2. ? Italy, ca. 1600

4. Italy ca. 1600 1. Incredible vocal virtuosity

5. 2. Instruments in new combinations

6. 3. Works for more than 1 choir ( Gabrieli: “Blow the Trumpet” from listening list, conclusion )

7. 4. New genre: opera 5. New aesthetic goal: music’s goal = to move emotions

8. Renaissance : Lamb of God, who takes away the sins of the world, have mercy on us

9. Baroque No, I fear nothing, for I have fighting for me.... Love and Fortune!

10. I. The Baroque Era A. Dates: 1600-1750 B. New Sources ca. 1600 (on handout) 1.First Dramatic Work Set Entirely to Music: Emilio de’ Cavalieri, Representation of the Spirit and the Body (1600) 2.First Opera: Jacop Peri, Euridice (1600) Giulio Caccini, Euridice (1601) 3.First Music with Basso Continuo Accompaniment: Lodovico da Viadana, Cento concerti ecclesiastici (1602) 4.First Collection of Secular Monody Giulio Caccini, Le nuove musiche (1602)

11. II. Baroque Music Culture

12. A. “Age of Excess”: Love of Extravagant, Excessive, Massive II. Baroque Music Culture

13. A. “Age of Excess”: Love of Extravagant, Excessive, Massive The Polychoral Style = Composition for 2 or more choirs Polychoral Style esp. prized @ San Marco (St. Mark’s), Venice Important composers in polychoral style= Andrea & Giovanni Gabrieli II. Baroque Music Culture

15. Cori spezzati (lit. broken choirs) = polychoral w. spatial separation

17. II. Baroque Music Culture A. “Age of Excess”: Love of Extravagant, Excessive, Massive The Polychoral Style Andrea & Giovanni Gabrieli San Marco (St. Mark’s) Venice B. Baroque Love of Ornament Cori spezzati (lit. broken choirs)

20. II. Baroque Music Culture A. “Age of Excess”: Love of Extravagant, Excessive, Massive The Polychoral Style and Cori spezzati B. Baroque Love of Ornament Works with Steady Pulses, each filled with = fast notes Ornaments (Embellishments) C. Baroque Expression: The Doctrine of Affections Rejects “cool, detached” Renaissance Aesthetic

25. II. Baroque Music Culture A. “Age of Excess”: Love of Extravagant, Excessive, Massive The Polychoral Style and Cori spezzati B. Baroque Love of Ornament Works with Steady Pulses, each filled with = fast notes Ornaments (Embellishment) C. Baroque Expression: The Doctrine of Affections D. Basso Continuo Accompaniment “Bipolar” Musical Conception Portray (represent) a single, intense, vivid emotional state Figured Bass Accompaniment (=basso continuo or throughbass) Rejects “cool, detached” Renaissance Aesthetic

26. Basso Continuo Chordal accompaniment of Baroque Improvised above written bass notes Harmony indicated by number-shorthand (figured bass notation) Vocal part (top line) Instrumental accompaniment (lower line)

27. II. Baroque Music Culture A. “Age of Excess”: Love of Extravagant, Excessive, Massive The Polychoral Style and Cori spezzati B. Baroque Love of Ornament Works with Steady Pulses, each filled with = fast notes Ornaments (Embellishment) C. Baroque Expression: The Doctrine of Affections D. Basso Continuo Accompaniment “Bipolar” Musical Conception Portray (represent) a single emotional state intensely Figured Bass Accompaniment (=basso continuo) E. Monody F. The Concertato Style =17th century solo song (usually Italian) =sections of composition juxtapose contrasting groups of voices and/or instruments

29. III. Other Musical Features A.The Emergence of Modern Functional Harmony B. Meters Projected Clearly