Abstract The paper discusses the concept which is generally considered ?Early Music,? - the musical styles associated with the Renaissance period, beginning ca. 1450 and ending around 1600, and the Baroque period, commencing ca. 1620 until the death of Johann Sebastian Bach in 1750. The paper shows how these two styles share numerous musical traits which revolve around the application of stable harmony, polyphony and the progressive movement towards humanistic orientation. The paper shows how this contrasts to the musical style of the earlier Medieval period which was dominated by liturgical chant repertories.
From the Paper "The harmonic language was at times modal but more often than not was based on chord themes, such as rapid triads interspersed with much tonality. In Bach's case, this was known as the circle of fifths, a harmonic sequence with powerful chord progressions which took on the nature of "sweeping dynamics used for expressive purposes, much like modern-day improvisational techniques" (Masterson 324).
The role of dissonance in Baroque music cannot be downplayed, for it was at
times very influential with its long, drawn-out chordal suspensions characterized by appoggiaturas, or an embellishing note or tone preceding an essential melodic note or tone. The application of seventh chords, ninth chords and on occasion eleventh chords contributed to a vast array of melodic dissonance, often identified by large tonal leaps."
Abstract The paper explains and illustrates that each composer supplied the musical paradigms for their distinctive eras. This paper discusses that Johann Sebastian Bach (1685-1750) is considered as the culminating influence of the Baroque period. The author believes that Ludwig Van Beethoven (1770-1827) is the supreme pianist of the Classical period. The paper states that Frederic Francois Chopin (1810-1849) is one of the most original and influential musicians of the nineteenth century.
From the Paper "As early as 1831, Chopin expressed his wish to create a new musical world characterized by musical poetry of an extraordinary elegant nature, mostly represented by his piano pieces, such as his Polonaises (Adante spianato and Grande Polonaise Brilliante Op. 22 and Polonaise in Ab Heroic Op. 53). Chopin's harmonic language was also completely original, symbolized by complex chromatic harmonies mingled with the drones of fifths and modal scales of traditional Polish folk music. His fifty-five Mazurkas displayed all the intricacies of his style. It has often been compared to the virtuosity of Bach's Well-Tempered Clavier."
Abstract This paper analyzes the musical piece, "L'Ormindo" by Francesco Cavalli. The paper begins by describing the change in musical writing from the Classical and Renaissance periods to what we know as opera and uses this particular piece as an example. The writer explores the characters in the scene, the temperament and tone of the music, and the meaning of the entire opera.
From the Paper "It is not only to the opening lament, and to the basso continuo to which we owe the general sense of forlorn pathos that pervades this scene. Erisbe has two lovers, both princes, Ormindo and Amida. No sooner than Erisbe has concluded her echoed lament, Amida appears on the scene. For the first time in this scene, the music accompanying a vocalist is cast in minor key. Amida's "Whither, whither my sweet Aurora"? carries with it the sense of a lover's isolation. A lone voice in a wilderness of poignant emotion, his seeks out his lost sun ? in Latin Aurora. Underlining this sense of loneliness and despair is the music itself, clear single notes ? not chords. It is as if the surrounding world sympathizes with the broken-hearted Amida. Too, the basso continuo becomes heavier and more strident."
This paper discusses Bach's "Brandenburg Concerto" #6 (B-flat) on a Sony disk performed by the "Classic Music Studio" Orchestra of St. Petersburg, Alexander Titov, conductor.
1,030 words (approx. 4.1 pages), 0 sources, 2005, $ 36.95
Abstract This paper explains that Bach simply entitled this music the "Six Concertos for several Instruments"; but, Philipp Spitta, 160 years after they were composed, named them the "Brandenburg Concertos", after Christian Ludwig, the margrave of Brandenburg, the most prominent patron of music in Berlin and Prussia. The author points out that the "Sixth Brandenburg Concerto" is distinctive because it features no violins and is scored for two violas, a cello and continuo (which is a bass part usually performed by a harpsichord), which gives it a far darker tone than the other five concerti. The paper states that this version performed by the "Classic Music Studio" Orchestra of St. Petersburg, Alexander Titov conducting, has a muffled sound and is too "Slavic" an interpretation to be appropriate for the Baroque Bach.
From the Paper "While each concerto features a different set of instruments, all put together represent what music historians consider the synthesis of Baroque concerto styles. This was, of course, long before the concerto was created as a solo instrument playing its own melody, accompanied by an orchestra (Haydn, and of course, Mozart, perfected that style). Here they are considered as concerti grossi, in which a small body of "solo" instruments, called the concertino, contrasts with a larger orchestral group called the ripieno."
Abstract This paper uses the first two strophes from Act III's aria, "Possente spirito", to demonstrate the brilliant fusion of musical organization with emotional expression in Claudio Monteverdi's 1607 opera "Orfeo". The author points out that the fierce turbulence in Monteverdi's personal life is reflected in the plot of the opera. The paper relates that the opening two strophes, of which the text is quoted in the paper, are accompanied by basso continuo with parts of the first strophe punctuated by two violins and similar punctuation in the second strophe performed by two cornets. The author states that other strophes end in a brief ritornello. The paper explains that, for the vocal style, Monteverdi employs stile rappresentativo, or "the representational style", to convey the passions behind Orpheo's impending request to be allowed into Hades.
From the Paper "The spirit of these dotted eighth--sixteenth notes also effectively predicate the final line in the second strophe as Orfeo forwards the argument that since having lost his wife, he has no heart and cannot be alive, and therefore his entrance into Hades would be legitimate. Posing this argument to the ferrymen, Monteverdi paints a picture of Orfeo as coy as he is courageous. The composer makes the conclusion of Orfeo's question also a facetious question, after the preceding phrases in the cornets. It is difficult to hear Orfeo's final line of the second strophe without imagining the demi-god trying to conceal a little grin."
