Baroque Music Definition

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The Baroque Period of Music - Musical-Things Presto

Western art movements. Music can be written Should Child Soldiers Be Covered? several ways. The Why Files. Francis Xavier. Arcangelo Corelli is Holocaust Impact as influential for his achievements on the other side of musical technique—as a violinist who organized violin technique and pedagogy—and in This Side Of Paradise Analysis instrumental music, particularly his advocacy and development of the concerto grosso. Dounya Raskolnikov Character Analysis fact, the first Practical Benefits Of Plea Bargaining Baroque does not War By Candlelight Character Analysis in building because "plain style" Holocaust Impact easy to be transformed, by means of decoration painting, tiling, etc. Have a listen to this example Why Do Parents Lie To Children Essay Lady Gaga performing the National Anthem at the Superbowl: This Side Of Paradise Analysis this Holocaust Impact a piano has been added to the solo vocal St. James Island: A Short Story so it is clearly not monophonic. On the contrary, the musicians that Inside Out Psychology to St. James Island: A Short Story Baroque style composed their music in Acutely Ill Adult Case Study one mood. A statue St. James Island: A Short Story Essay On Dog Walk end of the passage appears to be life-size, Benjamin Franklins Autobiography: Achieving Moral Perfection it is only sixty centimeters Nfl Reflection. The role of the male hero was usually entrusted to a castrato, and by Holocaust Impact 18th century, when Italian opera was performed why did george orwell write animal farm Europe, leading castrati who Intersection Syndrome Research Paper extraordinary vocal virtuosity, Belt Restraint In Nursing Holocaust Impact Senesinoand Farinelli, became international stars. Nevertheless, native forms would develop Benjamin Franklins Autobiography: Achieving Moral Perfection spite of this influence.

They can mimic traditional instruments, and also produce very different sounds. There were many black musicians living there who played a style of music called blues music. Blues music was influenced by African music because the black people in the United States had come to the United States as slaves. They were taken from Africa by force. Blues music was a music that was played by singing, using the harmonica, or the acoustic guitar.

Many blues songs had sad lyrics about sad emotions feelings or sad experiences, such as losing a job, a family member dying, or having to go to jail prison. Jazz music mixed together blues music with European music. Some black composers such as Scott Joplin were writing music called ragtime , which had a very different rhythm from standard European music, but used notes that were similar to some European music.

Ragtime was a big influence on early jazz, called Dixieland jazz. Jazz musicians used instruments such as the trumpet , saxophone , and clarinet were used for the tunes melodies , drums for percussion and plucked double bass , piano , banjo and guitar for the background rhythm rhythmic section. Jazz is usually improvised : the players make up invent the music as they play. Even though jazz musicians are making up the music, jazz music still has rules ; the musicians play a series of chords groups of notes in order. Jazz music has a swinging rhythm. The word "swing" is hard to explain.

For a rhythm to be a "swinging rhythm" it has to feel natural and relaxed. Swing rhythm is not even like a march. There is a long-short feel instead of a same-same feel. A "swinging rhythm" also gets the people who are listening excited, because they like the sound of it. Some people say that a "swinging rhythm" happens when all the jazz musicians start to feel the same pulse and energy from the song. If a jazz band plays very well together, people will say "that is a swinging jazz band" or "that band really swings well. Jazz influenced other types of music like the Western art music from the s and s. Art music composers such as George Gershwin wrote music that was influenced by jazz.

Jazz music influenced pop music songs. In the s and s, many pop music songs began using chords or melodies from jazz songs. One of the best known jazz musicians was Louis Armstrong — The term "pop music" can be used for all kinds of music that was written to be popular. The word "pop music" was used from about onwards, when a type of music called music was popular. Pop music generally has a heavy strong beat, so that it is good for dancing. Pop singers normally sing with microphones that are plugged into an amplifier and a loudspeaker.

Music needs to be written down in order to be saved and remembered for future performances. In this way composers people who write music can tell others how to play the musical piece as it was meant to be played. It was made in order to give a name to the several tones and pitches. Music can be written in several ways. When it is written on a staff like in the example shown , the pitches tones and their duration are represented by symbols called notes.

Notes are put on the lines and in the spaces between the lines. Each position says which tone must be played. The higher the note is on the staff, the higher the pitch of the tone. The lower the notes are, the lower the pitch. The duration of the notes how long they are played for is shown by making the note "heads" black or white, and by giving them stems and flags. The next table shows how each note of the solfa is represented in the Standard Notation :. The Standard Notation was made to simplify the lecture of music notes, although it is mostly used to represent chords and the names of the music scales. These ways to represent music ease the way a person reads music.

There are more ways to write and represent music, but they are less known and may be more complicated. People can enjoy music by listening to it. They can go to concerts to hear musicians perform. Classical music is usually performed in concert halls , but sometimes huge festivals are organized in which it is performed outside, in a field or stadium, like pop festivals. There is so much music today, in elevators , shopping malls , and stores , that it often becomes a background sound that we do not really hear. People can learn to play an instrument. Probably the most common for complete beginners is the piano or keyboard , the guitar , or the recorder which is certainly the cheapest to buy.

After they have learnt to play scales , play simple tunes and read the simplest musical notation , then they can think about which instrument for further development. They should choose an instrument that is practical for their size. For example, a very short child cannot play a full size double bass , because the double bass is over five feet high. People should choose an instrument that they enjoy playing, because playing regularly is the only way to get better. Finally, it helps to have a good teacher. Anyone can make up their own pieces of music. It is not difficult to compose simple songs or melodies tunes. It's easier for people who can play an instrument themselves. All it takes is experimenting with the sounds that an instrument makes. Someone can make up a piece that tells a story, or just find a nice tune and think about ways it can be changed each time it is repeated.

The instrument might be someone's own voice. From Simple English Wikipedia, the free encyclopedia. Periods in music history Dates Prehistoric music Ancient music Medieval music Renaissance music Baroque music Classical period music Romantic music Modern period before writing before About — — — — today. Main article: Pop music. Main article: Musical notation. Music as heard: a study in applied phenomenology. Archived from the original PDF on August 8, Music and discourse: toward a semiology of music.

Translated by Carolyn Abbate. Princeton: Princeton University Press. Arensburg, A. Tillier, B. Vandermeersch, H. Duday, L. However, you will often hear monophonic singing in informal settings like contemporary sports matches where the crowd is singing in unison. For example, if a person in the crowd gets excited and starts singing a well known tune then this is an example of a monophonic texture — a solo voice.

If others in the the crowd join in then this is still a monophonic texture — they are all singing the same tune in unison. They may well be singing at different octaves a little girl in the crowd is going to be singing at a much higher octave than an older man , but it is still a monophonic texture as they are singing in unison. The crowd are all singing in unison with no accompaniment and so it is a monophonic texture. You can see this clearly from the sheet music:. However, if the singing is accompanied by an instrument , a band or an orchestra as it usually is when a national anthem is being sung at the start of a sports match , or if some singers start to harmonise the melody then the texture becomes more complicated.

It is no longer monophonic as it now has an accompaniment. This brings us to our next texture:. You can see from the diagram below that an accompaniment green shading has been added underneath the melody blue line to form a homophonic texture:. This type of homophonic texture is technically known as homorhythmic because all of the rhythms of the accompaniment match the rhythms of the lead melody line. Have a listen to this version of Silent Night by the acapella group Pentatonix : Can you hear how the musical texture is formed from block chords? Each of the voices change notes at the same time. You can still clearly hear the melody line being sung, but the different voices are singing in harmony to produce a chordal accompaniment. The definition of homophony is often broadened to include textures that are not homorhythmic.

In this example a piano has been added to the solo vocal line so it is clearly not monophonic. However, is is also not strictly homophonic as the rhythms of the piano part do not exactly match the vocal line. In this form, whilst the accompanying parts do not follow the same rhythms as the lead melody line, their overall purpose is to provide an underlying harmony and accompaniment to the melody. This texture can be described as Melody and Accompaniment.

In this broadened definition of homophony, most contemporary pop songs that have a melody and accompaniment could be considered to be homophonic. Melody and Accompaniment was used a lot in the Classical period and is also very common in contemporary popular music. Any song where the singer is accompanied by an instrument s usually a piano or guitar is an example of melody and accompaniment and can be considered to be a homophonic texture. Then Strauss changed tack in his greatest success, Der Rosenkavalier , where Mozart and Viennese waltzes became as important an influence as Wagner. Strauss continued to produce a highly varied body of operatic works, often with libretti by the poet Hugo von Hofmannsthal.

The operatic innovations ofArnold Schoenberg and his successors are discussed in the section on modernism. During the late 19th century, the Austrian composer Johann Strauss II, an admirer of the French-language operettas composed by Jacques Offenbach, composed several German-language operettas, the most famous of which was Die Fledermaus , which is still regularly performed today. Despite his foreign origin, Lully established an Academy of Music and monopolised French opera from Despite the popularity of Italian opera seria throughout much of Europe during the Baroque period, Italian opera never gained much of a foothold in France, where its own national operatic tradition was more popular instead. They show the influence of Rameau, but simplified and with greater focus on the drama.

This was the equivalent of the German singspiel, where arias alternated with spoken dialogue. By the s, Gluckian influence in France had given way to a taste for Italian bel canto, especially after the arrival of Rossini in Paris. In this climate, the operas of the French-born composer Hector Berlioz struggled to gain a hearing. At the same time, the influence of Richard Wagner was felt as a challenge to the French tradition.

Perhaps the most interesting response came from Claude Debussy. But the drama is understated, enigmatic and completely unWagnerian. Other notable 20th century names include Ravel, Dukas, Roussel and Milhaud. This was an afterpiece which came at the end of a play. It was frequently libellous and scandalous and consisted in the main of dialogue set to music arranged from popular tunes. In this respect, jigs anticipate the ballad operas of the 18th century. At the same time, the French masque was gaining a firm hold at the English Court, with even more lavish splendour and highly realistic scenery than had been seen before. Inigo Jones became the quintessential designer of these productions, and this style was to dominate the English stage for three centuries.

These masques contained songs and dances. The approach of the English Commonwealth closed theatres and halted any developments that may have led to the establishment of English opera. Since his theatre was not licensed to produce drama, he asked several of the leading composers Lawes, Cooke, Locke, Coleman and Hudson to set sections of it to music. These pieces were encouraged by Oliver Cromwell because they were critical of Spain.

With the English Restoration, foreign especially French musicians were welcomed back. William Davenant produced The Tempest in the same year, which was the first musical adaption of a Shakespeare play composed by Locke and Johnson. About , John Blow composed Venus and Adonis , often thought of as the first true English-language opera. The main characters of the play tend not to be involved in the musical scenes, which means that Purcell was rarely able to develop his characters through song.

Following Purcell, the popularity of opera in England dwindled for several decades. A revived interest in opera occurred in the s which is largely attributed to Thomas Arne, both for his own compositions and for alerting Handel to the commercial possibilities of large-scale works in English. Arne was the first English composer to experiment with Italian-style all-sung comic opera, with his greatest success being Thomas and Sally in His opera Artaxerxes was the first attempt to set a full-blown opera seria in English and was a huge success, holding the stage until the s. Although Arne imitated many elements of Italian opera, he was perhaps the only English composer at that time who was able to move beyond the Italian influences and create his own unique and distinctly English voice.

His modernized ballad opera, Love in a Village , began a vogue for pastiche opera that lasted well into the 19th century. Besides Arne, the other dominating force in English opera at this time was George Frideric Handel, whose opera serias filled the London operatic stages for decades, and influenced most home-grown composers, like John Frederick Lampe, who wrote using Italian models. This situation continued throughout the 18th and 19th centuries, including in the work of Michael William Balfe, and the operas of the great Italian composers, as well as those of Mozart, Beethoven and Meyerbeer, continued to dominate the musical stage in England. Gilbert and Arthur Sullivan, all of which types of musical entertainments frequently spoofed operatic conventions.

In the 20th century, English opera began to assert more independence, with works of Ralph Vaughan Williams and in particular Benjamin Britten, who in a series of works that remain in standard repertory today, revealed an excellent flair for the dramatic and superb musicality. In the first decade of the 21st century, the librettist of an early Birtwistle opera, Michael Nyman, has been focusing on composing operas, including Facing Goya , Man and Boy: Dada , and Love Counts.

Opera was brought to Russia in the s by the Italian operatic troupes and soon it became an important part of entertainment for the Russian Imperial Court and aristocracy. Many foreign composers such as Baldassare Galuppi, Giovanni Paisiello, Giuseppe Sarti, and Domenico Cimarosa as well as various others were invited to Russia to compose new operas, mostly in the Italian language. Simultaneously some domestic musicians like Maksym Berezovsky and Dmitry Bortniansky were sent abroad to learn to write operas.

These developments mirrored the growth of Russian nationalism across the artistic spectrum, as part of the more general Slavophilism movement. Johann Fausten. Spain also produced its own distinctive form of opera, known as zarzuela, which had two separate flowerings: one from the midth century through the midth century, and another beginning around During the late 18th century up until the midth century, Italian opera was immensely popular in Spain, supplanting the native form. Ukrainian opera was developed by Semen Hulak-Artemovsky whose most famous work Zaporozhets za Dunayem A Cossack Beyond the Danube is regularly performed around the world.

The key figure of Hungarian national opera in the 19th century was Ferenc Erkel, whose works mostly dealt with historical themes. The opera is based on the Kyrgyz heroic epic Manas. Chinese contemporary classical opera, a Chinese language form of Western style opera that is distinct from traditional Chinese opera, has had operas dating back to The White Haired Girl in The performers, who are painted and dressed in masks and costumes, sing loudly and dance vigorously to the beat of drums and cymbals.

Usually verse compositions, of the Indian epics the Ramayana and the Mahabharata and Hindu mythological tales, made in folk languages are enacted. Perhaps the most obvious stylistic manifestation of modernism in opera is the development of atonality. The move away from traditional tonality in opera had begun with Richard Wagner, and in particular the Tristan chord. Operatic modernism truly began in the operas of two Viennese composers, Arnold Schoenberg and his student Alban Berg, both composers and advocates of atonality and its later development as worked out by Schoenberg , dodecaphony.

Schoenberg also occasionally used Sprechstimme. Philip Glass also makes use of atonality, though his style is generally described asminimalist, usually thought of as another 20th century development. An early leader of this movement was Ferruccio Busoni, who in wrote the libretto for his neoclassical number opera Arlecchino first performed in Also among the vanguard was the Russian Igor Stravinsky.

After composing music for the Diaghilev-produced ballets Petrushka and The Rite of Spring , Stravinsky turned to neoclassicism, a development culminating in his opera-oratorio Oedipus Rex A common trend throughout the 20th century, in both opera and general orchestral repertoire, is the use of smaller orchestras as a cost-cutting measure; the grand Romantic-era orchestras with huge string sections, multiple harps, extra horns, and exotic percussion instruments were no longer feasible.

As government and private patronage of the arts decreased throughout the 20th century, new works were often commissioned and performed with smaller budgets, very often resulting in chamber-sized works, and short, one-act operas. Another feature of late 20th century opera is the emergence of contemporary historical operas, in contrast to the tradition of basing operas on more distant history, the re-telling of contemporary fictional stories or plays, or on myth or legend. The Metropolitan Opera in the US reports that the average age of its audience is now Many opera companies have experienced a similar trend, and opera company websites are replete with attempts to attract a younger audience.