Chapter Nine: The Late Baroque PDF

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Chapter Nine Notes: The Late Baroque Listen (9th edition) by Kerman and Tomlinson

[9.1] Absolutism and the Age of Science: Introduction:  As previously stated, the period between 1600 and 1750 is referred to as Baroque.  This period was also known as the Age of Absolutism as many kings believed that it was by God that they were meant to be rulers with total and unlimited power.  In addition to this, this was known as the Age of Science to some because of the scientific breakthroughs such as the invention of calculus, the telescope, the microscope and the introduction of critical thinking inspired by experimentation and proof.  These two ages affected the Baroque period either through extravagance and pomp or calculations. Art and Absolutism:  Rulers in Europe tended to sponsor the arts as far back as ancient times but sponsorship rose to new heights during the 17th century and one state loomed over any other in that respect: France under Louis XIV.  All of French life revolved around the royal court, with the brilliance and grandeur of much Baroque art deriving from its political function.  Art was meant to impress as exhibited by the massive ceiling paintings of the Versailles palace. The Music of Absolutism:  The nobility throughout the era maintained a variety of instrumentalists for activities such as trumpeters for their battles, horn players for their hunts and orchestras for entertainment.  The main musical feature of Baroque absolutism was the opera, but operas of this time were indirect tributes to the glory and virtue of those who paid for them.

Chapter Nine Notes: The Late Baroque Listen (9th edition) by Kerman and Tomlinson

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Operas flattered princes while stressing their power and wealth.

Art and Theatricality:  Opera was invented in 1600 in Italy and is among the most prominent highlights along with Shakespeare in England, Racine in France and Lope de Vega in Spain.  The theater is first and foremost a place where strong emotion is on display and it was this more than anything that fueled the Baroque fascination with it. Science and the Arts:  Science had a greater affect on people outside of the realm of absolutism such as the Dutch who were citizens of free cities.  Artists began taking new interests in scientific observation and this was reflected in the precise depiction of detail along with greater analysis of lighting.  Human control over nature is also symbolized through Baroque formal gardens with their regulations strictly according to geometric plans. Science and Music:  Scales began to be tuned, or tempered, more exactly than before which allowed for the availability of all the 24 major and minor scales to composers for the first time.  Regularity became ideal in rhythm and a tendency towards a clearly ordered, even schematic plans in musical form.

Chapter Nine Notes: The Late Baroque Listen (9th edition) by Kerman and Tomlinson

[9.2] Musical Life in the Early 18th Century: Introduction:  Composing music was regarded as a craft but rather than fulfilling a calling, they were fulfilling a demand on a particular requirement.  This resulted in less individualized pieces and more satisfactory examples of Baroque music.  There were three institutions where a composer could practice their craft and make a living: the church, the court and the opera house. The Church:  In the church, organists themselves typically had to improvise or write out music to accompany certain portions of the church services.  Only important occasions, such as a Catholic Mass for the installation of an archbishop, required elaborate music scored for chorus.  Church musicians were also responsible for training the boys who sang in their choir, often in special choir schools. The Court:  Under the patronage of kings or members of the nobility, musicians worked entirely at the whim of their masters but they could still count on a steady demand for their services and a pension.  Conditions typically varied depending on the ruler's taste.  Court musicians typically kept better in touch with musical developments than their church counterparts as they were required to travel with their employers. The Opera House:  Composers typically conducted their own operas and it was up to them to keep the singers supplied with music that showed off their talent as the audiences were alert to the most exciting new singers.

Chapter Nine Notes: The Late Baroque Listen (9th edition) by Kerman and Tomlinson

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However, with this often came a new composer to satisfy the newer singers.  Opera house composers promised great reward but it was unpredictable.

[9.3] Style Features of Late Baroque Music: Introduction:  Thorough, methodical qualities were central to the Baroque style.  Much Baroque composition consisted of inspired repetition and variation as composers preferred homogeneity over contrast in rhythm, dynamics, etc. Rhythm:  Music in the period played distinctive rhythms off against a steady beat, with the meter very often standing out due to emphasis from certain instruments in the ensemble.  In addition to this, a piece could be expected to change chords every measure or another set interval. Dynamics:  Dynamics was another steady feature of the Baroque style.  This was because composers infrequently wrote indications for dynamic and when they did, it usually lasted for the whole section and sometimes the whole composition.  Gradual changes in dynamics rarely occurred with abrupt contrasts being preferable. Tone Color:

Chapter Nine Notes: The Late Baroque Listen (9th edition) by Kerman and Tomlinson

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Distinctive and attractive sounds emerged from this period, including the harpsichord, the bright organ, and the virtuoso recorder.  A significant amount of music was written to allow for multiple or alternative performing forces.

The Baroque Orchestra:  Instruments of the violin family made up the core of the Baroque orchestra with keyboard instruments being added for secular or church music.  Woodwinds or brass were added (but not permanent for orchestras) for special occasions such as a military victory. Melody:  Baroque melody tended towards complexity as composers liked to push melodies to the very limits of ornateness and luxuriance.  As a result, Baroque melodies twisted and turned in an intricate way and could extend over two octaves.  One recognizable feature of these melodies was their frequent use of sequence, meaning the melody catches a simple gesture and repeats it again at different pitches as it moves forward. Ornamentation:  Ornamentation is known as the improvisation of melodic extras in the arias Opera singers sang night after night.  Audiences were thrilled when singers or instrumentalists improvised fast, very high or low music. Texture:  Polyphony was standard in Baroque music even with many pieces that consisted only of melody and bass because of the intricacy of the bass part.  Pieces were very dense as every part moved to fill empty space with their respective complexity. The Continuo:

Chapter Nine Notes: The Late Baroque Listen (9th edition) by Kerman and Tomlinson

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The polyphony was still supported by a scaffold of harmony appearing in the universal practice of the continuo; this is simply the bass part linked to a series of chords usually performed by an organ or harpsichord.  Composers typically did not write the chords out in detail, requiring a certain amount of quick, on the spot improvisation to realize to continuo.

Musical Form:  Two factors contributed to clarity and regularity of the musical forms of the Baroque period: the patronage system and the scientific spirit of the age.  The patronage system affected the form because when music was ordered, it was expected to be finished very soon after, forcing composers to rely on formulas that could be applied quickly and efficiently.  The spirit of the age also affected the form through composers who wished to map the whole range of a piece and fill it systematically in an orderly and logical way.  This was based on the conviction that musical time could be encompassed and controlled at will, an attitude very similar to the scientists of the day.

Chapter Nine Notes: The Late Baroque Listen (9th edition) by Kerman and Tomlinson

[9.4] The Emotional World of Baroque Music: Analyzing the Emotions:  Composers of the time period reflected emotion in their works but not their own as would be expected.  Instead they attempted to isolate and analyze emotion in general and depict them consistently.  As the rhythms and themes are repeated, the music intensifies a sing strong feeling, a sentiment which fit in very well with the Baroque fascination with theater....