Download Music in the Baroque Era, from Monteverdi to Bach. by Manfred F Bukofzer, Manfred F Bukhofzer PDF

By Manfred F Bukofzer, Manfred F Bukhofzer

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The change to triple meter always coincides with an accelerated tempo because the three beats of the new meter take only the same time as the two beats of the preceding meter. Early Baroque in Italy 25 motives, the purpose of emphatic intensification. Gabrieli's style was on the whole still contrapuntal, although the many-voiced settings tended toward a chordal, though not yet tonal, conception of voice-leading. With the increase of voices the harmonies became more and more static, but they were vivified by cascades of figuration and coalesccnt imitations within a stable chord.

THE PHASES OF BAROQUE MUSIC The music of the baroque era covers such contrasting figures as Monteverdi and Bach, or Peri and Handel. What these composers have in Renaissance Versus Baroque Music 17 common seems rather insignificant in the light of what separates them. Yet what they share are, besides minor traits, the recitative and the continue, two fundamental devices of baroque music. In their artistic application, however, the differences are again more important than the similarities. Only the internal history of the baroque era can offer a satisfactory explanation of the striking developments that unfold in the span between Gabrieli and Handel.

As a collection by Salomone Rossi (1602) shows, the continuo mad- one of the happiest and most influential innovations of monodic publications. It flourished half of the century, especially in Venice with Grandi with rigal arose almost coincidentally throughout the and Rovetta; 20 first in The continuo edition. Rome, where the old madrigal survived longer than per- of all but the last six madrigals has been omitted in the complete Music in the Baroque Era 36 and Tarditi; and in other haps any other center, with Anerio, Sances, last two may be singled The and Priuli.

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