Baroque Music

Baroque Music

The course will begin with a review of those aspects of late Renaissance music that prepared the radical stylistic changes and new genres of 1600. Our examination of the origins of Baroque style will begin in Italy with the emergence of the “concertoâ€?principle (Giovanni Gabrieli and the Venetian School) and the nuove musiche of early 17th-century masters including Monteverdi and Caccini. We will consider Heinrich Schütz’s role in the spread of the new Italian manner across the Alps to other parts of Europe. Principal instrumental genres â€?the concerto, the sonata, the suite, variations â€?will be examined through examples drawn from the works of Torelli, Corelli, Vivaldi, Frescobaldi, Biber, and others.

Resistant to Italian influence, the musical styles and genres that flourished in France will also be explored, as well as the reasons behind France’s self-imposed stylistic insularity. We will survey Lully’s contributions to the tragédie lyrique, the sacred and secular vocal works of Charpentier, French instrumental genres (the Couperins and others) and associated performance practices, and the role of the French court in the establishment and maintenance of a national style. The course will conclude with the music of Rameau, Telemann, Handel, and J.S. Bach, whose works variously display the climax of Baroque complexity, a fusion of national styles, and the beginnings of a new Classical simplicity. (The ability to read music is not a requirement for this course, but scores will be available during class for score readers. Although not a prerequisite, this course is a continuation of “Music of the Late Middle Ages and Renaissance.â€?

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