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W. W. Norton & Company : College Books

Baroque Music

Contents

  • Chapter I: Introduction: Monarchy, Religion, and the Rhetoric of the Arts
    • Introduction
    • Monarchy and Nobility
    • Religion
    • The Rhetoric of the Arts
  • Chapter II: The Birth of Opera, Monody, and the Concerted Madrigal
    • Court Culture, Politics, and Spectacle in Florence
    • The First Operas
    • Le nuove musiche
    • Monody and the Serious Canzonetta in Naples, Rome, and Elsewhere
    • Seconda pratica and the Concerted Madrigal
    • Court Opera in Mantua, Florence, and Rome
  • Chapter III: New Genres of Instrumental Music in Italy
    • Frescobaldi, Lutenists, and Style Change in Harpsichord Music
    • Chordal Composition
    • Modal Composition
    • Church Organ Music in Early Seventeenth-Century Italy
    • The Violin and Italian Instrumental Ensemble Music
  • Chapter IV: Church Music in Italy, 1600–1650
    • Churches and Other Religious Institutions
    • Persistence of Traditions
    • The Small-Scale Sacred Concerto
    • Sacred Dialogues and Oratorios
    • Large-Scale Concerted Church Music
  • Chapter V: Stage, Instrumental, and Church Music in France to 1650
    • The Balet comique de la Royne
    • Types of Dance in Court Ballets, Other Spectacles, and Social Contexts in France
    • The air de cour
    • Lute Music
    • Harpsichord Music
    • Instrumental Ensemble Music
    • Organs and Organ Music
    • Vocal Music for Church
  • Chapter VI: Music in the Empire through the Thirty-Years War
    • The Italian Influx to the Empire and East
    • The Earliest Lutheran Composers to Assimilate New Italian Styles after 1600
    • Heinrich Schütz
    • Calvinist Music
    • Lutheran Organ Music
    • Froberger
    • Ensemble Music in the Empire
    • Stadpfeidern
    • The German Continuo Song
  • Chapter VII: Music in England under the First Stuart Kings and Commonwealth
    • Instrumental Ensemble Music in England
    • Lute and Harpsichord Music
    • Church Music under the Stuart Kings
    • Madrigals, Ayres, and Songs
    • The Masque at the Courts of the First Stuart Kings
    • Music, the English Civil War, and Commonwealth
  • Chapter VIII: The Diffusion of New Vocal Genres for Theater, Chamber, and Church in Italy, 1635-1680
    • The Spread of Opera from Rome
    • Venetian Theaters
    • Incogniti Operas
    • Venetian Opera Conventions
    • Venetian Arias
    • Florence, Naples, Genoa
    • The Spread of the Chamber Cantata
    • The Oratorio in Rome at Mid-Century
    • The Spread of the Oratorio throughout Italy
    • Changes in Liturgical Music in Italy
  • Chapter IX: Music at the Court of Louis XIV to the Death of Lully
    • Political, Economic, and Cultural Centralization in France
    • Musique de la Grande Écurie
    • Musique de la Chambre
    • The Chapelle Royale
    • Italian Opera at the French Royal Court
    • Spectacle as Propaganda at the Court of Louis XIV
    • The System of Royal Academies
    • The Beginnings of French Opera
    • Ballets de cour and Comèdies-Ballets
    • Tragédie en Musique
    • Lully’s Alceste
    • Lully’s Harmony
    • Music in the City of Paris in the Age of Louis XIV
  • Chapter X: Music in Spain, Portugal, and their Colonies
    • The Spanish Empire and Its Church
    • Latin Liturgical Music
    • The Villancico and Other Vernacular Church Music
    • Autos Sacramentales
    • Vocal Chamber Music
    • Stage Music
    • The Zarzuela
    • Keyboard Music
    • Harp and Guitar
  • Chapter XI: Music in the Empire during the Later Seventeenth Century
    • The New Lutheran Piety and the Religious Aria
    • Sacred Concertos for Solo Voice
    • Sacred Concertos for Several Voices
    • Chorale Concertos
    • Religious Vocal Music at the Catholic German Courts
    • Keyboard Music
    • Instrumental Ensemble Music
    • Seventeenth-Century Opera in the German Lands
    • German Music Theory
    • Summary
  • Chapter XII: Sonata and Concerto in Late Seventeenth-Century Italy
    • The Italian Trio and Solo Sonata in the Second Half of the Seventeenth Century
    • Arcangelo Corelli
    • The Normalized Harmonic Style
    • The Solo Sonata after Corelli
    • The Rise of the Concerto Grosso
    • The Bolognese Trumpet Sonata
    • The Solo Violin Concerto
  • Chapter XIII: England from the Restoration through the Augustan Age
    • Charles II and the Musical Institutions of His Court
    • Anthems and Services
    • Odes and Welcome Songs
    • Songs and Domestic Vocal Ensembles
    • Viols and Violins
    • Solo Keyboard Music
    • Plays with Music
    • Dramatick Operas
    • All-Sung Operas
  • Chapter XIV: Italian Vocal Music, ca. 1680–1730
    • The Neoclassical Reform of Italian Opera, ca. 1680–1706
    • "A Perfect Spritual Melodramma": The Italian Oratorio, ca. 1680–1730
    • The Chamber Cantata
    • Latin Church Music
    • Opera seria, part 1
    • "The Doctrine of the Affections"
    • Opera seria, part 2
  • Chapter XV. French Music from the War of the Grand Alliance to the End of the Regency
    • France Declines in the Theater of Europe
    • Italian Music: Rapprochement and Resistance
    • The cantate françoise
    • Vocal Church Music
    • Organ Music
    • Pièces de clavecin
    • Sonatas and sonades
    • Orchestral Music
    • The Harmonic Theories of Jean-Philippe Rameau
  • Chapter XVI: German Traditions and Innovations, ca. 1690–1750
    • The New Lutheran Cantata
    • Bach’s Cantatas
    • Protestant Oratorios and Passions
    • Handel’s Oratorios
    • Bach’s Passions and Oratorios
    • Bach’s Keyboard Works
    • Instrumental Ensemble Music
    • The End of an Era—The Legacy of the Baroque
  • Appendix: Rhetorical Figures that Are Frequently Mirrored in Music

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