{Baroque Music [continued]}[5th February 1991]

[Redbook8:213][19910205:1412c]{Baroque Music [continued]}[5th February 1991]

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[continued]

‘The expanded vocabulary allowed for a clearer distinction between sacred and secular music as well as between vocal and instrumental idioms, and national differences became more pronounced. The tonal organisation of music evolved also, as the mediaeval modes that had previously served as the basis of melody and harmony were gradually replaced, during the 17^th century, by the system of tonality dominating Western music until about 1900: a system based on contrasting keys, or sets of interrelated notes and chords deriving from a major or minor scale, Viewing the period as a whole, two additional innovations most clearly distinguish it from the preceding Renaissance: concerto, or the contrast, combination and alternation of voices and instruments, and basso continuo (thorough bass, figured bass), an accompaniment consisting of a low-pitched instrument, such as a violincello or a bassoon, combined with a keyboard instrument or lute capable of harmonic elaboration.’*

*– ibid [Encyclopaedia Britannica 24]: 556

(immediately following previous extract)

[in last previous entry]

[Extract from ‘The History of Western Music’ ‘The tonal era and after: 1600 to the present’ ‘THE BAROQUE ERA’]

[This extract is repeated with different emphases at [Redbook8:220][19910205:1412k]{The History of Western Music [continued (9)]}[5th February 1991]]

19910206

Now see the whole article [The History of Western Music, in the ms, parts of which are in the ts] extracted below:–

[– referred to in next previous entry]

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