Present a Ion Bar

8/6/2019 Present a Ion Bar

1/102

BAROQUE ERA

1600-1750

Mark Kevin F. Tengco

III-20

BSE Music Education


2/102


3/102

Enter


4/102

THE BAROQUE ERA (1650-1750

PRE - MENU


5/102

RELIGION AND SPIRITUALITY

1618 - 1648 the mounting war between

Protestants and Catholics

Early 17th

century English Puritans brokeaway from church of England; called

themselves pilgrims. Life based on Bible.

Mainly were poor farmers and uneducated

people.

King James Bible was publish in 1611.

PRE-MENU


6/102

SCIENCE AND TECHNOLOGY

Galileo Galilei discovered a number of naturallaws (for example, uniform accelerated

motion, gravity and oscillation) after a series

of experiments with pendulums, inclined

planes, and projectiles.

also invented the microscope, constructed a

telescope, and observed the planets during

this period

the "father of modern astronomy," as the

"father of modern physics," and as the "father

of science."

N

E

X

T


7/102

Johannes Kepler engaged in the study of

astronomy and developed the laws ofplanetary motion in 1609.

Rene Descartes, Blaise Pascal, Pierre de

Fermat and Isaac Newton developed thefoundations for analytic geometry,

probability, and integral calculus

Robert Boyle discovered the laws of

pressure. NEX

T


8/102

William Harvey studied the

circulation of blood and the functionof the heart.

Santorio Santorii measured human

body temperature with his invention,the thermometer

Other inventions of the period include

the syringe, slide rule, barometer, wind

gauge, pressure cooker, tuning fork,

and steam engine.PRE-MENU


9/102

PAINTING SCULPTURE ARCHITECTURE

PRE-MENU


10/102

BACK


11/102

BACK


12/102

MAIN MENU

MUSICAL

CHARACTERISTICS

VOCAL

FORMS INSTRUMENTAL

FORMS

COMPOSERS

HISTORICAL

BACKGROUND


13/102

The English word baroque is derived from theItalian barocco, meaning bizarre, thoughprobably exuberantwould be a better

translation more accurately reflecting thesense.

originated in the 1860s to describe the highlydecorated style of 17th and 18th centuryreligious and public buildings in Italy, Germanyand Austria

HISTORICAL BACKGROUND

N

E

X

T


14/102

today the term baroque has come to refer to a

very clearly definable type or genre of music

which originated, broadly speaking, around1600 and came to fruition between 1700 and

1750.

Listen to musicofthe 1200s and 1300s.It's

relatively primitive in terms of melody and

harmony.

If we move to the 1500s we find a great

difference, as Italian music began to blossomand produced the wonderful melodies and

surprisingly sensitive poetry which

accompanied them - or vice versa.

N

E

X

T


15/102

A major theme underlying music at that time

however was the exploration ofform

There was still so much new to discover: new

melodic lines and harmonic progressions to be

explored, new combinations of instruments,

and new forms in music such as the fugue,canon, and variations on a bassline, a popular

tune or a chorale.

As the 1600s progressed, so these differentmusical forms took on definite shape, and the

period from 1700 to 1750 can clearly be seen

as the "high baroque".

N

E

X

T


16/102

In north Germany and Holland, composers

such as Froberger, Kerll, and particularly

Dietrich Buxtehude were concentrating mainlyon the art of counterpoint, especially the

fugue.

organ and voice were the major elements.

At the other end of Europe, in Rome, the

instrumental forms of the sonata and concerto

were formalized.

GEOGRAPHICAL INFLUENCES

N

E

X

T


17/102

Every period in music has certain recognizable

clichs, and much of what is typical in baroque

music, specific cadences and snatches ofmelody, can be traced back to one Arcangelo

Corelli, who seems to have influenced just

about everybody, from his Italian

contemporaries and students to Handel whosojourned in Rome from 1704 to 1710.

"Italian" influences spread northwards while

the stricter north German forms flowedsouthwards, intermingling to produce a

common baroque vocabulary. NE

X

TMAP


18/102

Vivaldi, Geminiani, Corelli, Scarlatti, Handel

and many others all met one another or werethoroughly conversant with one another's

music

Bach owned and/or copied the music of many

of his contemporary composers, often re-

writing them for different instruments. Indeed

this was a recognized method of study widely

practiced in baroque times.

N

E

X

T


19/102

Many instruments reached the peak of their

development at the height of the baroque era

the violins and other stringed instruments ofthe baroque Italian masters are the prized

possessions of today's professional string

players.

The baroque age favored the harpsichord, in

which the strings are plucked and the player

cannot vary the tone through finger touch.

INSTRUMENTS

N

E

X

T


20/102

Interestingly however it was the organ builder

Gottfried Silbermann, working with Bach, who

contributed substantially to the development

of the piano.

N

E

X

T


21/102

"A compositionmeetsthe demandsofgood

tasteifitis wellconstructed, avoidstrivialities

as wellas willfuleccentricities, aimsatthesublime, butmovesinanaturalordered way,

combiningbrilliantideas withperfect

workmanship.- WordsofbaroquecomposerandtheoristJohann Joseph Fux

Music which is melodious yet so constructed

as to reflect the "perfect order" ofthe

universe: that is the essence ofthe baroque. NE

X

T


22/102

Arcangelo Corelli

BACK


23/102

Antonio Vivaldi

BACK


24/102

BAROQUE VIOLIN

BACK


25/102

STRING

FAMILY

BACK


26/102

HAPSICHORD BACK


27/102

SILBERMANN ORGANBACK


28/102

George Frideric HandelBACK


29/102

Johann Sebastian BachBACK


30/102

Fugue and counterpiont

Sonata and concerto

German

influence

Italian

influence

BAROQUE

BACK


31/102

Johann Josef Fux

BACK


32/102

EARLY PHASE (1600-1640)

Favored homophonic texture over the polyhonic

texture typical of the Renaissance Music.

Words could be projected smoothly by using only

one melody with chordal accompaniment.

Used dissonances with freedom

Contrast of sound were stressed, one or more solosinger were against a chorus or voices against

instruments.

THREE PHASES OF BAROQUE ERA

N

E

X

T


33/102

MIDDLE PHASE (1640 1680)

New musical style spread to Italy.The church modes gave way to Major

and Minor Scales.

By 1680, major and minor scalesbecome the basis of most composition.

New importance of instrumental music

Many compositions were written for

specific instruments; the violin family

being most popularN

E

X

T


34/102

LATE PHASE (1680-1750)

Yield most of the Baroque Music heard today. Emphasis of the Dominant Chords attraction to

the tonic arose in this period

Intrumental music became as important as vocal

music for the first time.

Late baroque composers glorifies polyphony

BAROQUEwill pertain to the LATEBAROQUEPHASE

MAIN MENU


35/102

Scarlatti Velasco

BACK


36/102

Characteristics of Baroque Music

BACK

Unity of Mood

Terraced

Dynamics

Chords and Basso

Continuo

Melody

Texture

Rhythm

Words and

Music

Baroque

OrchestraBaroque Forms

Baroque Opera


37/102

UNITY OF MOOD

One basic mood what begins joyfully will

remain joyfully all throughout.

Joy, grief and agitation were represented (atthis times they were called affections)

back


38/102

RHYTHM

Continuity of rhythm

Beat is emphasize

back


39/102

MELODY

Opening melody will be heard again and again allthroughout the piece

Continuous expanding, unfolding and unwinding

of melody Repetition at higher or lower pitches.

Elaborate and ornamental and not easy to sing

Dynamic expansion rather than balance andsymmetry

Short opening phrase is often followed by longerphrase with an unbroken flow of rapid notes

back


40/102

TERRACED DYNAMICS

Volume is constant at a time

Sudden shift of dynamics is called terraced

dynamics

back


41/102

TEXTURE

Predominantly polyphonic in texture

Imitation of various lines

A piece might shift in texture especially invocal music, were the changes of mood in the

words demand musical contrast.

Depending on the baroque composers; Bach

polyphonic, Handel contrast between

polyphonic and homophonic

back


42/102

CHORDS AND THE BASSO CONTINUO

Chords become increasingly important in the

period

Bass part together with numbers which

specify the chords to be played above it

Played by at least two instruments: organ of

harpsichord

back


43/102


44/102

BAROQUE ORCHESTRA

Evolved from string family. Small orchestra 10 to 30 or 40 players

Basso continuo is the nucleus and upper strings

Trumpets and Timpani only joins the orchestra

during festive. Baroque trumpet had no valves but was given

rapid, complex melodic lines to play in higherregister.

Trumpeter was the aristocrat of the Orchestra difficulty and royalty.

Composers love to experiment by combiningdifferent instruments.

back


45/102


46/102

BAROQUE OPERA

Camerata small group of nobles, poets andcomposers around 1575; it includes VicenzoGalilei, father of the astronomer Galileo.

They wanted to create a new vocal style modeledon the music of the ancient greek tragedy.

they also want to follow the rhythm andfluctuation of speech recitative

Euridice Jocopo Peri; earliest opera to bepreserve; performed in 1600 in Florence. Composed for the wedding of King Henry IV of France

and Marie de Medici.

NEXT


47/102

7 years later, \Monteverdi composed Orpheus

first GREAT opera- for the court of Gonzaga family

in Mantua. Ceremonial occasions at court and was designed

to display magnificance and splendor.

Greek Mythology and Ancient History

Marked the rise ofvirtuososingers.

Castratomale singer who has been castrated

during Puberty.

combination of lung power and vocal range of awoman.

Agility, breath control, and unique sound intrigued

listeners

NEXT


48/102

Baroque audiences were more interested invocal virtuosity than dramatic realism

Secco Recitatives recitatives that isaccompanied by a basso continuo.

Accompanied Recitatives supported by

orchestra ABA form typical baroque aria form

Da Capo from the beginning

By combining virtuosity, nobility andextravagance, baroque opera perfectlyexpressed the spirit of a grand age.

MAIN MENU


49/102


50/102

OPERA

Drama that is sung to a orchestralaccompaniment

Fusion of music, acting, poetry, dance, scenery,

and costumes. Performers who can sing and act simultaneously

Supers / extras additional effect to the play

Associated with high social status

Mainly for aristocratic entertainment

Libretto text of the opera librettist dramatist

BACK


51/102

VOICE RANGE

Coloratura Soprano Very high scales; canexecute rapid scales and trills

Lyric Soprano rather light voice; sings rolescalling for grace and charm

Dramatic Soprano full, powerful voice; iscapable of passionate intensity

Lyric Tenor relatively light; bright voice

Dramatic Tenor powerful voice; capable of

heroic expression Basso Buffo takes comic roles; Can sing very

rapidly

Basso Profundo very low range; powerful voice;takes roles calling for great dignity.

NEXT


52/102

Aria song for solo voice with orchestralaccompaniment; outpouring of melody that

expresses an emotional state; one notestretched over many notes; main attractionfor many opera

Recitative a vocal line that imitates the

rhythms and fluctuations of speech; words aresung quickly and clearly often in repeatedtones; one note to syllable, monologues anddialogues

Duets, trios, quartets, quintets, sextets.

Ensemble 3 or more singers

NEXT


53/102

Chorus generates atmosphere and makescomment on the action; tonal background for

soloist Dance ornamental interlude

Orchestra pit sunken area in front of the stage;full symphony orchestra but smaller stringsection;

Prompter the person who gives cues andreminds the singers of words or pitches if theymomentarily forget. prompter box

Overture or prelude short musical statementthat involves the audience to overall dramaticmoods.

BACK


54/102


55/102

PLOT

Orpheus, son of the God Apollo, is ecstaticallyhappy after his marriage to Eurydice. But his joyis shattered when his bride is killed by apoisonous snake. Orpheus goes down to Hadeshoping to bring her life back. Because of his

beautiful music, he is granted this privilege onthe condition that he not look back at Eurydicewhile leading her out of the underworld. During amoment of anxiety, however, Orpheus does look

back, and Eurydice vanishes. Nonetheless, thereis a happy ending, of sorts. Apollo pities Orpheus,and brings him up to heaven, where he can gazeeternally at Eurydices radiance in the sun andstars.

back


56/102

back


57/102


58/102

PLOT

Dido, queen of Carthage; and Aeneas, king of thedefeated Trojans.

After the destruction of his native Troy, Aeneas hasbeen ordered by the Gods to seek a site for building anew city. He sets out on the search with twenty-one

ships. After landing at Carthage, a north Africanseaport, Aeneas falls in love with Dido. A sorceress andtwo witches see this an opportunity to plot Didos fall.A false messenger tells Aeneas that the gods commandhim to leave Carthage immediately to renew his

search. Aeneas agrees but is desolate at the thought ofdeserting Dido. Aeneas still sails away; while in theport, Dido called Aeneas a hypocrite and sing a noble,deeply tragic lament and kills herself. The operaconcludes with the mourning of the chorus

BACK


59/102

BACK


60/102

CHORALE

Lutheran Church, Germany Or hymn tune sun in German Text

Easy to sing and remember, having one note to asyllable and moving in a steady rhythm

Tunes that has been composed in the sixteenthand seventeenth century or had been adaptedfrom folk songs and Catholic Hymns

The hymn melody was sung in the top part andsupported by three lower part.

Chorale Prelude played by the organist that is ashort composition based from the hymn that

reminded the congregation of the melody. BACK


61/102

BACK


62/102


63/102

Cantor/music editor had to provide church

cantatas for Sunday and holiday

Bach -295 cantatas; 195 in still existence

Cantata no. 140 Bachs best cantata (parable

of the wise and foolish virgins Matt. 25)

BACK


64/102

BACK


65/102

ORATORIO

Large-scale composition for chorus, vocal soloist,and orchestra

Narrative-text

No acting, scenery or costumes

Most oratorios are from biblical stories but theyare not intended for religious services

Longer than cantatas

First appeared in Italy in early 17th century

Musical dramatization of biblical stories andperformed in prayer halls called oratorios.

Messiah by Handel Most loved oratorioBACK


66/102

BACK


67/102


68/102

CONCERTO GROSSO AND RITORNELLO

FORM

Concerto Grosso a small group of soloist is

pitted against a large group of players called

the tutti

2-4 soloist against 8 20 or more musicians

Tutti-consist mainly of string instruments and

a harpsichord which plays the basso continuo

Several movements that contrast in tempo

and character: 1. fast, 2. slow, 3. fast

NEXT


69/102

The Concerto Grosso form is built on the

principle of contrasting two differently sized

instrumental groups. The smaller groupconsists of two violins and a cello, and the

larger of a string orchestra. Dynamic markings

in all the music of this period were based onthe terrace principle; crescendo and

diminuendi are unknown, contrasts between

forte and piano and between the large and

small string groups constituting the dynamic

variety of the scores.

NEXT


70/102

The first and last movements of concerto grossiare often in ritornelloform.

Based on alteration between tutti and solosection

Ritornello or refrain

A typical concerto grosso movement might beoutlined as follows: 1. a. tutti fritornello in homekey b. solo 2. a. tutti fritornello fragment b. solo3. a. tutti fritornello fragment b. solo 4. tutti f

ritornello in home key In contrast to tutti ritornello, solo section offers

fresh melodic ideas, softer dynamics, rapid scales,and broken chords.

BACK


71/102


72/102


73/102

THE BAROQUE SONATA

A composition in several movements for oneto eight instruments.

Trio sonatas three melodic lines, two high

ones and a basso continuo Played in homes, and even in churches; before

or after

Sonata da chiesa Church sonata; dignifiedcharacter and sacred performance

Sonata da camera chamber sonata; dance

like and intended for court performance NEXT


74/102

Instrumentation of the trio sonata, possibly

for commercial reasons, allowed some

freedom of choice. Nevertheless the mostfrequently found arrangement became that

for two violins and cello, with a harpsichord or

other chordal instrument to fill out theharmony. The trio sonata was the foundation

of the concerto grosso


75/102

BACK


76/102

THE FUGUE

A cornerstone in baroque music Can be written for group of instruments or voices

or for a single instrument like the organ orharpsichord

It is a polyphonic composition based from onemelody called the subject.

Different melodic lines or voices imitate thesubject

3,4 or 5 voices

The subject takes new meanings when shifted todifferent keys or combined with different melodic

and rhythmic ideas. NEXT


77/102

The subject is represented in two different

scales, the first time, it is based on the tonic

notes, but when the second voice representthe subject it is in dominant scale five scale

step higher than the subject; it is then called

the answer. Countersubject the subject in one voice is

constantly accompanied by another voice by a

different melodic idea; a constant companion

sometimes it appears with the subject,

below it or above it.

NEXT


78/102

Episodesa transitional section; offers newmaterial or fragments of the subject or

countersubjects; do not present the subjectentirely; it also lends variety to the fugue andmake reappearances of the subject soundfresh.

Streeto a subject is imitated before it iscompleted; one voice tries to catch the other.

Pedalpoint/organpoint a single tone,

usually in the bass, is held while the othervoices produces a series of changingharmonies against it.

NEXT


79/102

Single mood and a sense of continuos flow.

Can be written in independent works or as a

single movements within a larger

composition.

Very often an independent fugue is introduce

by a short piece called prelude

NEXT


80/102

FOUR PRINCIPLES OF FUGUE

1. It can be turned upside down, a procedure

known as inversion. If the subject moves

upwardby leap, the inversion will move

downwardthe same distance; vice versa;each interval in the subject is reversed in

direction.

2. The subject may be presented retrograde,that is, by beginning with the last note of the

subject and proceeding backward to the first.

NEXT


81/102

3. The subject may be presented in

augmentation, in which the original time

values are lengthened.

4. The subject may appear in diminution, with

shortened time values

BACK


82/102

BACK


83/102

THE BAROQUE SUITE

Dance inspired movements Solo, small groups or orchestra

Made up of movements that are written in thesame key but differ in tempo, meter and

character Allamande moderately paced (Germany)

Courante fast (France)

Gavotte moderate (France)

Sarabande slow and solemn (Spain) Gigue fast (England and Ireland)

Usually AABB form; tonic A dominant Abalanced by dominant B then ends in tonic B.

BACK


84/102

BACK


85/102

BAROQUE COMPOSERS

Arcangelo Corelli

Henry Purcell

Antonio Vivaldi George Friedrich Handel

Johann Sebastian Bach

Francois Couperin

MAIN MENU


86/102

Born in Fusignano, Italy, in1653

studied in Bologna, a

distinguished musical center "Founder of Modern Violin

Technique

"W

orld's First GreatViolinist

"Father of the ConcertoGrosso"

Arcangelo Corelli


87/102

His contributions can be divided three ways,

as violinist, composer, and teacher

first person to organize the basic elements of

violin technique.

His music was performed and honored

throughout all Europe; in fact, his was themost popular instrumental music

compositional output was rather small.

Concerti Grossi Opus 6 that Corelli reached hiscreative peak and climaxed all his musical

contributions.

Although Corelli was not the inventor of the


88/102

Although Corelli was not the inventor of theConcerto Grosso principle, it was he whoproved the potentialities of the form,popularized it, and wrote the first great musicfor it

Through his efforts, it achieved the same pre-

eminent place in the baroque period ofmusical history that the symphony did in theclassical period

Without Corelli's successful models, it would

have been impossible for Vivaldi, Handel, andBach to have given us their Concerto Grossomasterpieces.

Corelli's achievements as a teacher were again


89/102

Corelli s achievements as a teacher were againoutstanding. Among his many students wereincluded not only Geminiani but the famed

Antonio Vivaldi. It was Vivaldi who becameCorelli's successor as a composer of the greatConcerti Grossi and who greatly influenced themusic of Bach.

occupied a leading position in the musical life ofRome for some thirty years, performing as aviolinist and directing performances often onoccasions of the greatest public importance. Hisstyle of composition was much imitated and

provided a model, both through a widedissemination of works published in his lifetimeand through the performance of these works inRome


90/102

Corelli died a wealthy man on January 19,1713, at Rome in the 59th year of his life. But

long before his death, he had taken a place

among the immortal musicians of all time, and

he maintains that exalted position today.


91/102

TRIO SONATA IN EMINOR, OP. 3 NO. 7 (1689)


92/102


93/102

Born in 1659

finest and most originalcomposer of his day

As the son of a musicianat Court, a chorister atthe Chapel Royal, andthe holder of continuingroyal appointments until

his death, Purcellworked in Westminsterfor three different Kingsover twenty-five years.

Henry Purcell

d d h f hi l i i


94/102

devoted much of his talent to writing operas, orrather musical dramas, and incidental stage

music; but he would also write chamber music inthe form of harpsichord suites and trio sonatas

There is hardly a department of music, as knownin his day, to which Purcell did not contribute

with true distinction. His anthems were longsince accorded their place in the great music ofthe church; there are enough fine orchestralmovements in his works for the theatre to

establish him in this field; his fantasies andsonatas entitle him to honor in the history ofchamber music; his keyboard works, if lesssignificant in themselves, hold their place in the

repertory; his one true opera.


95/102

Dido and Aeneas, is an enduring masterpiece,

and his other dramatic works (sometimes

called operas) are full of musical riches. And,

most especially, Purcell's songs themselves

would be sufficient to insure his immortality.

His sensitivity to his texts has been matchedby few masters in musical history; when he

had worthy poetry to set, he could hardly fail

to produce a masterpiece.


96/102

born in Venice on March4th, 1678.

Though ordained a priestin 1703, according to his

own account, within ayear of being ordainedVivaldi no longer wishedto celebrate mass becauseof physical complaints

("tightness of the chest")which pointed to anginapectoris, asthmaticbronchitis, or a nervousdisorder.

Antonio Vivaldi

Th t ti f b V i i l


97/102

The reputation of baroque Venice as a musicalcentre was one of the highest in Europe, due

largely to its four conservatories of music Vivaldi was employed for most of his working

life by the Ospedale della Piet, generallyaccepted as being the best of the four

Ospedali, and many of his concerti wereindeed exercises which he would play with hismany talented pupils. The brilliance of somesolo writing in his "student exercise"concertos testifies to the extremely highstandard attained by "his" ladies.

Vi ldi' l ti hi ith th O d l b


98/102

Vivaldi's relationship with the Ospedale beganright after his ordination in 1703, when he was

named as violin teacher there. Until 1709,Vivaldi's appointment was renewed every yearand again after 1711. Between 1709 and 1711Vivaldi was not attached to the Ospedale.

Perhaps in this period he was already working forthe Teatro Sant' Angelo, an opera theater. He alsoremained active as a composer - in 1711 twelveconcertos he had written were published in

Amsterdam by the music publisher EstienneRoger under the title l'Estro armonico (HarmonicInspiration).

Vivaldi also wrote works on commission from


99/102

Vivaldi also wrote works on commission fromforeign rulers, such as the French king, Louis

XV - the serenade LaSena festeggiante(Festival on the Seine), for example. This workcannot be dated precisely, but it was certainlywritten after 1720.

In Rome Vivaldi found a patron in the personof Cardinal Pietro Ottoboni, a great musiclover, who earlier had been the patron ofArcangelo Corelli. And if we can believe Vivaldi

himself, the Pope asked him to come and playthe violin for him at a private audience.


100/102

suffering a severe economic downturn, he

resigned from the Ospedale in 1740, planning

to move to Vienna under the patronage of his

admirer Charles VI. His stay in Vienna was to

be shortlived however, for he died on July

28th 1741 "of internal fire" (probably theasthmatic bronchitis from which he suffered

all his life) and, like Mozart fifty years later,

received a modest burial.


101/102


102/102

Present a Ion Bar

Documents