W. W. Norton & Company | The Enjoyment of Music, 10e

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1The Elements of Music
- Prelude Listening to Music Today
- Ch. 1 Melody: Musical Line
- Ch. 2 Rhythm and Meter: Musical Time
- Ch. 3 Harmony: Musical Space
- Ch. 4 Musical Texture
- Ch. 5 Musical Form
- Ch. 6 Musical Expression: Tempo and Dynamics
2Musical Instruments and Ensembles
- Ch. 7 Voices and Musical Instrument Families
- Ch. 8 Western Musical Instruments
- Ch. 9 Musical Ensembles
- Ch. 10 Style and Function of Music in Society
3The Middle Ages
- Ch. 11 The Culture of the Middle Ages
- Ch. 12 Sacred Music in the Middle Ages
- Ch. 13 Secular Music in the Middle Ages
4The Renaissance
- Ch. 14 The Renaissance Spirit
- Ch. 15 Renaissance Sacred Music
- Ch. 16 Renaissance Secular Music
- Transition I From Renaissance to Baroque
5The Organization of Musical Sounds
- Ch. 17 Musical Systems
- Ch. 18 The Major-Minor System
6The Baroque and the Arts
- Ch. 19 The Baroque Spirit
- Ch. 20 Main Currents in Baroque Music
7Vocal Music of the Baroque
- Ch. 21 Baroque Opera
- Ch. 22 Barbara Strozzi and the Italian Cantata
- Ch. 23 Bach and the Sacred Cantata
- Ch. 24 Handel and the Oratorio
8Instrumental Music of the Baroque
- Ch. 25 The Baroque Sonata and Concerto
- Ch. 26 The Baroque Suite
- Ch. 27 Other Baroque Instrumental Forms
- Transition II To the Age of Enlightenment
9Expanded Elements of Form
- Ch. 28 The Development of Musical Ideas
- Ch. 29 Classical Forms
10The Classical Spirit
- Ch. 30 Classicism in the Arts
- Ch. 31 Classicism in Music
11Classical Chamber Music
- Ch. 32 Eighteenth-Century Chamber Music Style
- Ch. 33 Mozart and Chamber Music
12The Classical Symphony
- Ch. 34 The Nature of the Symphony
- Ch. 35 Haydn and the Symphony
- Ch. 36 Beethoven and the Symphony in Transition
13The Eighteenth-Century Concerto and Sonata
- Ch. 37 The Classical Concerto
- Ch. 38 The Classical Sonata
14Choral Music and Opera in the Classical Era
- Ch. 39 Sacred Choral Music
- Ch. 40 Classical Opera
- Transition III From Classicism to Romanticism
15The Romantic Movement
- Ch. 41 The Spirit of Romanticism
- Ch. 42 Romanticism in Music
16Nineteenth-Century Art Song
- Ch. 43 The Romantic Song
- Ch. 44 Schubert and the Lied
- Ch. 45 Robert Schumann and the Song Cycle
17The Nineteenth-Century Piano Piece
- Ch. 46 The Piano and Its Literature
- Ch. 47 Chopin and Piano Music
- Ch. 48 Liszt and the Rise of the Performer/Composer
- Ch. 49 Clara Schumann: Pianist and Composer
- Ch. 50 Louis Gottschalk and Piano Music in America
18Romantic Program Music
- Ch. 51 The Nature of Program Music
- Ch. 52 Berlioz and the Program Symphony
- Ch. 53 Musical Nationalism
19Absolute Forms in the Nineteenth Century
- Ch. 54 The Romantic Symphony
- Ch. 55 Brahms and the Late Romantic Symphony
- Ch. 56 Dvorak as a Symphonist
- Ch. 57 The Romantic Concerto
- Ch. 58 Felix Mendelssohn and the Concerto
- Ch. 59 Amy Beach and Classical Composition in America
20Choral and Dramatic Music in the Nineteenth Century
- Ch. 60 Romantic Choral Music
- Ch. 61 Fanny Mendelssohn Hensel and the Romantic Part Song
- Ch. 62 Romantic Opera
- Ch. 63 Verdi and Italian Opera
- Ch. 64 Wagner and the Music Drama
- Ch. 65 Exoticism in Opera
- Ch. 66 Puccini and Late Romantic Opera
- Ch. 67 Tchaikovsky and the Ballet
21The Impressionist and Post-Impressionist Eras
- Transition IV The Post-Romantic Era
- Ch. 68 Debussy and Impressionism
- Ch. 69 Ravel and Post-Impressionism
22The Early Twentieth Century
- Ch. 70 Main Currents in Early-Twentieth-Century Music
- Ch. 71 New Elements of Musical Style
- Ch. 72 Stravinsky and the Revitalization of Rhythm
- Ch. 73 Schoenberg and the Second Viennese School
- Ch. 74 Berg and Early-Twentieth-Century Opera
- Ch. 75 Webern and Serial Technique
23Twentieth-Century Nationalism
- Ch. 76 Bela Bartok and the European Tradition
- Ch. 77 American Traditions: The Music of Charles Ives and William Grant Still
- Ch. 78 Nationalism in the Americas: Aaron Copland and Silvestre Revueltas
24Popular Styles
- Ch. 79 Ragtime, Blues, and Early Jazz
- Ch. 80 The Swing Era and Beyond
- Ch. 81 Musical Theater
- Ch. 82 Rock and the Global Scene
25The New Music
- Ch. 83 New Directions
- Ch. 84 The New Virtuosity of the Modern Age
- Ch. 85 Contemporary Composers Look to World Music
- Ch. 86 Music for Films
- Ch. 87 Technology and Music
- Ch. 88 Some Current Trends

Chapter 21: Baroque Opera

Study Plan

"Opera is the delight of Princes." —MARCO DA GAGLIANO

Key Points

The most important new genre of the Baroque era was opera, a large-scale music drama that combines poetry, acting, scenery, and costumes with singing and instrumental music.
The principal components of opera include the orchestral overture, solo arias (lyrical songs) and recitatives (speechlike declamations of the text), and ensemble numbers, including choruses. The librettist writes the text of the opera.
The early Baroque master Claudio Monteverdi wrote the operas Orfeo, based on mythology, and The Coronation of Poppea, based on Roman history. Monteverdi helped establish the love duet as a central component of opera.
The English composer Henry Purcell wrote Dido and Aeneas, based on The Aeneid, a Roman epic by Virgil.
George Frideric Handel is known for his opera seria (serious Italian opera), dramatic works that treat heroic or tragic subjects.

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