基本説明
Among the issues receiving special consideration are performance practice, musical rhetoric, and the role of women as both composers are performers. An accompanying anthology of scores contains new editions of many of the works discussed.
Full Description
Ideal for undergraduate music majors, graduate students in music, and interested musicians and instructors, this introductory text covers European music from 1600 through 1750. In contrast to other books on the subject-which focus on historical information instead of on the music itself-Music of the Baroque offers a focused examination of approximately fifty selected works from several of the principal traditions of the period. It discusses representative works from each tradition, placing them within their larger historical contexts. Music of the Baroque first considers vocal works, both sacred and secular, and then looks at instrumental music. It offers models for both musical criticism and analysis in a variety of compositional styles. The book also provides substantial discussions of original instrumentation and performance practices for many works. Schulenberg analyzes familiar works like Monteverdi's Orfeo and a Bach cantata and also discusses lesser-known compositions-including several works by women composers. The opening and closing chapters on late Renaissance and galant music provide bridges to earlier and later periods of European music history. Music of the Baroque is enhanced by several pedagogical aids including synopses of operatic works, biographical timelines for major composers, numerous illustrations, musical examples, and analytical tables. Technical terms are highlighted the first time they appear in the text, and carefully formulated definitions of each new concept are provided.
Contents
Preface; 1. INTRODUCTION; Music History, 1600-1750: Some Basic Ideas; Historical Background: Western Europe 1600-1750; Music in European History 1600-1750; The Place of Music and Musicians in Society; Performance Practices; 2. A SIXTEENTH-CENTURY PROLOGUE: MOTET AND MADRIGAL; The Late-Renaissance Motet: Palestrina and Lassus; The Madrigal: Gesualdo and Monteverdi; 3. TRANSISTIONS AROUND 1600; Some General Developments; Instruments; Monody; 4. MONTEVERDI AND EARLY BAROQUE MUSICAL DRAMA; Claudio Monteverdi; Monteverdi's Orfeo; The Combattimento di Tancredi e Clorinda; Venetian Opera; 5. LULLY AND FRENCH MUSICAL DRAMA; The French Style; Lully's Armide; 6. SECULAR VOCAL MUSIC OF THE LATER SEVENTEENTH CENTURY; Barbara Strozzi; Alessandro Scarlatti and the Later Cantata; English Vocal Music in the Later Seventeenth Century; 7. SEVENTEENTH-CENTURY SACRED MUSIC; Sacred Music in Venice: Giovanni Gabrieli; Sacred Music in Germany: Heinrich Schutz; Seventeeth-Century Oratorio; 8. LATE-BAROQUE OPERA; Handel; Rameau; 9. LATE-BAROQUE SACRED MUSIC; Johann Sebastian Bach; Handel: Jephtha; 10. BAROQUE KEYBOARD MUSIC I: TOCCATA AND SUITE; Keyboard Instruments of the Seventeenth and Eighteenth Centuries; The Uses of Keyboard Music; Baroque Keyboard Music in Italy; Baroque Keyboard Music in France and Germany; 11. BAROQUE KEYBOARD MUSIC II: FUGUES, PIECES, AND SONATAS; Later Baroque German Keyboard Music; Eighteenth-Century Keyboard Music in France; Other Eighteenth-Century Keyboard Composers; 12. BAROQUE MUSIC FOR INSTRUMENTAL ENSEMBLE: THE SONATA; The Chief Ensemble Instruments of the Baroque; Types of Baroque Music for Instrumental Ensemble; The Baroque Sonata; Biber; Corelli; 13. THE BAROQUE INSTRUMENTAL CONCERTO; Corelli and the Concernto Grosso; The Solo Concerto; J.S. Bach and the Concerto; 14. A MID-EIGHTEENTH CENTURY EPILOGUE: THE GALANT STYLE; The Galant Style; Telemann; Carl Philipp Emanuel Bach; BIBLIOGRAPHY; INDEX
