"A History of Baroque Music is a detailed treatment of the music of the Baroque era, with particular focus on the seventeenth century. The author's approach is a history of musical style with an emphasis on musical scores. The book is divided initially by time period into early and later Baroque (1600-1700 and 1700-1750 respectively), and secondarily by country and composer. An introductory chapter discusses stylistic continuity with the late Renaissance and examines the etymology of the term "Baroque." The concluding chapter on the composer Telemann addresses the stylistic shift that led to the end of the Baroque and the transition into the Classical period."--Jacket.

Named a Library Journal Best Reference of 2023 - "Bravo! An invaluable source for scholars and concertgoers.” - Library Journal In the history of the Western musical tradition, the Baroque period traditionally dates from the turn of the 17th century to 1750. The beginning of the period is marked by Italian experiments in composition that attempted to create a new kind of secular musical art based upon principles of Greek drama, quickly leading to the invention of opera. The ending is marked by the death of Johann Sebastian Bach in 1750 and the completion of George Frideric Handel’s last English oratorio, Jephtha, the following year. The Historical Dictionary of Baroque Music, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 500 cross-referenced entries on composers, instruments, cities, and technical terms. This book is an excellent resource for students, researchers, and anyone wanting to know more about baroque music.

These five books explore not only the characteristics of the music and the lives and works of the major composers, but also many social aspects of each period. The books feature beautiful art illustrations and include study guides with activities accompanying the book sections, timelines, and composer summary charts. Grades 5-9.

Music in the Baroque World: History, Culture, Performance offers an interdisciplinary study of the music of Europe and the Americas in the seventeenth and first half of the eighteenth centuries. It answers calls for an approach that balances culture, history, and musical analysis, with an emphasis on performance considerations such as notation, instruments, and performance techniques. It situates musical events in their intellectual, social, religious, and political contexts and enables in-depth discussion and critical analysis. The companion web site provide links to scores and audio/visual performances, making this a complete course for the study of Baroque music. Features An interdisciplinary approach that balances detailed analysis of specific pieces of music and broader historical overview and relevance A selection of historical documents at the end of each chapter that position musical works and events in their cultural context Extensive musical examples that show the melodic, textural, harmonic, or structural features of baroque music and enhance the utility of the textbook for undergraduate and graduate music majors A global perspective with a chapter on Music in the Americas A companion score anthology and website with links to audio/video content of key performances and research and writing guides Music in the Baroque World: History, Culture, Performance tells stories of local traditions, cultural exchange, performance trends, and artistic mixing. It illuminates representative works through the lens of politics, visual arts, theology, print culture, gender, domesticity, commerce, and cultural influence and exchange.

The Companion to Baroque Music is an illuminating survey of musical life in Europe and the New World from 1600 to 1750. With informative essays on the social, national, geographical, and cultural contexts of the music and musicians of the period by such internationally known scholars as Peter Holman, Louise Stein, Michael Talbot, Julie Anne Sadie, Stanley Sadie, and David Fuller, the Companion offers a fresh perspective on the musical styles and performance practices of the Baroque era. The Companion to Baroque Music is an illuminating survey of musical life in Europe and the New World from 1600 to 1750. With informative essays on the social, national, geographical, and cultural contexts of the music and musicians of the period by such internationally known scholars as Peter Holman, Louise Stein, Michael Talbot, Julie Anne Sadie, Stanley Sadie, and David Fuller, the Companion offers a fresh perspective on the musical styles and performance practices of the Baroque era.

Music and Urban Life in Baroque Germany offers a new narrative of Baroque music, accessible to non-music specialists, in which Tanya Kevorkian defines the era in terms of social dynamics rather than style and genre development. Towns were crucial sites of music-making. Kevorkian explores how performance was integrated into and indispensable to everyday routines, celebrations such as weddings, and political culture. Training and funding likewise emerged from and were integrated into urban life. Ordinary artisans, students, and musical tower guards as well as powerful city councilors contributed to the production and reception of music. This book illuminates the processes at play in fascinating ways. Challenging ideas of "elite" and "popular" culture, Kevorkian examines five central and southern German towns—Augsburg, Munich, Erfurt, Gotha, and Leipzig—to reconstruct a vibrant urban musical culture held in common by townspeople of all ranks. Outdoor acoustic communication, often hovering between musical and nonmusical sound, was essential to the functioning of these towns. As Kevorkian shows, that sonic communication was linked to the music and musicians heard in homes, taverns, and churches. Early modern urban environments and dynamics produced both the giants of the Baroque era, such as Johann Sebastian Bach and Georg Philipp Telemann, and the music that townspeople heard daily. This book offers a significant rediscovery of a rich, unique, and understudied musical culture. Received a subvention award from the Margarita M. Hanson Fund and the Donna Cardamone Jackson Fund of the American Musicological Society.

Listeners, performers, students and teachers will find here the analytical tools they need to understand and interpret musical evidence from the baroque era. Scores for eleven works, many reproduced in facsimile to illustrate the conventions of 17th and 18th century notation, are included for close study. Readers will find new material on continuo playing, as well as extensive treatment of singing and French music. The book is also a concise guide to reference materials in the field of baroque performance practice with extensive annotated bibliographies of modern and baroque sources that guide the reader toward further study. First published by Ashgate (at that time known as Scolar Press) in 1992 and having been out of print for some years, this title is now available as a print on demand title.

In the early seventeenth century, enthusiasm for the violin swept across Europe--this was an instrument capable of bewitching virtuosity, with the power to express emotions in a way only before achieved with the human voice. With this new guide to the Baroque violin, and its close cousin, the Baroque viola, distinguished performer and pedagogue Walter Reiter puts this power into the hands of today's players. Through fifty lessons based on the Reiter's own highly-renowned course at The Royal Conservatory of the Hague, The Baroque Violin & Viola, Volume II provides a comprehensive exploration of the period's rich and varied repertoire. The lessons in Volume II cover the early seventeenth-century Italian sonata, music of the French Baroque, the Galant style, and the sonatas of composers like Schmelzer, Biber, and Bach. Practical exercises are integrated into each lesson, and accompanied by rich video demonstrations on the book's companion website. Brought to life by Reiter's deep insight into key repertoire based on a lifetime of playing and teaching, The Baroque Violin & Viola, Volume II: A Fifty-Lesson Course will enhance performances of professional and amateur musicians alike.

An era of continuous and far-reaching musical evolution, the Baroque period witnessed the invention of opera and oratorio and the emergence of such instrumental genres as the sonata, suite, and concerto, which continue to engage composers today. An ideal instructional package for courses in music history and literature, Music of the Baroque, Second Edition, and its accompanying anthology of scores offer a vivid introduction to European music from 1600 through 1750. Integrating historical and cultural context with composer biography, music analysis, and performance practice, the text surveys Baroque music while analyzing in depth more than forty works from the principal traditions of the period. An opening chapter on late-Renaissance vocal music and a closing chapter on galant instrumental music provide bridges to earlier and later European music. Thoroughly revised and updated to reflect current scholarship, this second edition of Music of the Baroque offers expanded coverage of instrumental music, with new sections on French lute music and the Italian trumpet sinfonia, along with enhanced discussion of chamber music from Salomone Rossi to Biber and Corelli. French sacred music also receives renewed attention. Offering models for musical criticism and analysis in a variety of compositional styles, author David Schulenberg analyzes familiar works like Monteverdi's Orfeo and a Bach cantata as well as lesser-known compositions, including works by Barbara Strozzi and Elizabeth-Claude Jacquet de La Guerre. Additional Features: * Incorporates a wealth of pedagogical resources including synopses of operatic works; biographical timelines for major composers; numerous illustrations, musical examples, and analytical tables; highlighting and explanations of technical terms upon first appearance; and carefully formulated definitions of each new concept * Revised to incorporate the latest in Baroque music scholarship, including an updated bibliography and many new music examples and illustrations * Accompanied by a companion anthology that contains more than fifty pieces for analysis * Supplemented by the author's website, www.wagner.edu/faculty/dschulenberg/oupcont.html, which provides a discography for pieces included in the anthology Designed for undergraduate and graduate students, Music of the Baroque, Second Edition, is also essential reading for anyone who desires an up-to-date introduction to the serious study of Baroque music.

Music history is nearly as old as human civilization itself, and while it has permeated the arts and popular culture for centuries, it still has a mystifying aura surrounding it. But fear not—it’s not as complicated as it seems, and anyone can learn the origins and history of Western classical music. In addition to learning how better to understand (and enjoy!) classical music, The History of Classical Music For Beginners will help you learn some of the more interesting and sometimes comical stories behind the music and composers. For example: Did you know that Jean-Baptiste Lully actually died from conducting one of his own compositions? You may have heard of Gregorian chant, but did you know there are many forms of chant, including Ambrosian and Byzantine chant? And did you also know that only a small portion of “classical music” is even technically classical? These interesting, insightful facts and more are yours to discover in The History of Classical Music For Beginners.