Early Baroque Music (1)

Question 1

Background

Answer 1

Term “Baroque” probably derived from “barrocco,” a Portuguese word used to describe large, irregular pearls which were often fashioned into grotesque and elaborate pieces of jewelry.

18th century critics applied the term in a derogatory sense to 17th century art and architecture. They considered it extravagant, grotesque, lacking in proportion, and corrupt—representing a decadent version of Renaissance practice

Question 2

Origins of the Baroque Style

Answer 2

Venetian School: Giovanni Gabrieli

Use of double chorus and opposing instrumental and vocal groups: concertato principle, also called “cori spezzati” or antiphonal style.

More emphasis on homophony
Breakdown of modal counterpoint
Introduction of Basso continuo or “figured bass” accompaniment

Question 3

Style characteristics

Answer 3

Style characteristics:
1. Distinction between “old style,” i.e. the Renaissance style called the prima prattica and the “new style,” i.e. modern style called the stile moderno or seconda prattica.

2. Introduction of figured bass (basso continuo) accompanimentFirst employed: Lodovico da Viadana: Cento concerti ecclesiastici (100 sacred concertos): pieces for solo voice and continuo—1602.
   Monteverdi introduced it in his Fifth book of Madrigals (1605).
   Performed: bass line played by bass melody instrument and “realized on a harmonic instrument (lute, harpsichord, organ, guitar).

Question 4

Recitative

Answer 4

Recitative style: declamatory style using inflections of speech and non-metered rhythms; usually accompanied by basso continuo alone.

Question 5

Doctrine of the Affections

Answer 5

Composers sought to express vividly the inherent emotions of the words through text painting and capturing a single, overall emotion of a given work