by Bach are called partitas, although this
term is also used for other collections of pieces. The
dance suite often consists of the following movements:
Overture The Baroque suite often began with a
French overture (Ouverture in French), which was
followed by a succession of dances of dierent types,
principally the following four:
Allemande Often the rst 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.[24][25]
Courante The second dance is the courante, a
lively, French dance in triple meter. The Italian version is called the corrente.[24][25]
Sarabande 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.[24][25]
Gigue 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.[24][25]

dance. The bourre is commonly played at a moderate tempo, although for some composers, such as
Handel, it can be taken at a much faster tempo.[24][2]
Minuet The minuet is perhaps the best-known of
the baroque dances in triple meter. It can start on
any beat of the bar. In some suites there may be a
Minuet I and II, played in succession, with the Minuet I repeated.[24]
Passepied The passepied is a fast dance in binary form and triple meter that originated as a court
dance in Brittany.[26] Examples can be found in later
suites such as those of Bach and Handel.[24]
Rigaudon The rigaudon is a lively French dance
in duple meter, similar to the bourre, but rhythmically simpler. It originated as a family of closely related southern-French folk dances, traditionally associated with the provinces of Vavarais, Languedoc,
Dauphin, and Provence.[24][27]

5.2 Other features

Entre (ballet) - Sometimes an entre is composed as
part of a suite; but there it is purely instrumental music and no dance is performed. It is an introduction,
a march-like piece played during the entrance of a
dancing group, or played before a ballet. Usually in
4/4 time. It is related to the Italian 'intrada'.
Basso continuo a kind of continuous accompaniment notated with a new music notation system,
gured bass, usually for a sustaining bass instrument
and a keyboard instrument.
The concerto and concerto grosso
Monody an outgrowth of song[28]
Homophony music with one melodic voice and
rhythmically similar accompaniment (this and monody are contrasted with the typical Renaissance
texture, polyphony)[29]

These four dance types (allemande, courante, sarabande,

and gigue) make up the majority of 17th-century suites;
later suites interpolate one or more additional dances between the sarabande and gigue:

Dramatic musical forms like opera, dramma per musica[28][30]

Gavotte The gavotte can be identied by a variety of features; it is in 4/4 time and always starts on
the third beat of the bar, although this may sound
like the rst beat in some cases, as the rst and third
beats are the strong beats in quadruple time. The
gavotte is played at a moderate tempo, although in
some cases it may be played faster.[24]

New instrumental techniques, like tremolo and

pizzicato[30]

Bourre The bourre is similar to the gavotte as it

is in 2/2 time although it starts on the second half of
the last beat of the bar, creating a dierent feel to the

Combined instrumental-vocal forms, such as the

oratorio and cantata[30]

The da capo aria enjoyed sureness.[28]

The ritornello aria repeated short instrumental interruptions of vocal passages.[31]
The concertato style contrast in sound between
groups of instruments.[32]
Extensive ornamentation[33]

Genres

6.1

Vocal

Opera
Zarzuela

Prelude
Chaconne
Passacaglia
Chorale prelude
Stylus fantasticus

Opera seria
Opra comique
Opera-ballet
Masque
Oratorio
Passion (music)

7 Notes
[1] Palisca 2001.
[2] Mackay & Romanec 2007.
[3] Sachs 1919, pp. 715.
[4] Bukofzer 1947, pp. 17.

Cantata

[5] Nuti 2007, p. 14.

Mass (music)

[6] Wallechinsky 2007, p. 445.

Anthem

[7] Chua 2001, p. 26.

Monody

[8] Wainwright & Holman 2005, p. 4.

Chorale

[9] Clarke 1898, pp. 147148.

[10] Haagmans 1916, p. vi.

6.2

Instrumental

Chorale composition

[11] York 1909, p. 109.

[12] Donington 1974, p. 156.
[13] Watkins 1991, p. 103.

Concerto grosso

[14] Norton 1984, p. 24.

Fugue

[15] Carter & Chew 2013.

Suite

[16] Sadie 2013.

Allemande

[17] Bukofzer 1947, pp. 11821.

Courante

[18] White 2013.

Sarabande

[19] La Gorce 2013.

Gigue

[20] Talbot 2013a.

Gavotte

[21] Snyder 2013.

Minuet

[22] Sadie 2002.

Sonata

[23] Burrows 1991, p. 22.

Sonata da camera

[24] Kenyon 1997.

Sonata da chiesa

[25] Estrella 2012.

Trio sonata

[26] Little 2001a.

Partita

[27] Little 2001b.

Canzona

[28] Dorak 2008.

Sinfonia

[29] Hyer 2013.

[30] Shotwell 2002.

Fantasia

[31] Talbot 2013b.

Ricercar

[32] Carver 2013.

Toccata

[33] Roseman 1975.

References

REFERENCES

Mackay, Alison; Romanec, Craig (2007). Baroque

Guide (PDF). Tafelmusik.

Bukofzer, Manfred F. (1947). Music in the Baroque

Era: From Monreverdi to Bach. New York: E. W.
Norton & Company, Inc. ISBN 0-393-09745-5.
Burrows, Donald (1991). Handel: Messiah. Cambridge, New York, and Melbourne: Cambridge University Press. ISBN 0-521-37620-3.
Carter, Tim; Chew, Georey (2013). Monteverdi,
Claudi. Grove Music Online. Oxford University
Press. (subscription required)
Carver, Anthony F. (2013). Concertato. Grove
Music Online. Oxford University Press. (subscription required)
Clarke, Hugh Archibald (1898). A System of Harmony. Philadelphia: T. Presser. ISBN 978-1-24837946-2.
Chua, Daniel K. L. (2001). Vincenzo Galilei,
Modernity, and the Division of Nature. In Clark,
Suzannah. Music Theory and Natural Order from
the Renaissance to the Early Twentieth Century.
Donington, Robert (1974). A Performers Guide
to Baroque Music. New York: C. Scribners Sons.
ISBN 978-0-571-09797-5.
Dorak, Mehmet Tevk (2008). Baroque Music.
Dorak.info.
Estrella, Espie (2012). The Suite: Baroque Dance
Suite. About.com.

Norton, Richard (1984). Tonality in Western Culture: A Critical and Historical Perspective. University Park: Pennsylvania State University Press.
ISBN 978-0-271-00359-7.
Nuti, Giulia (2007). The Performance of Italian
Basso Continuo: Style in Keyboard Accompaniment
in the Seventeenth and Eighteenth Centuries. Aldershot, England: Ashgate Publishing. ISBN 978-07546-0567-6.
Palisca, Claude V. (2001). Baroque. The New
Grove Dictionary of Music and Musicians (London:
Macmillan Publishers). ISBN 978-1-56159-239-5.
Price, Curtis (2013). Purcell, Henry. Grove Music Online. Oxford University Press. (subscription
required)
Roseman, Ronald (1975). Baroque Ornamentation. Journal of The International Double Reed Society 3. Reprinted in Muse Baroque: La magazine
de la musique baroque, n.d.
Sachs, Curt (1919). Barockmusik. Jahrbuch der
Musikbibliothek Peters 26. pp. .
Sadie, Stanley (2002). Baroque era, the. The Oxford Companion to Music. Oxford University Press.
(subscription required)
Sadie, Julie Anne (2013). Louis XIV, King of
France. Grove Music Online. Oxford University
Press. (subscription required)

Grout, Donald J.; Claude V. Palisca (1996). A History of Western Music. New York: W. W. Norton.

Shotwell, Clay (2002). MUSI 4350/4360: Music

of the Baroque Era: General Characteristics of the
Baroque. Augusta, GA: Augusta State University.

Haagmans, Dirk (1916). Scales, Intervals, Harmony. University of Michigan: J. Fischer & Bro.
ISBN 978-1-4370-6202-1.

Snyder, Kerala J. (2013). Buxtehude, Dieterich.

Grove Music Online. Oxford University Press. (subscription required)

Hyer, Brian (2013). Homophony. Grove Music

Online. Oxford University Press. (subscription required)

Talbot, Michael (2013a). Corelli, Arcangelo.

Grove Music Online. Oxford University Press. (subscription required)

Kenyon, Stephen (1997).

Jacaranda Music.

Talbot, Michael (2013b). Ritornello. Grove Music Online. Oxford University Press. (subscription
required)

The Baroque Suite.

La Gorce, Jrme de (2013). Jean-Baptiste Lully.

Grove Music Online. Oxford University Press. (subscription required)
Little, Meredith Ellis (2001a). Passepied. The New
Grove Dictionary of Music and Musicians (London:
Macmillan Publishers). ISBN 978-1-56159-239-5.
Little, Meredith Ellis (2001b). Rigaudon. The New
Grove Dictionary of Music and Musicians (London:
Macmillan Publishers). ISBN 978-1-56159-239-5.

Wainwright, Jonathan; Holman, Peter (2005). From

Renaissance to Baroque: Change in Instruments
and Instrumental Music in the Seventeenth Century.
Aldershot, England: Ashgate Publishing. ISBN
978-0-7546-0403-7.
Wallechinsky, David (2007). The Knowledge Book:
Everything You Need to Know to Get by in the 21st
century. Washington, DC: National Geographic
Books. ISBN 978-1-4262-0124-0.

9
Watkins, Glenn (1991). Gesualdo: The Man and
His Music. Oxford: Oxford University Press. ISBN
978-0-19-816197-4.
White, Harry, and Thomas Hochradner (2013).
Fux, Johann Joseph. Grove Music Online. Oxford
University Press.
York, Francis L. (1909). Harmony Simplied:
A Practical Introduction to Composition. Boston:
Oliver Ditson and Company. ISBN 978-1-17633956-9.

10 External links
Barock Music (webradio)
Pandora Radio: Baroque Period (not available outside the U.S.)
Handels Harpsichord Room free recordings of
harpsichord music of the Baroque era
Renaissance & Baroque Music Chronology: Composers
Orpheon Foundation in Vienna, Austria

Further reading
Christensen, Thomas Street, and Peter Dejans. Towards Tonality Aspects of Baroque Music Theory.
Leuven: Leuven University Press, 2007. ISBN 97890-5867-587-3
Cyr, Mary. Essays on the Performance of Baroque
Music Opera and Chamber Music in France and England. Variorum collected studies series, 899. Aldershot, Hants, England: Ashgate, 2008. ISBN 978-07546-5926-6
Foreman, Edward. A Bel Canto Method, or, How to
Sing Italian Baroque Music Correctly Based on the
Primary Sources. Twentieth century masterworks
on singing, v. 12. Minneapolis, Minn: Pro Musica
Press, 2006. ISBN 978-1-887117-18-0
Hebson, Audrey (2012). Dance and Its Importance in Bachs Suites for Solo Cello, Musical Oerings: Vol. 1: No. 2, Article 2.
Available at http://digitalcommons.cedarville.edu/
musicalofferings/vol1/iss2/2.
Hoer, Brandi (2012). Sacred German Music in the Thirty Years War, Musical Offerings: Vol. 3: No. 1, Article 1. Available at http://digitalcommons.cedarville.edu/
musicalofferings/vol3/iss1/1.
Schubert, Peter, and Christoph Neidhfer. Baroque
Counterpoint. Upper Saddle River, NJ: Pearson
Prentice Hall, 2006. ISBN 978-0-13-183442-2
Schulenberg, David. Music of the Baroque. New
York: Oxford UP, 2001. ISBN 978-0-19-5122329
Stauer, George B. The World of Baroque Music
New Perspectives. Bloomington: Indiana University
Press, 2006. ISBN 978-0-253-34798-5
Strunk, Oliver. Source Readings in Music History.
From Classical Antiquity to the Romantic Era. London: Faber & Faber, 1952.

Free scores by various baroque composers at the

International Music Score Library Project
Music, Aect and Fire: Thesis on Aect Theory
with Fire as the special topic
Rpertoire International des Sources Musicales
(RISM), a free, searchable database of worldwide
locations for music manuscripts up to c. 1800

10

11

11
11.1

TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

Text and image sources, contributors, and licenses

Text

Baroque music Source: https://en.wikipedia.org/wiki/Baroque_music?oldid=700147652 Contributors: Mav, Amillar, Andre Engels,

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Anonymous: 910

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