Music in the Baroque World: History, Culture, Performance offers an interdisciplinary study of the music of Europe and the Americas in the seventeenth and first half of the eighteenth centuries. It answers calls for an approach that balances culture, history, and musical analysis, with an emphasis on performance considerations such as notation, instruments, and performance techniques. It situates musical events in their intellectual, social, religious, and political contexts and enables in-depth discussion and critical analysis. The companion web site provide links to scores and audio/visual performances, making this a complete course for the study of Baroque music.
Features
- An interdisciplinary approach that balances detailed analysis of specific pieces of music and broader historical overview and relevance
- A selection of historical documents at the end of each chapter that position musical works and events in their cultural context
- Extensive musical examples that show the melodic, textural, harmonic, or structural features of baroque music and enhance the utility of the textbook for undergraduate and graduate music majors
- A global perspective with a chapter on Music in the Americas
- A companion score anthology and website with links to audio/video content of key performances and research and writing guides
Music in the Baroque World: History, Culture, Performance tells stories of local traditions, cultural exchange, performance trends, and artistic mixing. It illuminates representative works through the lens of politics, visual arts, theology, print culture, gender, domesticity, commerce, and cultural influence and exchange.
Author(s): Susan Lewis Hammond
Publisher: Routledge
Year: 2015
Language: English
Pages: 396
City: New York
Cover
Title
Copyright
Dedication
Contents
Detailed Contents
Preface
1 What Is Baroque Music?
Geopolitics and Musical Style
Employment Opportunities
Music Printing
Interpreting Baroque Music Scores
Documents
2 Music and Meaning in the Baroque Era
Music and Rhetoric around 1600
The Performer as Orator
Baroque Elocution or Style
Music and the Passions
Documents
PART I Music in Years of Transition, Experimentation, and Crisis, 1580–1648
3 Opera’s Beginnings
Words and Music
Humanist Court Opera in Florence
The Myth of Orpheus
Claudio Monteverdi
The First Performances of Claudio Monteverdi’s Orfeo
Musical Persuasion in Early Opera
Modern Revivals of Orfeo
Documents
4 Music and Religion to the End of the Thirty Years’ War
Music and the Arts after the Council of Trent
Motets Big and Small
Emilio de’Cavalieri’s Rappresentazione di Anima e di Corpo
Sacred Music in Lutheran Germany
England to the End of the Commonwealth
The English Anthem
Psalm Singing
Conclusions
Documents
5 Instrumental Music
Dance Music
Domestic Keyboard Music
Lute Music
Ensemble Music
The Sonata around 1600
Organ Music
Conclusions
Documents
PART II Baroque Ideals from the Mid-to-Late Seventeenth Century
6 Opera in Italy, 1637–1680
Opera for a Paying Public
The Business of Opera
Operatic Conventions
Claudio Monteverdi and the Venetian Stage
Francesco Cavalli
Cavalli’s Giasone
Antonio Cesti and Italian Opera Exported
Operatic Reform
Documents
7 Church, State, and Spectacle in France: Music under Louis XIV
Louis XIV: The Boy King
Cultural Institutions
Jean-Baptiste Lully, Surintendant de la musique
Lully and Quinault’s Phaëton
Instrumental Music at the French Court
The Ecurie
Catholicism under Louis XIV
The Grand motet and the Versailles Style
Michel-Richard de Lalande’s De profundis
Conclusions
Documents
8 Restoration England
Sacred Music
Henry Purcell: The English Orpheus
Preserving England’s Musical Traditions
Psalm Singing
Instrumental Music
Dramatic Music
The Fairy-Queen
Henry Purcell and the Creation of an English School
Conclusions
Documents
PART III The First Half of the Eighteenth Century
9 Music for the Stage in Europe’s Big Cities
George Frideric Handel
Rinaldo
John Gay, The Beggar’s Opera
Comic Intermezzi in European Cities
Going to the Opera in Eighteenth-Century Paris
Jean-Philippe Rameau, Castor et Pollux
Conclusions
Documents
10 The Concerto
Arcangelo Corelli
George Frideric Handel’s Grand Concertos
Towards the Solo Concerto
Antonio Vivaldi’s L’estro armonico
Opus 3, no. 3
J.S. Bach and the Concerto
Conclusions
Documents
11 Johann Sebastian Bach in His Time and Ours
Bach’s Career Path
Instrumental Music
Bach as Teacher, Composer, and Performer
Sacred Music
The Church Cantata in Leipzig
Wachet auf, ruft uns die Stimme (BWV 140)
After Bach
The Bach Revival
Documents
PART IV The Baroque Goes Global
12 The Americas
The Spanish Americas
The villancico in New Spain
Manuel de Zumaya
Zumaya, Celebren, publiquen, entonen y canten (Praise, Proclaim, Intone, Sing)
Music in New France
Colonial New England
Documents
Glossary
Credits
Index
