{The History of Western Music [continued (11)]}[5th February 1991]

[Redbook8:221][19910205:1412m]{The History of Western Music [continued (11)]}[5th February 1991]

.1412

[continued]

[Highlighted & annotated extract from ‘The History of Western Music’ ‘The tonal era and after: 1600 to the present’ ‘THE BAROQUE ERA’ ‘The spirit of the Baroque’]

*‘Originally used in a derogatory sense of referring to something bizarre, degenerate and abnormal, the term Baroque grasually acquire a positive connotation for the grandiose, dramatic, energetic spirit in art that prevailed during the period from about 1600 to about 1750.** The new spirit required a vastly expanded musical vocabulary, and a rapid evolution of new techniques occurred, particularly in vocal music. Two distinct musical styles were recognised.*** One, the prima prattica (or stile antico), was the universal style of the 16^th century, the culmination of two centuries of adherence to Flemish models. The other, called seconda prattica, or stilo moderno, referred to the new theatrical style emanating from Italy.

****‘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.’

#***

*{2048m~G~1536}

**{2048s~R~1792}

***{2 styles}

{

↑ ↑

G~

}

****{↓c[ontra]?}

[Unclear to what this refers]

#{2048m~s~|G~R~1664}

#*{[2048]s~C|R~C1920}

#**{ie 2048s~|R~ 1/8th}

#***[Encyclopaedia Britannica 24: 556]

[Underlining per ms; italics as in source]

[This extract previously reproduced with different emphases at [Redbook8:212][19910205:1412b]{Baroque Music}[5th February 1991]&f]

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