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			{{short description\|Style of western classical music}}
	] ] ] ]
			{{Use dmy dates\|date=February 2021}}
			] of ], including a ], ], ], and two ]s]]
			{{History of Western art music}}
			'''Baroque music''' ({{IPAc-en\|UK\|b\|ə\|ˈ\|r\|ɒ\|k}} or {{IPAc-en\|US\|b\|ə\|ˈ\|r\|oʊ\|k}}) refers to the period or dominant style of ] composed from about 1600 to 1750.{{sfn\|Palisca\|2001}} The '''Baroque style''' followed the ], and was followed in turn by the ] after a short transition (the ]). The Baroque period is divided into three major phases: early, middle, and late. Overlapping in time, they are conventionally dated from 1580 to 1650, from 1630 to 1700, and from 1680 to 1750. Baroque music forms a major portion of the "]" ], and is widely studied, performed, and listened to. The term "]" comes from the Portuguese word ''barroco'', meaning "]".{{sfn\|Mackay\|Romanec\|2007}} The works of ], ] and ] are considered the pinnacle of the Baroque period. Other key composers of the Baroque era include ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ], ] and ].

			The Baroque saw the formalization of ] ], an approach to writing music in which a song or piece is written in a particular ]; this type of ] has continued to be used extensively in Western classical and ]. During the Baroque era, professional musicians were expected to be accomplished ] of both solo melodic lines and ] parts. Baroque concerts were typically accompanied by a ] group (comprising chord-playing instrumentalists such as ]ists and ] players improvising chords from a ] part) while a group of bass instruments—], ], ]—played the ]. A characteristic Baroque form was the ]. While the pieces in a dance suite were inspired by actual dance music, dance suites were designed purely for listening, not for accompanying dancers.
	'''Baroque music''', from the ] period of Western ], was composed roughly from the time of ] (1567-1643) to that of ] (1685-1750). Among the great composers of the early Baroque were Monteverdi, ] (1653-1713), and ] (1659 - 1695). In the later Baroque, the leading figures included Bach, ] (1685-1759), ] (1685-1757) and ] (1678-1741). Baroque music forms a major portion of the classical music canon and is widely performed and enjoyed.

			During the period composers experimented with finding a fuller sound for each instrumental part (thus creating the orchestra),{{Sfn\|Mackay\|Romanec\|2007\|p=}} made changes in musical notation (the development of figured bass as a quick way to notate the ] of a song or piece), and developed new instrumental playing techniques. Baroque music expanded the size, range, and complexity of instrumental performance, and also established the mixed vocal/instrumental forms of ], ] and ] and the instrumental forms of the solo ] and ] as musical genres. Dense, complex ] music, in which multiple independent melody lines were performed simultaneously (a popular example of this is the ]), was an important part of many Baroque choral and instrumental works. Overall, Baroque music was a tool for expression and communication.{{sfn\|Palisca\|2001}}
	It is not easy to characterize the style of Baroque music as a whole, but it may be helpful to distinguish it from both the preceding (Renaissance) and following (Classical) periods of musical history.

			==Etymology and definition==
	Baroque music shares with Renaissance music a heavy use of ] and ]. It probably strives, in general, for a greater level of emotional intensity than Renaissance music, and a Baroque piece often uniformly depicts some particular emotion (exultation, grief, piety, etc.). Baroque music was more often written for virtuoso singers and instrumentalists, and is characteristically harder to perform than Renaissance music. Baroque music employs a great deal of ], which was often improvised by the performer. Instruments came to play a greater part in Baroque music, and ] vocal music receded in importance.
			], 1748]]

			The etymology of ''baroque'' is likely via the French ''baroque'' (which originally meant a pearl of irregular shape), and from the ] ''barroco'' ("irregular pearl"); also related are the ] ''barrueco'' and the ] ''barocco''. The term is of uncertain ultimate origin, but possibly from ] ''verrūca'' ("wart") or possibly from ], a technical term from scholastic logic.<ref>{{Cite web\|title=baroque – Wiktionary\|url=https://en.wiktionary.org/baroque\|access-date=2021-09-13\|website=en.wiktionary.org\|language=en}}</ref>
	In Classical music, which followed the Baroque, the role of counterpoint was diminished (albeit repeatedly rediscovered and reintroduced), and replaced by a ] texture. The role of ornamentation lessened. Works tended towards a more articulated internal structure, especially those written in ]. Modulation (changing of keys) became a structural and dramatic element, so that a work could be heard as a kind of dramatic journey through a sequence of musical keys, outward and back from the tonic. Baroque music also modulates frequently, but the modulation has less structural importance. Works in the classical style often depict widely varying emotions within a single movement, whereas Baroque works tend toward a single, vividly portrayed feeling. Lastly, Classical works usually reach a kind of dramatic climax and then resolve it; Baroque works retain an often intense level of dramatic energy to the very last note.

			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 about 150 years.{{sfn\|Palisca\|2001}} Though it was long thought that the word as a critical term was first applied to architecture, in fact it appears earlier in reference to music, in an anonymous, satirical review of the première in October 1733 of Rameau's ''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 filled with unremitting dissonances, constantly changed key and meter, and speedily ran through every compositional device.{{sfn\|Palisca\|1989\|pp=7–8}}
	Baroque composers wrote in many different musical genres. ], invented in the late Renaissance, became an important musical form during the Baroque, with the operas of ] (1660-1725), Handel, and others. Composers wrote instrumental ]s and dance suites, both for chamber groups and for (small) orchestra). The ] emerged, both in its form for a single soloist plus orchestra and as the ], in which a small group of soloists is contrasted with the full ensemble. The ], with its contrasting slow and fast sections, added grandeur to the many courts at which it was performed. In religious music, the ] and ] receded slightly in importance, but the flourished in the work of Bach and other Protestant composers, and the ] achieved its peak in the work of Bach and Handel. Virtuoso organ music flourished, with s, ], and other works.

			], who was a musician and composer as well as philosopher, wrote in 1768 in the '']'': "Baroque music is that in which the harmony is confused, and loaded with modulations and dissonances. The singing is harsh and unnatural, the intonation difficult, and the movement limited. It appears that term comes from the word 'baroco' used by logicians".<ref name="Encyclopedie">''Encyclopedie''; ''Lettre sur la Musique Francaise'' under the direction of ]</ref> Rousseau was referring to the philosophical term '']'', in use since the 13th century to describe a type of elaborate and, for some, unnecessarily complicated academic argument.<ref>Antoine Arnauld, Pierre Nicole, ''La logique ou l'art de penser'', Part Three, chapter VI (1662) (in French)</ref><ref>{{Cite web\|url=http://www.cnrtl.fr/etymologie/baroque\|title=BAROQUE : Etymologie de BAROQUE\|website=www.cnrtl.fr\|access-date=2019-01-04}}</ref>
	Keyboard works were sometimes written largely for the pleasure and instruction of the performer. These included a series of works by the mature Bach that are widely considered to be the intellectual culmination of the Baroque era: the ], the ], and ].

			The systematic application by historians of the term "baroque" to music of this period is a relatively recent development. In 1919, ] became the first to apply the five characteristics of ]'s theory of the Baroque systematically to music.{{sfn\|Sachs\|1919\|pp=7–15}} Critics were quick to question the attempt to transpose Wölfflin's categories to music, however, and in the second quarter of the 20th century independent attempts were made by ] (in Germany and, after his immigration, in America) and by Suzanne Clercx-Lejeune (in Belgium) to use autonomous, technical analysis rather than comparative abstractions, in order to avoid the adaptation of theories based on the ] and literature to music. All of these efforts 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 ].{{sfn\|Palisca\|2001}}
	-----

			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 ], ], and ] under a single rubric. Nevertheless, the term has become widely used and accepted for this broad range of music.{{sfn\|Palisca\|2001}} It may be helpful to distinguish the Baroque from both the preceding (]) and following (]) periods of musical history.
	Important Features of Baroque music:

			==History==
	* '']'' - new music notation system for bass parts
			Throughout the Baroque era, new developments in music originated in Italy, after which it took up to 20 years before they were broadly adopted in rest of the ] practice. For instance, Italian composers switched to the ] around 1730, while German composers such as ] largely continued to write in the baroque style up to 1750.{{sfn\|Bukofzer\|1947\|pp=17ff}}{{sfn\|Bukofzer\|2013\|loc=}}
	* ] - music for one voice without accompaniment
			{\| class="wikitable"
	* ] - only one independent musical party
			\|+ Phases of Baroque music{{sfn\|Bukofzer\|1947\|pp=17ff}}{{sfn\|Bukofzer\|2013\|loc=}}
	* text over music - intelligible text with humble (not overpowering) instrumental accompaniment
			! Subperiod
	* vocal soloists ('bel canto')
			! Time
	* dramatic musical expression
			! In Italy
	* new instrumental techniques, like '']'' and '']''
			! Elsewhere
	* new musical forms like ], ''drama per musica''
			\|-
	* clear and linear ]
			\| Early baroque
	* the ]
			\| 1580–1650
	* the ''ritornello'' aria (repeted short instrumental interruptions of vocal passages)
			\| {{flatlist\|
	* virtuosity
			* ]
	* the 'stile concertato' (contrast in sound between orchestra and solo-instruments or small groups of instruments
			* ]
	* better use of properties of each type of ]
			* ]
	* ]
			}}
	* development to modern Western tonality (] and ]s)
			\| {{flatlist\|
			* ]
			* ]
			* ]
			* ]
			}}
			\|-
			\| Middle baroque
			\| 1630–1700
			\| {{flatlist\|
			* ]
			* ]
			* ]
			}}
			\| {{flatlist\|
			* ]
			* ]
			* ]
			* ]
			* ]
			}}
			\|-
			\| Late baroque
			\| 1680–1750
			\| {{flatlist\|
			* ]
			* ]
			* ]
			}}
			\| {{flatlist\|
			* ]
			* ]
			* ]
			* ]
			}}
			\|}

			===Early baroque music (1580–1650)===
	Forms of Baroque music include:
			{{further\|Transition from Renaissance to Baroque in instrumental music}}
			] in 1640]]

			The ] was a group of humanists, musicians, poets and intellectuals in late Renaissance Florence who gathered under the patronage of Count ] to discuss and guide trends in the arts, especially music and ]. In reference to music, they based their ideals on a perception of Classical (especially ]) musical drama that valued discourse and oration.{{sfn\|Nuti\|2007\|p=14}} Accordingly, they rejected their contemporaries' use of ] (multiple, independent melodic lines) and instrumental music, and discussed such ancient Greek music devices as ], which consisted of a solo singing accompanied by a ] (an ancient strummed string instrument).{{sfn\|Wallechinsky\|2007\|p=445}} The early realizations of these ideas, including ]'s '']'' and '']'', marked the beginning of opera,{{sfn\|Chua\|2001\|p=26}} which was a catalyst for Baroque music.{{sfn\|Wainwright and Holman\|2005\|p=4}}
	* ]

	* ]
			Concerning music theory, the more widespread use of '']'' (also known as ''thorough bass'') represents the developing importance of ] as the linear underpinnings of polyphony.{{sfn\|Clarke\|1898\|pp=147–48}} Harmony is the result of ], and figured bass is a visual representation of those harmonies commonly employed in musical performance. With figured bass, numbers, accidentals or symbols were placed above the ] that was read by ] players such as ] players or ]ists (or ]nists). The numbers, accidentals or symbols indicated to the keyboard player what intervals are to be played above each bass note. The keyboard player would ] a ] for each bass note.{{sfn\|Haagmans\|1916\|p=vi}} Composers began concerning themselves with ],{{sfn\|York\|1909\|p=109}} and also employed the ], perceived as an unstable interval,{{sfn\|Donington\|1974\|p=156}} to create dissonance (it was used in the ] chord and the ]). An interest in harmony had also existed among certain composers in the Renaissance, notably ];{{sfn\|Watkins\|1991\|p=103}} However, the use of harmony directed towards tonality (a focus on a musical ] that becomes the "home note" of a piece), rather than ], marks the shift from the Renaissance into the Baroque period.{{sfn\|Norton\|1984\|p=24}} This led to the idea that certain sequences of chords, rather than just notes, could provide a sense of ]—one of the fundamental ideas that became known as ].{{citation needed\|date=January 2017}}

			By incorporating these new aspects of composition, ] 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 (]) and the new ] technique of the Baroque (]). With basso continuo, a small group of musicians would play the ] and the chords which formed the accompaniment for a ]. The basso continuo group would typically use one or more keyboard players and a ] player who would play the bassline and improvise the chords and several bass instruments (e.g., ], ], ]) which would play the bassline. With the writing of ] '']'' and '']'' among others, Monteverdi brought considerable attention to this new genre.{{sfn\|Carter\|Chew\|2011}} This Venetian style was taken handily to Germany by ], whose diverse style also evolved into the subsequent period.

			Idiomatic instrumental textures became increasingly prominent. In particular, the ''style luthé''—the irregular and unpredictable breaking up of chordal progressions, in contrast to the regular patterning of broken chords—referred to since the early 20th century as '']'', was established as a consistent texture in French music by ],{{sfn\|Rollin\|Ledbetter\|2001}}{{sfn\|Ledbetter\|2001}} in his lute books of 1611 and 1614, and by ].{{sfn\|Rollin\|2001a}} This idiomatic lute figuration was later transferred to the harpsichord, for example in the keyboard music of ] and ], and continued to be an important influence on keyboard music throughout the 18th and early 19th centuries (in, for example, the music of ] and ]).{{sfn\|Ledbetter\|2001}}

			===Middle baroque music (1630–1700)===
			The rise of the centralized court is one of the economic and political features of what is often labelled the ], personified by ] 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 increasing availability of instruments created the demand for ], which is music for a small ensemble of instrumentalists.{{sfn\|Sadie \|2013}}

			] by ]]]

			One pre-eminent example of a court style composer is ]. He purchased patents from the monarchy to be the sole composer of operas for the French king and to prevent others from having operas staged. He completed 15 lyric tragedies and left unfinished ''Achille et Polyxène''.{{sfn\|La Gorce\|2001}} Lully was an early example of a ]; he would beat the time with a large staff to keep his ensembles together.

			Musically, he did not establish the string-dominated norm for orchestras, which was inherited from the Italian opera, and the characteristically ] (violins, violas—in hautes-contre, tailles and quintes sizes—and ]s) 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, flutes, and oboes, and the bass by bassoons. Trumpets and ]s were frequently added for heroic scenes.{{sfn\|La Gorce\|2001}}

			The middle Baroque period in Italy is defined by the emergence of the vocal styles of ], ], and ] during the 1630s, and a new concept of melody and harmony that elevated the status of the music to one of equality with the words, which formerly had been regarded as pre-eminent. The florid, 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 ] or the ]. The harmonies, too, might be simpler than in the early Baroque monody, to show expression in a lighter manner on the string and crescendos and diminuendos on longer notes. 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 simplification also led to a new formal device of the differentiation of ] (a more spoken part of opera) and ] (a part of opera that used sung melodies). The most important innovators of this style were the Romans ] and ], who were primarily composers of cantatas and oratorios, respectively, and the Venetian ], who was principally an opera composer. Later important practitioners of this style include ], ], and ], who additionally originated the ] style in his Sonate di viole.{{sfn\|Bukofzer\|1947\|pp=118–21}}

			] is remembered as influential for his achievements on the other side of musical technique—as a violinist who organized violin technique and pedagogy—and in purely instrumental music, particularly his advocacy and development of the ].{{sfn\|Talbot\|2001a}} Whereas Lully was ensconced at court, Corelli was one of the first composers to publish widely and have his music performed all over Europe. As with Lully's stylization and organization of the opera, the concerto grosso is built on strong contrasts—sections alternate between those played by the full orchestra, and those played by a smaller group. Fast sections and slow sections were juxtaposed against each other. Numbered among his students is ], who later composed hundreds of works based on the principles in Corelli's ]s and concerti.{{sfn\|Talbot\|2001a}}

			In contrast to these composers, ] was not a creature of court but instead was church musician, holding the posts of organist and Werkmeister at the Marienkirche at Lübeck. His duties as Werkmeister involved acting as the secretary, treasurer, and business manager of the church, while his position as organist 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 official church duties, he organised and directed a concert series known as the ]en, which included performances of sacred dramatic works regarded by his contemporaries as the equivalent of operas.{{sfn\|Snyder\|2001}}

			France:
			* ]{{sfn\|Rollin\|2001b}}
			* ]{{sfn\|Ledbetter\|Harris\|2014}}
			* ]{{sfn\|Fuller\|2001}}
			* ]{{sfn\|Fuller\|Gustafson\|2001}}

			===Late baroque music (1680–1750)===
			{{Multiple issues\|section=yes\|
			{{Prose\|section\|date=February 2020}}
			{{more citations needed\|section\|date=February 2020}}
			}}
			]]]
			The work of George Frideric Handel, Johann Sebastian Bach and their contemporaries, including Domenico Scarlatti, ], ], Jean-Philippe Rameau, Georg Philipp Telemann, and others advanced the Baroque era to its climax,{{sfn\|Sadie\|2002}} the High Baroque.

			====Onset====
			Italy:
			* ] (], ])
			* ] (], ], ])
			* ] (])
			]
			France:
			* ]
			*]
			*]
			* ]
			*]
			*]
			*]
			*]
			*]

			====Wider adoption====
			Italy:
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]
			*]

			Proliferation:
			* ]
			* ], '']''
			* Visiting Italy, e.g. ], ], ]
			* Italians abroad, e.g. ], ], ], ]

			France:
			* ]
			*]
			*]
			*]
			* ]
			*]
			* French abroad: e.g. ]

			Germany:
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]
			* Germans abroad, e.g. ], ]

			]:
			* ]

			]:
			* ]

			====Transition to Classical era====
			]:
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]

			] and ]:
			* ]
			* ] ({{lang\|de\|]}})
			* ]{{sfn\|Dürr\|1954}}

			]:
			* ]

			<!--Through the work of ], the Renaissance style of polyphony was made the basis for the study of composition for future musical eras. The composers of the late baroque had established their feats of composition long before the works of Johann Fux.{{sfn\|White\|Hochradner\|2013}}

			Johann Joseph Fux ({{IPA-de\|ˈfʊks\|lang}}; c. 1660 – 13 February 1741) was an ] composer, ] and ] of the late ] era. By the 1690s he was in ], and attracted the attention of ] with some masses he composed. The emperor was so impressed by them that he assisted Fux with his career after this point. In 1698, Leopold hired him as court composer.<ref name=":0">{{cite EB1911\|wstitle=Fux, Johann Joseph}}</ref> Fux traveled again to Italy, studying in Rome in 1700; it may have been here that he acquired the veneration for Palestrina which was so consequential for music pedagogy.

			Fux served Leopold I until his death, and two more Habsburg emperors after that: ], and ], both of whom continued to employ him in high positions in the court. Fux was famous as a composer throughout this period; his fame being eclipsed only later in the 18th century as the Baroque style died out. Although his music never regained favor until recently, his mastery of counterpoint influenced countless composers through his treatise ''Gradus ad Parnassum'' (1725). ] largely taught himself counterpoint by reading it and recommended it to the young ]. ] also had a copy of it that he annotated.<ref>{{cite web\|url=https://www.britannica.com/biography/Johann-Joseph-Fux\|title=Johann Joseph Fux\|date=March 18, 2016\|website=]\|access-date=November 15, 2017}}</ref>

			While ''Gradus ad Parnassum'' is famous as the origin of the term "]", Fux was not the first one to invent the idea. In 1610, ], a composer of the ], published ''Il Transilvano'', which presented the Renaissance polyphonic style as a series of types: one note against one note, two notes against one note, ], and so forth. Fux's work repeated some of Diruta's, possibly coincidentally, because he is not known to have had a copy of Diruta's aforementioned work. In any case, Fux presented the idea with a clarity and focus which made his version famous as a teaching method.<ref name=":0" />

			A continuous worker, Handel borrowed from other composers and often "recycled" his own material. He was also known for reworking pieces such as the famous '']'', which premiered in 1742, for available singers and musicians.{{sfn\|Burrows\|1991\|page=22}} ''Messiah'' (HWV 56)<ref>Also catalogued as ] xlv; and ] i/17.{{NewGrove2001\|article=Kuzel, Zachary Frideric\|last=Hicks\|first=Anthony\|authorlink=Anthony Hicks\|vol=x\|pages=785}}</ref>{{refn\|Since its earliest performances the work has often been referred to, incorrectly, as "The ''Messiah''". The article is absent from the proper title.<ref>{{cite web\|last= Myers\|first= Paul (Transcription of broadcast)\|title= Handel's Messiah\|url= http://music.minnesota.publicradio.org/features/9912_messiah/\|publisher= Minnesota Public Radio\|date= December 1999\|access-date= 20 July 2011}}</ref>\|group=n}} is an English-language ] composed in 1741 by ], with a scriptural text compiled by ] from the ], and from the ], the version of the '']'' included with the '']''. It was first performed in ] on April 13, 1742 and received its ] premiere close to a year later. After an initially humble public reception, the oratorio gained in popularity, eventually becoming one of the best-known, if not the most well-known, and most frequently performed choral works in Western music.

			Handel wrote ''Messiah'' for modest vocal and instrumental forces, with optional settings for many of the individual numbers. In the years following his death, the work was adapted for performance on a much larger scale, with giant orchestras and choirs. In other efforts to update it, the work's orchestration was revised and amplified by (among others) ] ('']''). In the late 20th and early 21st centuries the trend has been towards reproducing a greater devotion to Handel's original intentions, although "big ''Messiah"'' productions continue to be strengthened. A near-complete version was issued on ] in 1928; since then the work has been recorded many times.-->

			==Timeline of composers==
			{{see also\|List of Baroque composers}}
			{{Timeline Classical Composers Baroque}}

			==Instruments==
			{{main\|Baroque instruments}}
			{{see also\|List of period instruments}}

			===Strings===
			] by Vital Julian Frey, after Jean-Claude Goujon (1749)]]
			]
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]

			===Woodwinds===
			* ]
			* ]
			* Cortol (also known as Cortholt, Curtall, ] family)
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]

			===Brass===
			* ]
			* ]
			* ]
			* ] (also called ''tromba spezzata'')
			* ]
			* ]
			* ] (16th- and early 17th-century English name for FR: ''saquebute'', ''saqueboute''; ES: ''sacabuche''; IT: ''trombone''; MHG: ''busaun'', ''busîne'', ''busune'' / DE (since the early 17th century) ''Posaune'')
			* ] (English name for the same instrument, from the early 18th century)

			===Keyboards===
			* ]
			* ]
			* ] – an early version of the ] invented {{circa\|1700}}, but did not become popular during Baroque era
			* ]
			* ]

			===Percussion===
			* ]
			* ]
			* ]

			==Styles and forms==
			{{anchor\|The Baroque suite}}

			===Dance suite===
			{{see also\|Suite (music)#Dance suite}}<!-- This section describes the same form; the two should be merged. -->
			], as depicted by ] (1747)]]

			A characteristic of the Baroque form was the ]. Some ] are called ]s, although this term is also used for other collections of pieces. While the pieces in a dance suite were inspired by actual dance music, dance suites were intended for listening, not for accompanying dancers. Composers used a variety of different movements in their dance suites. A dance suite commonly has these ]:
			* ] – The Baroque suite often began with a French overture ("Ouverture" in French), a slow movement followed by a succession of principally four different types of dances:
			* ] – Often the first dance of an instrumental ], the allemande was a very popular dance that had its origins in the German ] era. The allemande was played at a moderate ] and could start on any beat of the bar.{{sfn\|Estrella\|2012}}
			* ] – The second dance is the courante, in ]. It can be either fast and lively or slow and stately. The Italian version is called the corrente.{{sfn\|Little\|2001c}}
			* ] – 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.{{sfn\|Estrella\|2012}}
			* ] – 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 ]. Its counterpart in ] is the ].{{sfn\|Estrella\|2012}}

			The 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:
			* ] – The gavotte is in duple metre, with phrases which start on an offbeat. The gavotte is played at a moderate tempo, although those in an Italian style may be faster.{{sfn\|Little\|2014}}
			* ] – The bourrée is similar to the gavotte as it is in {{music\|time\|2\|2}} time, although it starts on the second half of the last beat of the bar, creating a different feel to the dance. The bourrée is commonly played at a moderate tempo, although for some composers, such as Handel, it can be taken at a much faster tempo.{{sfn\|Mackay\|Romanec\|2007}}
			* ] – in triple meter at moderate tempo. It does not have an ]. The Italian minuet was typically faster, with longer phrases.{{sfn\|Little\|2001d}}
			* ] – The passepied is a fast dance in binary form and triple meter that originated as a court dance in ].{{sfn\|Little\|2001a}}
			* ] – The rigaudon is a lively French dance in duple meter, similar to the bourrée, but rhythmically simpler. It originated as a family of closely related southern-French folk dances, traditionally associated with the provinces of Vavarais, ], ], and ].{{sfn\|Little\|2001b}}

			There are many other dance forms as well as other pieces that could be included in a suite, such as ], ], ], ], etc.

			===Other features===
			* '']'' – a suite might be started by a prelude, a slow piece written in an improvisatory style. Some Baroque preludes were not fully written out; instead, a sequence of chords were indicated, with the expectation that the instrumentalist would be able to improvise a melodic part using the indicated harmonic framework. The prelude was not based on a type of dance.
			* '']'' – Sometimes an entrée 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 {{music\|time\|4\|4}} time. It is related to the Italian 'intrada'.
			* '']'' – a kind of continuous accompaniment notated with a new music notation system, ], usually for one or more sustaining bass instruments (e.g., ]) and one or more chord-playing instruments (e.g., keyboard instruments such as ], ] or ])
			* The ] (a solo piece with orchestral accompaniment) and ]
			* ] – an accompanied Italian solo song, an outgrowth of arrangements of ensemble music for solo instruments in the late 16th century{{sfn\|Fortune\|2001}}
			* ] – music with one melodic voice and rhythmically similar (and subordinate) chordal accompaniment (this and monody are contrasted with the typical Renaissance ], ]){{sfn\|Hyer\|2013}}
			* Dramatic musical forms like opera, '']''{{sfn\|Shotwell\|2002}}
			* Combined instrumental-vocal forms, such as the ] and ],{{sfn\|Shotwell\|2002}} both of which used singers and orchestra
			* New instrumental techniques, like '']'' and '']''{{sfn\|Shotwell\|2002}}
			* The ] had become the dominant form of aria by 1680{{sfn\|Westrup\|McClymonds\|Budden\|Clements\|2001}}
			* The '']'' aria – repeated short instrumental interruptions of vocal passages.{{sfn\|Talbot\|2001b}}
			* The ] style – contrast in sound between groups of instruments.{{sfn\|Carver\|2013}}
			* Extensive ],{{sfn\|Roseman\|1975}} which was typically improvised by singers and instrumentalists (e.g., ], ]s, etc.)

			==Genres==

			===Vocal===
			* ]
			** ]
			** ]
			** ]
			** ]
			** ]
			** ]
			** ]
			** ]
			** ]
			** ]
			* ]
			* ]
	* ]		* ]
	* ]		* ]
	* ]		* ]
	* ]
	* ]		* ]
	* ]		* ]
	* ]		* ]
			* ]

			===Instrumental===
			* ]
			* ]
			* ]
			* ]
			* ]
			** ]
			** ]
			** ]
			** ]
			** ]
			** ]
			* ]
			** ]
			** ]
			** ]
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]
			* ]

			== Notes ==
			{{reflist\|25em}}

			===Sources===
			{{div col\|colwidth=45em}}
			* {{cite book\|last=Bukofzer\|first=Manfred F.\|author-link=Manfred Bukofzer\|year=1947\|title=Music in the Baroque Era: From Monteverdi to Bach\|url=https://archive.org/details/musicinbaroqueer0000buko\|url-access=registration\|isbn=0-393-09745-5\|publisher=W. W. Norton\|location= New York}}
			* {{cite book \|last1=Bukofzer \|first1=Manfred F. \|author-link1=Manfred Bukofzer \|date=2013 \|title=Music in the Baroque Era – From Monteverdi to Bach \|url=https://books.google.com/books?id=dzV9CgAAQBAJ \|edition=digital \|publisher=Read Books \|isbn=978-1-4474-9678-6}}<!-- Not used:
			* {{cite book\| last= Burrows \|first= Donald\|author-link=Donald Burrows (musicologist) \|year=1991\| title= Handel: Messiah \|publisher= Cambridge University Press \|location= Cambridge, New York, Melbourne\|isbn=0-521-37620-3}} -->
			* {{cite Grove\|last1=Carter\|first1=Tim\|author1-link=Tim Carter (musicologist)\|last2=Chew\|first2=Geoffrey\|author2-link=Geoffrey Chew (musicologist)\|title=Monteverdi , Claudio\|year=2011\|id=44352}}
			* {{cite encyclopedia\|last= Carver\|first= Anthony F.\|year=2013\|encyclopedia=]\|publisher=]\|entry=Concertato}} {{Subscription required}}
			* {{cite book\|last=Clarke\|first=Hugh Archibald\|year=1898\|title=A System of Harmony\|url=https://archive.org/details/asystemharmonyf01clargoog\|publisher=T. Presser\| location=Philadelphia\|isbn=978-1-248-37946-2}}
			* {{cite book\|last=Chua\|first=Daniel K. L.\|chapter=Vincenzo Galilei, Modernity, and the Division of Nature\|title=Music Theory and Natural Order from the Renaissance to the Early Twentieth Century\|editor-first=Suzannah\|editor-last=Clark\|year=2001\|publisher=Cambridge University Press \|url=https://books.google.com/books?id=wSYm0cUW6PMC\|isbn=978-0-521-77191-7}}
			* {{cite book\|last=Donington\|first=Robert\|year=1974\|title=A Performer's Guide to Baroque Music\|url=https://archive.org/details/performersguidet00doni\|url-access=registration\|isbn=978-0-571-09797-5\|publisher=C. Scribner's Sons\|location= New York}}
			* {{cite book\|last1=Dürr \|first1=Alfred \|author-link1=Alfred Dürr \|date=1954 \|chapter=Johann Gottlieb Goldberg und die Triosonate BWV 1037 \|trans-chapter=] and the ] BWV 1037 \|chapter-url=https://journals.qucosa.de/ejournals/bjb/article/view/1476 \|editor1-last=Dürr \|editor1-first=Alfred \|editor1-link=Alfred Dürr \|editor2-last=Neumann \|editor2-first=Werner \|editor2-link=Werner Neumann \|title=Bach-Jahrbuch 1953 \|trans-title=Bach Yearbook 1953 \|url=https://journals.qucosa.de/ejournals/bjb/issue/view/116 \|series=] \|language=de \|volume=40 \|others=] \|location=Berlin \|publisher=] \|pages=51–80 \|doi=10.13141/bjb.v1953 }}
			* {{cite web\|last=Estrella\|first=Espie\|url=https://www.liveabout.com/baroque-dance-suite-2456368\|title=The Suite: Baroque Dance Suite\|publisher=About.com\|year=2012}}
			* {{cite encyclopedia\| last=Fortune \|first=Nigel \|year=2001 \|title=Grove Music Online \|entry=Monody \|doi=10.1093/gmo/9781561592630.article.18977}} {{Grove Music subscription}}
			* {{cite book\|last=Fuller\|first=David\|year=2001\|title=]\|edition=2nd\|chapter=Chambonnières, Jacques Champion, Sieur de\|publisher=Macmillan\|location=London\|isbn= 978-1-56159-239-5}}
			* {{cite book\|last1=Fuller\|first1=David\|last2=Gustafson\|first2=Bruce\|year=2001\|title=The New Grove Dictionary of Music and Musicians\|edition=second\|chapter=Couperin, Luis\|publisher=Macmillan\|location=London\|isbn= 978-1-56159-239-5}}
			* {{cite book\|last=Haagmans\|first=Dirk\|year=1916\|title=Scales, Intervals, Harmony\|url=https://archive.org/details/scalesintervalsh01haag\|isbn=978-1-4370-6202-1\|publisher=J. Fischer & Bro.\|location=University of Michigan}}
			* {{cite encyclopedia\|last=Hyer\|first=Brian\|year=2013\|encyclopedia=]\|entry=Homophony\|publisher=]}} {{Subscription required}}
			* {{cite encyclopedia\|last=La Gorce \|first= Jérôme de\|author-link = Jérôme de La Gorce \|year=2001\|encyclopedia=Grove Music Online\|publisher=]\|entry=Jean-Baptiste Lully}} {{Subscription required}}
			* {{cite book\|last=Ledbetter\|first=David\|year=2001\|title=]\|edition=2nd\|chapter=Style brisé (Fr.: 'broken style')\|publisher=Macmillan\|location=London\|isbn= 978-1-56159-239-5}}
			* {{cite encyclopedia\|last1=Ledbetter\|first1=David\|last2=Harris\|first2=C. David\|year=2014\|entry=D'Anglebert, Jean Henry\|encyclopedia=]\|publisher=Oxford University Press}}
			* {{cite book\|last=Little\|first=Meredith Ellis\|year=2001a\|title=The New Grove Dictionary of Music and Musicians\|chapter=Passepied\|publisher=Macmillan\|location=London\|isbn= 978-1-56159-239-5}}
			* {{cite book\|last=Little\|first=Meredith Ellis\|year=2001b\|title=The New Grove Dictionary of Music and Musicians\|chapter=Rigaudon\|publisher=Macmillan\|location=London\|isbn= 978-1-56159-239-5}}
			* {{cite encyclopedia\| last=Little \|first=Meredith Ellis \|year=2001c \|title=Grove Music Online \|entry=Courante \|doi=10.1093/gmo/9781561592630.article.06707}} {{Grove Music subscription}}
			* {{cite encyclopedia \|last=Little \|first=Meredith Ellis \|year=2001d \|title=Grove Music Online \|entry=Minuet \|doi=10.1093/gmo/9781561592630.article.18751}} {{Grove Music subscription}}
			* {{cite encyclopedia \|last=Little \|first=Meredith Ellis \|year=2014 \|title=Grove Music Online \|entry=Gavotte \|doi=10.1093/gmo/9781561592630.article.10774}} {{Grove Music subscription}}
			* {{cite web\|last1=Mackay\|first1=Alison\|last2=Romanec\|first2=Craig\|year=2007\|url=http://www.tafelmusik.org/sites/all/themes/tafelmusik/downloads/Baroque_Guide.pdf\|title=Baroque Guide\|publisher=Tafelmusik\|access-date=27 July 2012\|archive-url=https://web.archive.org/web/20161207213948/http://www.tafelmusik.org/sites/all/themes/tafelmusik/downloads/Baroque_Guide.pdf\|archive-date=7 December 2016\|url-status=dead}}
			* {{cite book \|last=Norton \|first=Richard \|year=1984 \|title= Tonality in Western Culture: A Critical and Historical Perspective \|url=https://archive.org/details/tonalityinwester0000nort \|url-access=registration \|isbn=978-0-271-00359-7\|publisher=Pennsylvania State University Press \|location=University Park}}
			* {{cite book \|last=Nuti \|first=Giulia \|year=2007 \|title= The Performance of Italian Basso Continuo: Style in Keyboard Accompaniment in the Seventeenth and Eighteenth Centuries\|publisher=Ashgate Publishing\|location=Aldershot, England\|isbn=978-0-7546-0567-6}}
			* {{cite book\| last=Palisca\|first=Claude V.\|year=1989\|title=French Musical Thought, 1600–1800\|publisher= UMI Research Press\|editor=Georgia Cowart\|pages=7–22\|chapter='Baroque' as a Music-Critical Term\|location=Ann Arbor\|isbn=978-0-8357-1882-0}}
			* {{cite book \|last=Palisca \|first=Claude V. \|author-link=Claude V. Palisca \|chapter=Baroque \|editor=Stanley Sadie \|editor-link=Stanley Sadie \|title=]\|date=2001 \|publisher=Oxford University Press \|location=Oxford \|isbn=9781561592630}}
			* {{cite book\|last=Rollin\|first=Monique\|year=2001a\|title=The New Grove Dictionary of Music and Musicians\|edition=2nd\|chapter=Gaultier , Ennemond\|publisher=Macmillan\|location=London\|isbn= 978-1-56159-239-5}}
			* {{cite book\|last=Rollin\|first=Monique\|year=2001b\|title=The New Grove Dictionary of Music and Musicians\|edition=2nd\|chapter=Gaultier , Denis\|publisher=Macmillan\|location=London\|isbn= 978-1-56159-239-5}}
			*{{cite book\|last1=Rollin\|first1=Monique\|last2=Ledbetter\|first2=David \|year=2001\|title=The New Grove Dictionary of Music and Musicians\|edition=2nd\|chapter=Ballard Family: (3) Robert Ballard (ii)\|publisher=Macmillan\|location=London\|isbn= 978-1-56159-239-5}}
			* {{cite web\|last=Roseman \|first=Ronald \|year=1975 \|url=http://idrs.colorado.edu/publications/journal/JNL3/baroque.html \|title=Baroque Ornamentation \|publisher=Journal of The International Double Reed Society 3 \|url-status=dead \|archive-url=https://web.archive.org/web/20080420072643/http://idrs.colorado.edu/publications/journal/JNL3/baroque.html \|archive-date=20 April 2008 }} Reprinted in '' {{Webarchive\|url=https://web.archive.org/web/20140514043416/http://www.musebaroque.fr/Articles/Baroque_ornamentation.htm \|date=14 May 2014 }}'', n.d.
			* {{cite book\|last1=Sachs\|first1=Curt\|author-link1=Curt Sachs\|chapter=Barockmusik\|title=Jahrbuch der Musikbibliothek Peters\|volume=26\|year=1919}}
			* {{cite web\|last=Sadie \|first= Stanley\|year=2002\|work=The Oxford Companion to Music\|publisher=]\|title=The Baroque Era\|url=http://www.oxfordmusiconline.com/public/}} {{Subscription required}}
			* {{cite encyclopedia\|last= Sadie\|first=Julie Anne\|year=2013\|encyclopedia=]\|publisher=]\|entry=Louis XIV, King of France}} {{Subscription required}}
			* {{cite web\|last=Shotwell\|first=Clay\|url=http://www.aug.edu/~cshotwel/4350.Baroquetraits.html\|title=MUSI 4350/4360: Music of the Baroque Era: General Characteristics of the Baroque\|place=Augusta, GA\|publisher=Augusta State University\|year=2002\|access-date=25 August 2012\|archive-url=https://web.archive.org/web/20120430010736/http://www.aug.edu/~cshotwel/4350.Baroquetraits.html\|archive-date=30 April 2012\|url-status=dead}}
			* {{cite encyclopedia\|last= Snyder\|first= Kerala J.\|year=2001\|encyclopedia=Grove Music Online\|entry=Buxtehude, Dieterich\|publisher=]}} {{Subscription required}}
			* {{cite encyclopedia\|last=Talbot\|first=Michael\|author-link=Michael Talbot (musicologist)\|year=2001a\|encyclopedia=Grove Music Online\|entry=Corelli, Arcangelo\|publisher=]}} {{Subscription required}}
			* {{cite encyclopedia\|last=Talbot\|first=Michael\|year=2001b\|encyclopedia=Grove Music Online\|entry=Ritornello\|publisher=]}} {{Subscription required}}
			* {{cite book\|last1=Wainwright\|first1=Jonathan\|author2=Peter Holman\|year=2005\|title=From Renaissance to Baroque: Change in Instruments and Instrumental Music in the Seventeenth Century\|url=https://books.google.com/books?id=2uXTdwWxppwC\|isbn=978-0-7546-0403-7\|publisher=Ashgate Publishing\|location=Aldershot, England\|ref={{harvid\|Wainwright and Holman\|2005}}}}
			* {{cite book\|last=Wallechinsky\|first=David\|year=2007\|url=https://books.google.com/books?id=938irIZnmGsC\|title=The Knowledge Book: Everything You Need to Know to Get by in the 21st century\|location=Washington, DC\|publisher=National Geographic Books\|isbn=978-1-4262-0124-0}}
			* {{cite book\|last=Watkins\|first=Glenn\|year=1991\|title=Gesualdo: The Man and His Music\|publisher=Oxford University Press\|location=Oxford\|isbn=978-0-19-816197-4\|url-access=registration\|url=https://archive.org/details/gesualdomanhismu0000watk}}
			* {{cite encyclopedia \|last1=Westrup \|last2=McClymonds \|last3=Budden \|last4=Clements \|last5=Carter \|last6=Walker \|last7=Heartz \|last8=Libby \|year=2001 \|title=Grove Music Online \|entry=Aira \|doi=10.1093/gmo/9781561592630.article.43315}} {{Grove Music subscription}}
			* {{cite book\|last=York\|first=Francis L.\|year=1909\|title=Harmony Simplified: A Practical Introduction to Composition\|url=https://archive.org/details/cu31924021751643\|publisher=Oliver Ditson and Company\|location=Boston\|isbn=978-1-176-33956-9}}
			{{div col end}}

			==Further reading==
			{{div col\|colwidth=45em}}
			* Christensen, Thomas Street, and Peter Dejans. ''Towards Tonality Aspects of Baroque Music Theory''. Leuven: Leuven University Press, 2007. {{ISBN\|978-90-5867-587-3}}
			* 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\|978-0-7546-5926-6}}
			* 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}}
			*{{Cite book\|last1=Fux\|first1=Johann Joseph\|title=The Study of Counterpoint from Johann Joseph Fux's Gradus ad parnassum\|last2=Mann\|first2=Alfred\|last3=Edmunds\|first3=John\|publisher=W. W. Norton & Co.\|year=1965\|isbn=0-393-00277-2\|location=New York\|oclc=494781\|ref=none}}
			* {{cite book\|author1=Grout, Donald J.\|author1-link=Donald Jay Grout\|author2=]\|title=A History of Western Music\|location=New York\|publisher=W. W. Norton\|year=1996\|ref=none}}
			* Hebson, Audrey (2012). "Dance and Its Importance in Bach's Suites for Solo Cello", Musical Offerings: Vol. 1: No. 2, Article 2. Available at http://digitalcommons.cedarville.edu/musicalofferings/vol1/iss2/2.
			* Hoffer, 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 Neidhöfer. ''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\|978-0-19-512232-9}}
			* Stauffer, 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.
			{{div col end}}

			==External links==
	Baroque ] include, in chronological order:
			{{Commons category\|Baroque music}}
			*
			* : Composers
			* in Vienna, Austria
			* {{IMSLP\|id=Baroque_composers\|cname=various baroque composers}}
			* : Thesis on Affect Theory with Fire as the special topic
			* , a free, searchable database of worldwide locations for music manuscripts up to {{circa\|1800}}.

			{{Baroque music}}
	* ] (1562 - 1621)
			{{Classical music}}
	* ] (1562 - 1628)
			{{Music topics}}
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	* ] /1770/

			{{DEFAULTSORT:Baroque Music}}
	==External link==
			]
	*
			]

Latest revision as of 11:46, 16 December 2024

Style of western classical music

Major eras of
Western classical music

Early music

Medieval	c. 500–1400
Transition to Renaissance
Renaissance	c. 1400–1600
Transition to Baroque

Common practice period

Baroque	c. 1600–1750
Transition to Classical
Classical	c. 1730–1820
Transition to Romantic
Romantic	c. 1800–1910
Transition to Modernism

New music

Modernism	from c. 1890
Contemporary	from c. 1945
• 20th-century • 21st-century

Baroque music (UK: /bəˈrɒk/ or US: /bəˈroʊk/) refers to the period or dominant style of Western classical music composed from about 1600 to 1750. The Baroque style followed the Renaissance period, and was followed in turn by the Classical period after a short transition (the galant style). The Baroque period is divided into three major phases: early, middle, and late. Overlapping in time, they are conventionally dated from 1580 to 1650, from 1630 to 1700, and from 1680 to 1750. Baroque music forms a major portion of the "classical music" canon, and is widely studied, performed, and listened to. The term "baroque" comes from the Portuguese word barroco, meaning "misshapen pearl". The works of Antonio Vivaldi, George Frideric Handel and Johann Sebastian Bach are considered the pinnacle of the Baroque period. Other key composers of the Baroque era include Claudio Monteverdi, Domenico Scarlatti, Alessandro Scarlatti, Alessandro Stradella, Tomaso Albinoni, Johann Pachelbel, Henry Purcell, Georg Philipp Telemann, Jean-Baptiste Lully, Jean-Philippe Rameau, Marc-Antoine Charpentier, Arcangelo Corelli, François Couperin, Johann Hermann Schein, Heinrich Schütz, Samuel Scheidt, Dieterich Buxtehude, Gaspar Sanz, José de Nebra, Antonio Soler, Carlos Seixas, Adam Jarzębski, Jan Dismas Zelenka, Heinrich Ignaz Franz Biber and Giovanni Battista Pergolesi.

The Baroque saw the formalization of common-practice tonality, an approach to writing music in which a song or piece is written in a particular key; this type of harmony has continued to be used extensively in Western classical and popular music. During the Baroque era, professional musicians were expected to be accomplished improvisers of both solo melodic lines and accompaniment parts. Baroque concerts were typically accompanied by a basso continuo group (comprising chord-playing instrumentalists such as harpsichordists and lute players improvising chords from a figured bass part) while a group of bass instruments—viol, cello, double bass—played the bassline. A characteristic Baroque form was the dance suite. While the pieces in a dance suite were inspired by actual dance music, dance suites were designed purely for listening, not for accompanying dancers.

During the period composers experimented with finding a fuller sound for each instrumental part (thus creating the orchestra), made changes in musical notation (the development of figured bass as a quick way to notate the chord progression of a song or piece), and developed new instrumental playing techniques. Baroque music expanded the size, range, and complexity of instrumental performance, and also established the mixed vocal/instrumental forms of opera, cantata and oratorio and the instrumental forms of the solo concerto and sonata as musical genres. Dense, complex polyphonic music, in which multiple independent melody lines were performed simultaneously (a popular example of this is the fugue), was an important part of many Baroque choral and instrumental works. Overall, Baroque music was a tool for expression and communication.

Etymology and definition

The etymology of baroque is likely via the French baroque (which originally meant a pearl of irregular shape), and from the Portuguese barroco ("irregular pearl"); also related are the Spanish barrueco and the Italian barocco. The term is of uncertain ultimate origin, but possibly from Latin verrūca ("wart") or possibly from Baroco, a technical term from scholastic logic.

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 about 150 years. Though it was long thought that the word as a critical term was first applied to architecture, in fact it appears earlier in reference to music, in an anonymous, satirical review of the première in October 1733 of Rameau's 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 filled with unremitting dissonances, constantly changed key and meter, and speedily ran through every compositional device.

Jean-Jacques Rousseau, who was a musician and composer as well as philosopher, wrote in 1768 in the Encyclopédie: "Baroque music is that in which the harmony is confused, and loaded with modulations and dissonances. The singing is harsh and unnatural, the intonation difficult, and the movement limited. It appears that term comes from the word 'baroco' used by logicians". Rousseau was referring to the philosophical term baroco, in use since the 13th century to describe a type of elaborate and, for some, unnecessarily complicated academic argument.

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 first to apply the five characteristics of Heinrich Wölfflin's theory of the Baroque systematically to music. Critics were quick to question the attempt to transpose Wölfflin's 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 immigration, in America) and by Suzanne Clercx-Lejeune (in Belgium) to use autonomous, technical analysis rather than comparative abstractions, in order to avoid the adaptation of theories based on the plastic arts and literature to music. All of these efforts 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.

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 Johann Sebastian Bach under a single rubric. Nevertheless, the term has become widely used and accepted for this broad range of music. It may be helpful to distinguish the Baroque from both the preceding (Renaissance) and following (Classical) periods of musical history.

History

Throughout the Baroque era, new developments in music originated in Italy, after which it took up to 20 years before they were broadly adopted in rest of the Western classical music practice. For instance, Italian composers switched to the galant style around 1730, while German composers such as Johann Sebastian Bach largely continued to write in the baroque style up to 1750.

Phases of Baroque music
Subperiod	Time	In Italy	Elsewhere
Early baroque	1580–1650	Gabrieli Monteverdi Frescobaldi	M. Praetorius Sweelinck O. Gibbons Schütz
Middle baroque	1630–1700	Cavalli Carissimi Legrenzi	Lully Biber Buxtehude Purcell Pachelbel
Late baroque	1680–1750	Corelli Vivaldi Pergolesi	Telemann Rameau Handel J. S. Bach

Early baroque music (1580–1650)

Further information: Transition from Renaissance to Baroque in instrumental music

The Florentine Camerata was a group of humanists, 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. Accordingly, they rejected their contemporaries' use of polyphony (multiple, independent melodic lines) and instrumental music, and discussed such ancient Greek music devices as monody, which consisted of a solo singing accompanied by a kithara (an ancient strummed string instrument). The early realizations of these ideas, including Jacopo Peri's Dafne and L'Euridice, marked the beginning of opera, which was a catalyst for Baroque music.

Concerning music theory, the more widespread use of figured bass (also known as thorough bass) represents the developing importance of harmony as the linear underpinnings of polyphony. Harmony is the result of counterpoint, and figured bass is a visual representation of those harmonies commonly employed in musical performance. With figured bass, numbers, accidentals or symbols were placed above the bassline that was read by keyboard instrument players such as harpsichord players or pipe organists (or lutenists). The numbers, accidentals or symbols indicated to the keyboard player what intervals are to be played above each bass note. The keyboard player would improvise a chord voicing for each bass note. Composers began concerning themselves with harmonic progressions, and also employed the tritone, perceived as an unstable interval, to create dissonance (it was used in the dominant seventh chord and the diminished chord). An interest in harmony had also existed among certain composers in the Renaissance, notably Carlo Gesualdo; However, the use of harmony directed towards tonality (a focus on a musical key that becomes the "home note" of a piece), rather than modality, marks the shift from the Renaissance into the Baroque period. This led to the idea that certain sequences of chords, rather than just notes, could provide a sense of closure at the end of a piece—one 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 basso continuo, a small group of musicians would play the bassline and the chords which formed the accompaniment for a melody. The basso continuo group would typically use one or more keyboard players and a lute player who would play the bassline and improvise the chords and several bass instruments (e.g., bass viola, cello, double bass) which would play the bassline. With the writing of the operas L'Orfeo and L'incoronazione di Poppea among others, Monteverdi brought considerable attention to this new genre. This Venetian style was taken handily to Germany by Heinrich Schütz, whose diverse style also evolved into the subsequent period.

Idiomatic instrumental textures became increasingly prominent. In particular, the style luthé—the irregular and unpredictable breaking up of chordal progressions, in contrast to the regular patterning of broken chords—referred to since the early 20th century as style brisé, was established as a consistent texture in French music by Robert Ballard, in his lute books of 1611 and 1614, and by Ennemond Gaultier. This idiomatic lute figuration was later transferred to the harpsichord, for example in the keyboard music of Louis Couperin and Jean-Henri D'Anglebert, and continued to be an important influence on keyboard music throughout the 18th and early 19th centuries (in, for example, the music of Johann Sebastian Bach and Frédéric Chopin).

Middle baroque music (1630–1700)

The rise of the centralized court is one of the economic and political features of what is often labelled the Age of Absolutism, personified 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 increasing availability of instruments created the demand for chamber music, which is music for a small ensemble of instrumentalists.

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 French king and to prevent others from having operas staged. He completed 15 lyric tragedies and left unfinished Achille et Polyxène. Lully was an early example of a conductor; he would beat the time with a large staff to keep his ensembles together.

Musically, he did not establish the string-dominated norm for orchestras, which was inherited from the Italian opera, and the characteristically French five-part disposition (violins, violas—in 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, flutes, and oboes, and the bass by bassoons. Trumpets and kettledrums were frequently added for heroic scenes.

The middle Baroque period in Italy is defined by the emergence of the vocal styles of cantata, oratorio, and opera during the 1630s, and a new concept of melody and harmony that elevated the status of the music to one of equality with the words, which formerly had been regarded as pre-eminent. The florid, 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, to show expression in a lighter manner on the string and crescendos and diminuendos on longer notes. 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 simplification also led to a new formal device of the differentiation of recitative (a more spoken part of opera) and aria (a part of opera that used sung melodies). 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, who additionally originated the concerto grosso style in his Sonate di viole.

Arcangelo Corelli is remembered as influential for his achievements on the other side of musical technique—as a violinist who organized violin technique and pedagogy—and in purely instrumental music, particularly his advocacy and development of the concerto grosso. Whereas Lully was ensconced at court, Corelli was one of the first composers to publish widely and have his music performed all over Europe. As with Lully's stylization and organization of the opera, the concerto grosso is built on strong contrasts—sections alternate between those played by the full orchestra, and those played by a smaller group. 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 Corelli's trio sonatas and concerti.

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 Lübeck. His duties as Werkmeister involved acting as the secretary, treasurer, and business manager of the church, while his position as organist 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 official 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.

France:

Late baroque music (1680–1750)

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The work of George Frideric Handel, Johann Sebastian Bach and their contemporaries, including Domenico Scarlatti, Antonio Vivaldi, Tomaso Albinoni, Jean-Philippe Rameau, Georg Philipp Telemann, and others advanced the Baroque era to its climax, the High Baroque.

v t e Baroque music
List of Baroque composers
Transitional and early (c. 1600)	Allegri G. Caccini Coelho J. Dowland Franck Frescobaldi Gabrieli V. Galilei C. Gibbons O. Gibbons d'India Kapsberger Landi Lawes Michna Merula Monteverdi Peri M. Praetorius Rossi Scheidt Schein Schütz Sweelinck
Middle (c. 1650)	Amodei d'Anglebert Bassani H. I. F. Biber Blow Buxtehude Cabanilles Carissimi Cavalli Cesti Charpentier Clarke Corelli Diletsky Froberger Kerll Legrenzi J.-B. Lully M. Marais Muffat J. Pachelbel J. Playford H. Purcell Reincken Sabini Sanz A. Scarlatti Stradella Strozzi Torelli Torrejón y Velasco Vejvanovský
Late (c. 1700)	Albinoni J. S. Bach Bodin de Boismortier G. B. Bononcini Caldara Campra F. Couperin Delalande Fasch Fischer Fux Geminiani Gorczycki Graupner Handel Heinichen Jacquet de La Guerre Leclair l'aîné Locatelli Lotti A. Marcello Pepusch Pergolesi Pisendel Porpora Quantz Rameau D. Scarlatti Seixas Tartini Telemann Vinci Vivaldi Weiss Zelenka de Zumaya
Galant (c. 1720)	Arne C. P. E. Bach J. C. Bach W. F. Bach F. Benda Boccherini Boyce F. Brixi Corrette Frederick the Great Galuppi Hasse Padre Martini Mysliveček Mondonville L. Mozart Quantz Sammartini Soler Telemann Zach
Musical Instruments	bassoon carillon cello clavichord cornett double bass drum flute fortepiano guitar harp harpsichord lautenwerck lute oboe organ recorder sackbut theorbo trumpet viol viola violin violone
Ensembles	Baroque orchestra Basso continuo
Musical forms	aria ballet cantata canon canzona canzonetta capriccio chaconne 17th-century 18th-century chorale concertato concerto concerto grosso dance courante gavotte gigue minuet passacaglia sarabande fantasia folia fugue grand motet madrigal mass opera prelude recitative ricercar sonata da chiesa suite
Other topics	Baroque pop Chamber pop British Baroque music counterpoint early music revival festivals ensembles historically informed performance Figured bass Folk baroque monody notes inégales polychoral style Style brisé Galant Schemata
Background	Common practice period Baroque Architecture Dance Painting Sculpture
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Latest revision as of 11:46, 16 December 2024

Etymology and definition

History

Early baroque music (1580–1650)

Middle baroque music (1630–1700)

Late baroque music (1680–1750)

Onset

Wider adoption

Transition to Classical era

Timeline of composers

Instruments

Strings

Woodwinds

Brass

Keyboards

Percussion

Styles and forms

Dance suite

Other features

Genres

Vocal

Instrumental

Notes

Sources

Further reading

External links