| Edition |
1st ed. |
| Description |
xx, 525 pages : illustrations ; 25 cm. |
| Series |
The Norton introduction to music history |
|
Norton introduction to music history.
|
| Bibliography |
Bibliographical notes follow each chapter; includes index. |
| Contents |
1. Introduction : monarchy, religion, and the rhetoric of the arts -- Monarchy and nobility -- Religion -- The rhetoric of the arts -- 2. The birth of opera, monody, and the concerted madrigal -- Court culture, politics, and spectacle in Florence -- The first operas -- Le nuove musiche -- Monody and the serious canzonetta in Naples, Rome, and elsewhere -- Seconda pratica and the concerted madrigal -- Court opera in Mantua, Florence, and Rome -- 3. New genres of instrumental music -- Frescobaldi and style change in lute and harpsichord music -- Chordal composition -- Modal composition -- Church organ music in early seventeenth-century Italy -- The violin and Italian instrumental ensemble music -- 4. Church music in Italy, 1600-1650 -- Churches and other religious institutions -- Persistence of traditions -- The small-scale sacred concerto -- Sacred dialogues and oratorios -- Large-scale concerted church music -- 5. Stage, instrumental, and church music in France to 1650 -- The Balet comique de la Royne -- Types of dance in court ballets, other spectacles, and social contexts -- The air de cour -- Lute music -- Harpsichord music -- Instrumental ensemble music -- Organs and organ music -- Vocal music for church. |
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6. Music in the Empire through the Thirty-Year's War -- The Italian influx to the Empire and Eastern Europe -- The earliest Lutheran composers to assimilate new Italian styles after 1600 -- Heinrich Schütz -- Calvinist music -- Lutheran organ music -- Froberger -- Ensemble music in the Empire -- Stadpfeifern -- The German continuo song -- 7. Music in England under the first Stuart kings and Commonwealth -- England in the European context -- Instrumental ensemble music in England -- Lute and harpsichord music -- Church music under the Stuart kings -- Madrigals, ayres, and songs -- The masque at the courts of the first Stuart kings -- Music, the English Civil War, and Commonwealth -- 8. The diffusion of new vocal genres for theater, chamber, and church in Italy, 1635-1680 -- The spread of opera from Rome -- Venetian theaters -- Incogniti operas -- Venetian opera conventions -- Venetian arias -- Florence, Naples, Genoa -- The spread of the chamber cantata -- The oratorio in Rome at mid-century -- Changes in liturgical music in Italy. |
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9. Music at the court of Louis XIV to the death of Lully -- Political, economic, and cultural centralization in France -- Musique de la Grande Écurie -- Musique de la Chambre -- The Chapelle Royale -- Italian opera at the French royal court -- Spectacle as propaganda at the court of Louis XIV -- The system of royal academies -- The beginnings of French opera -- Ballets de cour and Comèdies-ballets -- Tragédie en Musique -- Lully's Alceste -- Lully's harmony -- Music in the city of Paris in the age of Louis XIV -- 10. Music in Spain, Portugal, and their colonies -- The Spanish Empire and its church -- Latin liturgical music -- The Villancico and other vernacular church music -- Autos sacramentales -- Vocal chamber music -- Stage music -- The Zarzuela -- Keyboard music -- Harp and guitar -- 11. Music in the Empire during the later seventeenth century -- The new Lutheran piety and the religious aria -- Sacred concertos for solo voice -- Sacred concertos for several voices -- Chorale concertos -- Religious vocal music at the Catholic German courts -- Keyboard music -- Instrumental ensemble music -- Seventeenth-century opera in the German lands -- German music theory -- Summary -- 12. Sonata and concerto in late seventeenth-century Italy -- The Italian trio and solo sonata in the second half of the seventeenth century -- Arcangelo Corelli -- The normalized harmonic style -- The solo sonata after Corelli -- The rise of the concerto grosso -- The Bolognese trumpet sonata -- The solo violin concerto. |
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13. England from the Restoration through the Augustan age -- Charles II and the musical institutions of his court -- Anthems and services -- Odes and welcome songs -- Songs and domestic vocal ensembles -- Viols and violins -- Solo keyboard music -- Plays with music, dramatick operas -- All-sung operas -- 14. Italian vocal music, ca.1680-1730 -- The Neoclassical reform of Italian opera, ca.1680-1706 -- Opera seria, part 1 -- The Doctrine of the Affections -- Opera seria, part 2 -- "A perfect spiritual Melodramma" : the Italian oratorio, ca. 1680-1730 -- The chamber cantata -- Latin church music -- 15. French music from the War of the Grand Alliance to the end of the Regency -- France declines in the theater of Europe -- Italian music : rapprochement and resistance -- The cantata françoise -- Vocal church music -- Organ music -- Pièces de clavecin -- Sonatas and sonades -- Orchestral music -- The harmonic theories of Jean-Philippe Rameau -- 16. German traditions and innovations, ca. 1690-1750 -- The new Lutheran cantata -- Bach's cantatas -- Protestant oratorios and passions -- Handel's oratorios -- Bach's passions and oratorios -- Bach's keyboard works -- Instrumental ensemble music -- The end of an era, the legacy of the Baroque -- Appendix. Rhetorical figures that are frequently mirrored in music. |
| Summary |
"In this comprehensive introduction to the music of the Baroque, Professor Hill illuminates the culture, religion, and political history of the era, along with its most enduring musical compositions. Works singled out for in-depth analysis include those from the standard Western European repertoire along with works from Spain, Portugal, and the New World." "With its unparalleled breadth and level of detail, Baroque Music is an ideal text for courses in music history and literature. Professor Hill approaches his subject from several perspectives: as a social historian, cultural anthropologist, musicologist, and storyteller. His descriptions of the cultural, social, and political forces shaping this dynamic period give readers an essential context for the musical innovations that were being made."--Jacket. |
| Subject |
Music -- 17th century -- History and criticism.
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Music -- 18th century -- History and criticism.
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Music (OCoLC)fst01030269
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Barock (DE-588)4004541-9
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Musik (DE-588)4040802-4
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Europa (DE-588)4015701-5
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Muziek.
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Barok.
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Barroco.
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Música -- Século 16 -- Europa.
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Música -- Século 17 -- Europa.
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Música -- Século 18 -- Europa.
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| Chronological Term |
1600-1799
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| Genre/Form |
Criticism, interpretation, etc. (OCoLC)fst01411635
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| ISBN |
0393978001 |
|
9780393978001 |
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