Baroque Music

Baroque music tened to. Composers of the Baroque era include  Johann Sebastian Bach, Bach,   George Frid Frideri ericc Hand Handel el,,   Alessandro Scarlatti,,   Domenico Scarlatti, Scarlatti Scarlatti,   Antonio Viva Vivaldi ldi,,   Henry Purcell,,   Georg Philipp Tele Purcell Telemann mann,,   Jean-Baptiste Lully, Lully, Arcangelo Corelli, Corelli, Tomaso Albinoni, Albinoni, François Couperin, Couperin, Denis Gaultie Gaultierr,   Claudio Montev Monteverdi erdi,,   Heinrich Heinrich Schütz Schütz,, Jean-Philippe Rameau, Rameau, Jan Dismas Zelenka, Zelenka , and Johann and  Johann Pachelbel.. Pachelbel The Baroque period saw the creation of tonality of  tonality.. During the period, composers and performers used more elaborate musical ornamentation, made changes in musical notation, and developed new instrumental playing techniques. niques. Baroque Baroque music expande expanded d the size, size, range, range, and complexity of instrumental performance, and also established  opera  opera,,  cantata  cantata,,  oratorio  oratorio,,   concerto, concerto, and sonata and  sonata as musical genres. genres. Many musical terms and concepts from this era are still in use today.

Baroque theatre in Český in Český Krumlov

1 1.1

Etym Et ymol olo ogy History History of European European art music music

The term “Baroque” is generally generally used by music historians to descr describea ibea broad broad range range of style styless from a wide wide geog geograp raphi hicc region, mostly in Europe, composed over a period of approximately proximately 150 years.[1] Although it was long thought that the word as a critical term was first applied to architecture, in fact it appears earlier in reference to music, in an anonymous, satirical revi review ew of the premi premièr èree in Octob October er 1733 1733 of Ramea Rameau’s u’s Hip polyte et Aricie,  printed in the Mercure de France  in May 1734. 1734. The The critic critic impli implied ed that that the nove novelty lty in this this opera opera was was “du barocque,” complaining that the music lacked lacked coherent melody, was filled with unremitting dissonances, constantly changed key and meter, and speedily ran through every compositional device. [1]

Teatro Argentina ( Argentina (Panini  Panini  , 1747, Musée 1747, Musée du Louvre Louvre))

Baroque music   is a style style of music music compo composed sed from [1] approxi approximate mately ly 1600 to 1750. This era follo followed wed the Renaissance,, and was followed in turn by the   Classical Renaissance era.. The era The wor word d "baroque "baroque"" comes from the Portuguese word  barroco, meaning meaning  misshapen pearl ,. ,.[2] The negative use of the word comes from a description description by Charles de Brosses of the ornate and heavil heavily y ornamente ornamented d architecture of the  Pamphili Palace   iin n Rome. Rome. Althoug Although h the term was applied to architecture and art criticism in the 19th century, century, it wasn't until the 20th century that the term “baroque” was adopted from Heinrich Wölfflin’s flin’s art-hi art-histo story ry voca vocabu bular lary y as a desi designa gnator tor for a histor historic ical al period.[1]

The systema systematic tic applica application tion by historia historians ns of the term “baroque” to music of this period is a relatively recent developm development. ent. In 1919, Curt 1919,  Curt Sachs became Sachs became the first to apply the five characteristics of   Heinrich Wölfflin's Wölfflin's theory of the Baroque systematically to music.[3] Critics were quick to question the attempt to transpose Wölfflin’s categorie egoriess to music, music, howev however, er, and in the second quarter of the 20th century independent attempts were made by Manfred Bukofzer (in Bukofzer  (in Germany and, after his immigration, tion, in Ameri America) ca) and by Suzann Suzannee Clerc Clercx-L x-Leejeune jeune (in BelBelgium) to use autonomous, technical analysis rather than

Baroque music forms a major portion of the   “classical music” canon, music”  canon, being widely studied, performed, and lis1

2 HISTORY 

2

comparative abstractions, in order to avoid the adaptation of theories based on the plastic arts and literature to music. All of these efforts resulted in appreciable disagreement about time boundaries of the period, especially concerning when it began. In English the term acquired currency only in the 1940s, in the writings of Bukofzer and Paul Henry Lang.[1]

musicians, poets and intellectuals in late Renaissance Florence who gathered under the patronage of Count Giovanni de' Bardi to discuss and guide trends in the arts, especially music and drama. In reference to music, they based their ideals on a perception of Classical (especially ancient Greek) musical drama that valued discourse and oration.[5] As such, they rejected their contemporaries’ use of polyphony and instrumental music, and discussed such ancient Greek music devices as monody, which consisted of a solo singing accompanied by a kithara. [6] The early realizations of these ideas, including  Jacopo Peri's Dafne and  L'Euridice, marked the beginning of opera, [7] which in turn was somewhat of a catalyst for Baroque music.[8]

As late as 1960 there was still considerable dispute in academic circles, particularly in France and Britain, whether it was meaningful to lump together music as diverse as that of Jacopo Peri, Domenico Scarlatti, and J.S. Bach under a single rubric. Nevertheless, the term has become widely used and accepted for this broad range of music.[1] It may be helpful to distinguish the Baroque from both the preceding (Renaissance) and following (Classical) peri- Concerning music theory, the more widespread use of ods of musical history.  figured bass   (also known as   thorough bass ) represents the developing importance of harmony as the linear underpinnings of polyphony.[9] Harmony is the end result of  counterpoint, and figured bass is a visual representa2 History tion of those harmonies commonly employed in musical performance.[10] Composers began concerning themThe Baroque period is divided into three major phases: selves with harmonic progressions,[11] and also employed early, middle, and late. Although they overlap in time, the tritone, perceived as an unstable interval, [12] to crethey are conventionally dated from 1580 to 1630, from ate dissonance. Investment in harmony had also ex1630 to 1680, and from 1680 to 1730.[4] isted among certain composers in the Renaissance, notably Carlo Gesualdo;[13] However, the use of harmony directed towards tonality, rather than modality, marks the 2.1 Early baroque music (1580–1630) shift from the Renaissance into the Baroque period.[14] This led to the idea that chords, rather than notes, could provide a sense of closure—one of the fundamental ideas that became known as tonality. By incorporating these new aspects of composition, Claudio Monteverdi   furthered the transition from the Renaissance style of music to that of the Baroque period. He developed two individual styles of composition – the heritage of Renaissance polyphony (prima pratica) and the new   basso continuo   technique of the Baroque (seconda pratica). With the writing of the operas  L'Orfeo  and  L'incoronazione di Poppea  among others, Monteverdi brought considerable attention to the new genre of opera.[15]

2.2

Claudio Monteverdi in 1640 For more details on this topic, see   Transition from Renaissance to Baroque in instrumental music. The   Florentine Camerata   was a group of humanists,

Middle baroque music (1630–1680)

The rise of the centralized court is one of the economic and political features of what is often labelled the Age of Absolutism, personified by Louis XIV of France. The style of palace, and the court system of manners and arts he fostered became the model for the rest of Europe. The realities of rising church and state patronage created the demand for organized public music, as the increasing availability of instruments created the demand for chamber music.[16] The middle Baroque period in Italy is defined by the emergence of the   cantata,   oratorio, and   opera   during the 1630s, and a new concept of melody and harmony

2.2 Middle baroque music (1630–1680)

3

for orchestras, which was inherited from the Italian opera, and the characteristically French five-part disposition (violins, violas—in hautes-contre, tailles and quintes sizes— and bass violins) had been used in the ballet from the time of Louis XIII. He did, however, introduce this ensemble to the lyric theatre, with the upper parts often doubled by recorders, flutes, and oboes, and the bass by bassoons. Trumpets and kettledrums were frequently added for heroic scenes.[19]

Jean-Baptiste Lully

that elevated the status of the music to one of equality with the words, which formerly had been regarded as pre-eminent. The florid, coloratura monody of the early Baroque gave way to a simpler, more polished melodic style. These melodies were built from short, cadentially delimited ideas often based on stylized dance patterns drawn from the  sarabande   or the   courante. The harmonies, too, might be simpler than in the early Baroque monody, and the accompanying bass lines were more integrated with the melody, producing a contrapuntal equivalence of the parts that later led to the device of an initial bass anticipation of the aria melody. This harmonic simplification also led to a new formal device of the differentiation of recitative and  aria. The most important innovators of this style were the Romans Luigi Rossi and Giacomo Carissimi, who were primarily composers of cantatas and oratorios, respectively, and the Venetian Francesco Cavalli, who was principally an opera composer. Later important practitioners of this style include Antonio Cesti, Giovanni Legrenzi, and Alessandro Stradella.[17] The middle Baroque had absolutely no bearing at all on the theoretical work of  Johann Fux, who systematized the strict counterpoint characteristic of earlier ages in his Gradus ad Paranassum  (1725).[18] One pre-eminent example of a court style composer is Jean-Baptiste Lully. He purchased patents from the monarchy to be the sole composer of operas for the king and to prevent others from having operas staged. He completed 15 lyric tragedies and left unfinished  Achille et Polyxène.[19]

Arcangelo Corelli  Arcangelo Corelli  is remembered as influential for his achievements on the other side of musical technique— as a violinist who organized violin technique and pedagogy—and in purely instrumental music, particularly his advocacy and development of the   concerto grosso.[20] Whereas Lully was ensconced at court, Corelli was one of the first composers to publish widely and have his music performed all over Europe. As with Lully’s stylization and organization of the opera, the concerto grosso is built on strong contrasts—sections alternate between those played by the full orchestra, and those played by a smaller group. Dynamics were “terraced”, that is with a sharp transition from loud to soft and back again. Fast sections and slow sections were juxtaposed against each other. Numbered among his students is Antonio Vivaldi, who later composed hundreds of works based on the principles in Corelli’s trio sonatas and concerti.[20]

In contrast to these composers, Dieterich Buxtehude was not a creature of court but instead was church musician, holding the posts of organist and Werkmeister at the Marienkirche at Lübeck. His duties as Werkmeister involved acting as the secretary, treasurer, and busiMusically, he did not establish the string-dominated norm ness manager of the church, while his position as organ-

4 BAROQUE INSTRUMENTS 

4

ist included playing for all the main services, sometimes in collaboration with other instrumentalists or vocalists, who were also paid by the church. Entirely outside of his official church duties, he organised and directed a concert series known as the Abendmusiken, which included performances of sacred dramatic works regarded by his contemporaries as the equivalent of operas.[21]

2.3

Late baroque music (1680–1730)

Johann Sebastian Bach , 1748 

George Frideric Handel  The work of George Frederic Handel, Johann Sebastian Bach and their contemporaries, including Domenico Scarlatti, Antonio Vivaldi, Jean-Philippe Rameau, Georg Philipp Telemann, and others advanced the Baroque era to its climax.[22]

Baroque instruments including hurdy gurdy, harpsichord, bass viol, lute, violin, and guitar 

4

Baroque instruments

Through the work of Johann Fux, the Renaissance style of polyphony was made the basis for the study of composition. [18]

See also: List of period instruments

A continuous worker, Handel borrowed from others and often recycled his own material. He was also known for reworking pieces such as the famous  Messiah, which premiered in 1742, for available singers and musicians.[23]

4.1

3

Timeline of Baroque composers

Strings

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  Violino piccolo

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  Violin

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  Viol

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  Viola

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 Viola d'amore

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 Viola pomposa

See also: List of Baroque composers

4.3 Brasses

5

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  Dulcian

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 Musette de cour

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 Baroque oboe

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  Rackett

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  Recorder

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  Bassoon

4.3

A double-manual harpsichord after Jean-Claude Goujon (1749)

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  Cornett

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 Natural horn

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 Baroque trumpet

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 Tromba da tirarsi (also called  tromba spezzata )

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  Flatt trumpet

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  Serpent

  Tenor violin •

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  Cello

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 Bass violin

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  Contrabass

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  Lute

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  Theorbo

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  Archlute

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  Mandora

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  Bandora

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  Angélique

•

•

  Mandolin

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  Cittern

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  Guitar

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  Harp

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  Hurdy-gurdy

4.2

Woodwinds

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 Baroque flute

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  Chalumeau

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 Cortol (also known as Cortholt, Curtall, Oboe family)

Brasses

4.4

  Sackbut (16th- and early 17th-century English name for FR:  saquebute,  saqueboute; ES:  sacabuche; IT: trombone; MHG: busaun, busîne, busune / DE (since the early 17th century)  Posaune)   Trombone (English name for the same instrument, from the early 18th century)

Keyboards

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  Clavichord

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 Tangent piano

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  Fortepiano – early version of piano

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  Harpsichord

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  Organ

4.5

Percussion

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  Timpani

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  Snare drum

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 Tenor drum

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  Tambourine

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  Castanets

5 STYLES AND FORMS 

6

5

Styles and forms

5.1

dance. The bourrée is commonly played at a moderate tempo, although for some composers, such as Handel, it can be taken at a much faster tempo.[24][2]

Dance suite •

See also: Suite (music) § Dance suite A characteristic Baroque form was the dance suite. Some Dance suites by Bach   are called  partitas, although this term is also used for other collections of pieces. The dance suite often consists of the following movements: •

•

•

•

•

  Overture   – The Baroque suite often began with a French overture (“Ouverture” in French), which was followed by a succession of dances of different types, principally the following four:   Allemande – Often the first dance of an instrumental  suite, the allemande was a very popular dance that had its origins in the German   Renaissance era. The allemande was played at a moderate tempo and could start on any beat of the bar.[24][25]   Courante   – The second dance is the courante, a lively, French dance in triple meter. The Italian version is called the corrente.[24][25]   Sarabande – The sarabande, a Spanish dance, is the third of the four basic dances, and is one of the slowest of the baroque dances. It is also in triple meter and can start on any beat of the bar, although there is an emphasis on the second beat, creating the characteristic 'halting', or iambic rhythm of the sarabande.[24][25]   Gigue – The gigue is an upbeat and lively baroque dance in compound meter, typically the concluding movement of an instrumental suite, and the fourth of its basic dance types. The gigue can start on any beat of the bar and is easily recognized by its rhythmic feel. The gigue originated in the  British Isles. Its counterpart in folk music is the jig.[24][25]

These four dance types (allemande, courante, sarabande, and gigue) make up the majority of 17th-century suites; later suites interpolate one or more additional dances between the sarabande and gigue: •

•

  Gavotte – The gavotte can be identified by a variety of features; it is in 4/4 time and always starts on the third beat of the bar, although this may sound like the first beat in some cases, as the first and third beats are the strong beats in quadruple time. The gavotte is played at a moderate tempo, although in some cases it may be played faster. [24]   Bourrée – The bourrée is similar to the gavotte as it is in 2/2 time although it starts on the second half of the last beat of the bar, creating a different feel to the

•

•

5.2 •

  Minuet – The minuet is perhaps the best-known of the baroque dances in triple meter. It can start on any beat of the bar. In some suites there may be a Minuet I and II, played in succession, with the Minuet I repeated.[24]   Passepied   – The passepied is a fast dance in binary form and triple meter that originated as a court dance in Brittany.[26] Examples can be found in later suites such as those of Bach and Handel. [24]   Rigaudon   – The rigaudon is a lively French dance in duple meter, similar to the bourrée, but rhythmically simpler. It originated as a family of closely related southern-French folk dances, traditionally associated with the provinces of Vavarais, Languedoc, Dauphiné, and Provence.[24][27]

Other features

 Entrée (ballet) - Sometimes an entrée is composed as part of a suite; but there it is purely instrumental music and no dance is performed. It is an introduction, a march-like piece played during the entrance of a dancing group, or played before a ballet. Usually in 4/4 time. It is related to the Italian 'intrada'.

•

 Basso continuo   – a kind of continuous accompaniment notated with a new music notation system, figured bass, usually for a sustaining bass instrument and a keyboard instrument.

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The concerto and concerto grosso

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  Monody – an outgrowth of song[28]

•

•

  Homophony  – music with one melodic voice and rhythmically similar accompaniment (this and monody are contrasted with the typical Renaissance texture, polyphony)[29]   Dramatic musical forms like opera, dramma permu-

sica[28][30] •

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  Combined instrumental-vocal forms, such as the oratorio and cantata[30]   New instrumental techniques, like   tremolo and

 pizzicato[30] •

•

•

•

The da capo aria “enjoyed sureness”.[28] The ritornello  aria – repeated short instrumental interruptions of vocal passages.[31] The   concertato   style – contrast in sound between groups of instruments.[32]   Extensive ornamentation[33]

7

6

Genres

6.1 •

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  Prelude

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  Chaconne

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  Passacaglia

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  Chorale prelude

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  Stylus fantasticus

Vocal   Opera •

  Zarzuela

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 Opera seria

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 Opéra comique

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  Opera-ballet

7

Notes

[1]   Palisca 2001.

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  Masque

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  Oratorio

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  Passion (music)

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  Cantata

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 Mass (music)

[6]   Wallechinsky 2007, p. 445.

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  Anthem

[7]   Chua 2001, p. 26.

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  Monody

[8] Wainwright & Holman 2005, p. 4.

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  Chorale

[2]  Mackay & Romanec 2007. [3]   Sachs 1919, pp. 7–15. [4]   Bukofzer 1947, pp. 17. [5]   Nuti 2007, p. 14.

[9]  Clarke 1898, pp. 147–148. [10]   Haagmans 1916, p. vi.

6.2

Instrumental

[11]   York 1909, p. 109. [12]   Donington 1974, p. 156.

•

  Chorale composition

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 Concerto grosso

[14]   Norton 1984, p. 24.

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  Fugue

[15]  Carter & Chew 2013.

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  Suite

[16]   Sadie 2013.

•

[13]  Watkins 1991, p. 103.

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  Allemande

[17]   Bukofzer 1947, pp. 118–21.

•

  Courante

[18]   White 2013.

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  Sarabande

[19]  La Gorce 2013.

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  Gigue

[20]   Talbot 2013a.

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  Gavotte

[21]  Snyder 2013.

•

  Minuet

[22]   Sadie 2002.

  Sonata

[23]  Burrows 1991, p. 22.

•

 Sonata da camera

[24]  Kenyon 1997.

•

 Sonata da chiesa

[25]  Estrella 2012.

•

 Trio sonata

[26]   Little 2001a.

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  Partita

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  Canzona

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  Sinfonia

[27]   Little 2001b. [28]   Dorak 2008. [29]   Hyer 2013. [30]  Shotwell 2002.

•

  Fantasia

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  Ricercar

[32]   Carver 2013.

•

  Toccata

[33]   Roseman 1975.

[31]   Talbot 2013b.

8 REFERENCES 

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References •

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 Bukofzer, Manfred F. (1947).  Music in the Baroque Era: From Monreverdi to Bach . New York: E. W. Norton & Company, Inc. ISBN 0-393-09745-5.   Burrows, Donald (1991).   Handel: Messiah . Cambridge, New York, and Melbourne: Cambridge University Press. ISBN 0-521-37620-3.

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 Clarke, Hugh Archibald (1898).  A System of Harmony. Philadelphia: T. Presser.   ISBN 978-1-24837946-2.

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  Chua, Daniel K. L. (2001). “Vincenzo Galilei, Modernity, and the Division of Nature”. In Clark, Suzannah.  Music Theory and Natural Order from the Renaissance to the Early Twentieth Century .

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  Donington, Robert (1974). A Performer’s Guide to Baroque Music . New York: C. Scribner’s Sons. ISBN 978-0-571-09797-5.   Dorak, Mehmet Tevfik (2008).   “Baroque Music”. Dorak.info.

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 Estrella, Espie (2012).  “The Suite: Baroque Dance Suite”. About.com.  Grout, Donald J.; Claude V. Palisca (1996).  A History of Western Music . New York: W. W. Norton.   Haagmans, Dirk (1916). Scales, Intervals, Harmony. University of Michigan: J. Fischer & Bro. ISBN 978-1-4370-6202-1.  Hyer, Brian (2013).   “Homophony”.   Grove Music  Online.   Oxford University Press. (subscription required)   Kenyon, Stephen (1997). Jacaranda Music.

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“The Baroque Suite”.

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La Gorce, Jérôme de (2013). “Jean-Baptiste Lully”. Grove Music Online . Oxford University Press. (subscription required)

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 Little, Meredith Ellis (2001a).   Passepied .  The New Grove Dictionary of Music and Musicians  (London: Macmillan Publishers). ISBN 978-1-56159-239-5.  Little, Meredith Ellis (2001b).  Rigaudon.  The New Grove Dictionary of Music and Musicians  (London: Macmillan Publishers). ISBN 978-1-56159-239-5.

  Baroque .   The New Grove Dictionary of Music and Musicians  (London:

  Palisca, Claude V. (2001).

  Price, Curtis (2013).  “Purcell, Henry”.  Grove Music Online.   Oxford University Press. (subscription required)   Roseman, Ronald (1975).   “Baroque Ornamentation”. Journal of The International Double Reed Society   3. Reprinted in  Muse Baroque: La magazine de la musique baroque , n.d.   Sachs, Curt  (1919). “Barockmusik”.  Jahrbuch der  Musikbibliothek Peters  26 . pp. .  Sadie, Stanley (2002).  “Baroque era, the”.  The Ox ford Companion to Music .  Oxford University Press. (subscription required)   Sadie, Julie Anne (2013). “Louis XIV, King of France”.   Grove Music Online .   Oxford University Press. (subscription required)   Shotwell, Clay (2002).   “MUSI 4350/4360: Music of the Baroque Era: General Characteristics of the Baroque”. Augusta, GA: Augusta State University.   Snyder, Kerala J. (2013).  “Buxtehude, Dieterich”. Grove Music Online . Oxford University Press. (subscription required)   Talbot, Michael (2013a). “Corelli, Arcangelo”. Grove Music Online . Oxford University Press. (subscription required)  Talbot, Michael (2013b).   “Ritornello”.  Grove Music Online.   Oxford University Press. (subscription required) Wainwright, Jonathan; Holman, Peter (2005). From

Renaissance to Baroque: Change in Instruments and Instrumental Music in the Seventeenth Century . Aldershot, England: Ashgate Publishing.   ISBN 978-0-7546-0403-7. •

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The Performance of Italian Basso Continuo: Style in Keyboard Accompaniment  in the Seventeenth and Eighteenth Centuries . Alder-

  Nuti, Giulia (2007).

Macmillan Publishers). ISBN 978-1-56159-239-5.

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in Western Culture: A Critical and Historical Perspective . Uni-

shot, England: Ashgate Publishing.   ISBN 978-07546-0567-6.

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  Norton, Richard (1984).  Tonality

versity Park: Pennsylvania State University Press. ISBN 978-0-271-00359-7.

 Carter, Tim; Chew, Geoffrey (2013).   “Monteverdi, Claudi”.   Grove Music Online .   Oxford University Press. (subscription required)   Carver, Anthony F. (2013).   “Concertato”.   Grove Music Online.   Oxford University Press. (subscription required)

Mackay, Alison; Romanec, Craig (2007). “Baroque Guide” (PDF). Tafelmusik.

  Wallechinsky, David (2007).  The

Knowledge Book:  Everything You Need to Know to Get by in the 21st  century. Washington, DC: National Geographic Books. ISBN 978-1-4262-0124-0.

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  Watkins, Glenn (1991). Gesualdo: The Man and  His Music . Oxford: Oxford University Press.  ISBN 978-0-19-816197-4.   White, Harry, and Thomas Hochradner (2013). “Fux, Johann Joseph”.  Grove Music Online . Oxford University Press.

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Harmony Simplified:  A Practical Introduction to Composition . Boston:

  York, Francis L. (1909).

Oliver Ditson and Company. 33956-9.

ISBN 978-1-176-

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Further reading •

Towards Tonality Aspects of Baroque Music Theory .

 Christensen, Thomas Street, and Peter Dejans.

Leuven: Leuven University Press, 2007. ISBN 97890-5867-587-3 •

  Cyr, Mary.  Essays on the Performance of Baroque

Music Operaand Chamber Music in France andEngland . Variorum collected studies series, 899. Aldershot, Hants, England: Ashgate, 2008.  ISBN 978-07546-5926-6 •

  Foreman, Edward.  A Bel Canto Method, or, How to

Sing Italian Baroque Music Correctly Based on the Primary Sources . Twentieth century masterworks on singing, v. 12. Minneapolis, Minn: Pro Musica Press, 2006. ISBN 978-1-887117-18-0 •

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Hebson, Audrey (2012). “Dance and Its Importance in Bach’s Suites for Solo Cello”, Musical Offerings: Vol. 1: No. 2, Article 2. Available at http://digitalcommons.cedarville.edu/ musicalofferings/vol1/iss2/2. Hoffer, Brandi (2012). “Sacred German Music in the Thirty Years’ War”, Musical Offerings: Vol. 3: No. 1, Article 1. Available at   http://digitalcommons.cedarville.edu/ musicalofferings/vol3/iss1/1. Schubert, Peter, and Christoph Neidhöfer. Baroque Counterpoint . Upper Saddle River, NJ: Pearson Prentice Hall, 2006.  ISBN 978-0-13-183442-2   Schulenberg, David.   Music of the Baroque . New York: Oxford UP, 2001.   ISBN 978-0-19-5122329   Stauffer, George B.  The World of Baroque Music  New Perspectives . Bloomington: Indiana University Press, 2006. ISBN 978-0-253-34798-5   Strunk, Oliver.  Source

Readings in Music History. From Classical Antiquity to the Romantic Era . London: Faber & Faber, 1952.

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External links  Barock Music (webradio)   Pandora Radio: Baroque Period (not available outside the U.S.)   Handel’s Harpsichord Room – free recordings of harpsichord music of the Baroque era  Renaissance & Baroque Music Chronology: Composers  Orpheon Foundation in Vienna, Austria   Free scores by various baroque composers   at the International Music Score Library Project   Music, Affect and Fire: Thesis on Affect Theory with Fire as the special topic Répertoire International des Sources Musicales (RISM), a free, searchable database of worldwide locations for music manuscripts up to c. 1800

11 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES 

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11

Text and image sources, contributors, and licenses

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  Baroque music   Source:    https://en.wikipedia.org/wiki/Baroque_music?oldid=700147652 Contributors:  Mav, Amillar, Andre Engels, William Avery, Merphant, Caltrop, Pengliujian, Camembert, Fred Bauder, Lexor, Bobby D. 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  File:'A'_(PSF).png  Source:   https://upload.wikimedia.org/wikipedia/commons/6/68/%27A%27_%28PSF%29.png License:   Public domain Contributors:   Archives of Pearson Scott Foresman, donated to the Wikimedia Foundation Original artist:  Pearson Scott Foresman  File:Arcangelo_corelli.jpg   Source:   https://upload.wikimedia.org/wikipedia/commons/0/05/Arcangelo_corelli.jpg  License:   Public domain Contributors:  ?  Original artist:  ?   File:Bachsiegel.svg Source:   https://upload.wikimedia.org/wikipedia/commons/6/65/Bachsiegel.svg License:  Public domain Contributors:  Bach-Archiv Leipzig; svg from Lumu (talk) Original artist:  Johann Sebastian Bach  File:Baschenis_-_Musical_Instruments.jpg   Source:    https://upload.wikimedia.org/wikipedia/commons/5/50/Baschenis_-_Musical_ Instruments.jpg License:  Public domain  Contributors:  Art Renewal Center – description Original artist:  Evaristo Baschenis   File:Ceskystage.jpg  Source:   https://upload.wikimedia.org/wikipedia/commons/4/42/Ceskystage.jpg License:   Public domain  Contributors:   Transferred from en.wikipedia to Commons by Hu Totya.  Original artist:   Alexwardle at English Wikipedia   File:Claudio_Monteverdi.jpg Source:  https://upload.wikimedia.org/wikipedia/commons/4/44/Claudio_Monteverdi.jpg License:   Public domain  Contributors:   Fritz-Haber-Institut der MPG Original artist:   After Bernardo Strozzi

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  File:Commons-logo.svg Source:   https://upload.wikimedia.org/wikipedia/en/4/4a/Commons-logo.svg License:   CC-BY-SA-3.0 Contributors:  ?  Original artist:  ? File:Harpsichord_VitalJulianFrey.jpg   Source:    https://upload.wikimedia.org/wikipedia/commons/d/df/Harpsichord_VitalJulianFrey. jpg License:   CC BY-SA 3.0 Contributors:   Own work Original artist:  FREYmanagement File:Jean-Baptiste_Lully_Nicolas_Mignard.jpg   Source:    https://upload.wikimedia.org/wikipedia/commons/b/bb/Jean-Baptiste_ Lully_Nicolas_Mignard.jpg   License:  Public domain   Contributors:    http://www.photo.rmn.fr/cf/htm/CSearchZ.aspx?E= 2K1KTSUKKI5WD&SubE=2C6NU0HLWUSZ Original artist:  Nicolas Mignard File:Johann_Sebastian_Bach.jpg  Source:   https://upload.wikimedia.org/wikipedia/commons/6/6a/Johann_Sebastian_Bach.jpg License:  Public domain Contributors:   http://www.jsbach.net/bass/elements/bach-hausmann.jpg Original artist:   Elias Gottlob Haussmann File:Pannini,_Giovanni_Paolo_-_Musical_Fête_-_1747.png   Source:    https://upload.wikimedia.org/wikipedia/commons/ e/e5/Pannini%2C_Giovanni_Paolo_-_Musical_F%C3%AAte_-_1747.png   License:  Public domain   Contributors:  Web Gallery of Art:   Image  Info about artwork  Original artist:  Giovanni Paolo Panini  File:Retrato_de_Handel.jpg   Source:    https://upload.wikimedia.org/wikipedia/commons/b/b5/Retrato_de_Handel.jpg License:    Public domain  Contributors:   Handel House  Original artist:  Philip Mercier (circa 1689-1760)  File:Wiki_letter_w_cropped.svg   Source:   https://upload.wikimedia.org/wikipedia/commons/1/1c/Wiki_letter_w_cropped.svg License:  CC-BY-SA-3.0   Contributors:  This file was derived from   Wiki letter w.svg: Original artist:   Derivative work by Thumperward

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