982:
914:
845:, which he believed consisted of a single melodic line and simple accompaniment, allowing direct, intelligible expression of the text. He instructed Caccini to "make it your chief aim to arrange the verse well and to declaim the words as intelligibly as you can." While Bardi's letter dealt with vocal music, the principle of a single, clear melody dominating a simple accompaniment easily carries over to the instrumental realm. This is seen in the proliferation of hitherto unknown solo instrumental
814:
633:
958:, which in the Renaissance tended to function as the soprano member of the sackbut family, survived in the early seventeenth century as a solo instrument, even having a large repertoire rivaling that of the violin, but eventually disappeared as well. However, Renaissance instruments did not vanish from use quickly; contemporary references indicate such instruments survived in chamber or military contexts well throughout the seventeenth century and even into the eighteenth.
1785:
1795:
1775:
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virtuosic improvisation, as well as the first dynamic markings, were now written as the expected standard. On the other hand, some of the instrumental genres listed above, such as the prelude, toccata, and intonation, were improvisation-based to begin with. Even in the early sixteenth century, these genres were truly, idiomatically instrumental; they could not be adapted for voices because they were not composed in a consistent
1805:
974:, or instrumental groupings. As has been discussed above, instruments in the sixteenth century were grouped together, either as fixed ("whole") or broken (mixed) consorts: fixed consorts consisting of instruments from the same family (such as recorders or viols) or broken being a combination of instruments from different families (like the English consort), with or without voice. As the century went on, small
869:. Furthermore, the new musical genres that appeared in the late sixteenth and early seventeenth centuries, especially the instrumental sonata, revealed a transition in ways of thinking about composition and performance, from a collaboration of equals to a soloist backed up by a relatively unimportant accompaniment. In addition, even in the mid sixteenth century, most works for
1031:) had essentially been developed, featuring a larger overarching ensemble out of which smaller groups were selected at will to play successive musical phrases in different styles, or to perform simultaneously in different manners. Thus, one phrase might be soloistic, the next set in imitative polyphony, the next homophonic, the next an instrumental
901:, like Bardi, lauds the music of the Greeks, convinced that their music had "virtuous and wonderful effects" on listeners, while saying that modern composers did not know how to "express the conceptions of the mind how to impress them with the greatest possible effectiveness on the minds of the listeners." The idea that music could and ought to
962:
expression, none of which the
Renaissance instruments were designed to do. Lower-pitched instruments, those that could not vary dynamics, or those that were cumbersome, were deprecated. Thus, the supremacy of melody in the Baroque mind had wide-reaching consequences in the instrumental choices made by composers and makers.
652:; that is, the ways in which instruments are used or not used in a particular work. Closely tied to this concept is the idea of idiomatic writing, for if composers are unaware of or indifferent to the idiomatic capabilities of different instruments, then they will have little reason to specify which instruments they desire.
938:, were unsuited to carrying a solo melodic line with brilliance and expressiveness because they were incapable of dynamic variation, and fell into disuse or at best provided color in string-dominated ensembles. The low instruments of the woodwind consorts were all but abandoned. Even in the string family, members of the
770:
In the early
Baroque, these melodic embellishments that had been improvised in the Renaissance began to be incorporated into compositions as standardized melodic gestures. With the Baroque's emphasis on a soloist as virtuoso, the range of pitches and characteristic techniques formerly found only in
909:
emotional states evidenced a change in thinking about music. This went hand-in-hand with the transition from polyphony to monody discussed above, for a solo instrument or pair of instruments would ideally be not only be the sole melodic vehicle but also be capable of "impressing with the greatest
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did not, as a general rule, specify which instruments were to play which part; in any given piece, "each part playable on any instrument whose range encompassed that of the part." Nor were they necessarily concerned with individual instrumental sonorities or even aware of idiomatic instrumental
961:
As a general rule, however, one can see in the
Baroque an overwhelming preference for those instruments that were capable of carrying a melodic line alone: those that were louder and higher, that could achieve a variety of dynamics, and that lent themselves to virtuosic display and emotional
730:
While the first three could easily be performed vocally, the last three are clearly instrumental in nature, suggesting that even in the sixteenth century, composers were writing with specifically instrumental capabilities in mind, as opposed to vocal. In contention of composers' supposed
992:
Regardless of the type of ensemble, a heterogeneous texture prevailed in these ensembles and in the works they played; each member of the ensemble had a distinct part in the texture, which they played through from beginning to end. In the late sixteenth century, however,
860:
with one voice singing the treble line, while the others were played by instruments or by a single keyboard instrument. Thus, while all voices were still theoretically equal in these polyphonic compositions, in practice the listener would have heard one voice as being a
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Such music allowed for highly dramatic effects, with sudden shifts in volume, articulation, timbre and texture, for not all of the choirs were the same size, and could be made up of radically different combinations of voices and instruments. With the addition of the
778:
Thus, idiomatic instrumental effects were present in
Renaissance performance, if not in writing. By the early Baroque, however, they had clearly found their way into writing when composers began specifying desired instrumentation, notably
925:
This necessarily led to a change in the types of instruments that were preferred by composers, for many instruments of the
Renaissance were greatly limited in pitch range, being designed only to play a discreet role in a
680:
Howard Brown, while acknowledging the importance of vocal transcriptions in
Renaissance instrumental repertoire, has identified six categories of specifically instrumental music in the sixteenth century:
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stemming from the
Florentine Camerata and their head Count Giovanni de' Bardi, who deliberately sought to change the way music was written, and adopted an overarching goal of a music renaissance. In a
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In the absence of idiomatic writing in the sixteenth century, characteristic instrumental effects may have been improvised in performance. On the other hand, idiomatic writing may have stemmed from
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began experimenting with placing diverse group of performers – instrumental and vocal – in antiphonal locations around the vast interior of the church, in what became known as
889:
A third major difference between
Renaissance and Baroque music lies in which instruments were favored and used in performance. This is directly related to a larger shift in
856:
The rise of instrumental monody did not have its roots exclusively in vocal music. In part, it was based on the extant sixteenth-century practice of performing polyphonic
950:. The lute and viola da gamba continued being written for in an accompanimental role but could not compete with the violin in volume. The shawm was replaced by the
543:
1039:
while violins played in an entirely different style at the same time – in a different register, in a different location in the church, all performed over a
841:, a composer and member of the Camerata, Bardi decried counterpoint's obscuring of the text in vocal settings and advocates a return to the music of the
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810:. In this new style of writing, solo melody and bass line accompaniment were now the important lines, with the inner voices filling in harmonies.
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were already thinking of a dichotomous melody and bass, filled in not with counterpoint but with chords "planned for harmonic effect."
560:, several distinct shifts emerged in ways of thinking about the purposes, writing and performance of music. Partly these changes were
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were conceived specifically as such. In the realm of
English ayres, for instance, this meant that composers such as
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effects of different instruments and regarded different instruments as being suited to expressing particular moods.
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The application of this principle to instrumental writing was partly an extension of the forces of change in
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was written in the
Renaissance, with the chief repertoire of instruments consisting of borrowed vocal music.
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spread throughout Europe and was particularly dominant in Italy and Germany, later forming the basis of the
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on a vocal line – to the point that such playing became more idiomatic of the instrument than of the voice.
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1248:"Grove Music Online - Cantata - The German Cantata to 1800 The 17th-century Protestant cantata: Origins"
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Another crucial distinction between Renaissance and Baroque writing is its texture: the shift from
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1166:"Upgrading from Consorts to Orchestra at the Württemberg Court" in From Renaissance to Baroque
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indifference to instrumental timbres, Brown has also pointed out that as early as 1533,
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A change between Renaissance and Baroque styles can also be discerned in the realm of
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in Venice, where the Gabrieli's innovations in orchestration were first heard
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One key distinction between Renaissance and Baroque instrumental music is in
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family was one of several consorts to gradually fall out of use after 1600.
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954:, which had a more refined sound and was capable of dynamic nuance. The
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was already marking some vocal arrangements as more suitable for certain
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capabilities. The concept of writing a quartet specifically for
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1306:. Music & Society. Vol. 3. Lebanon, IN: Prentice Hall.
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family – except for the bass viol which provided the necessary
893:, again stemming chiefly from the Florentine Camerata. In his
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The Early Baroque Era: from the late 16th Century to the 1660s
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1035:, and so on. Alternatively, a chorus could declaim a text
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946:– were gradually replaced by the new and highly virtuosic
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564:, deliberately instigated by a group of intellectuals in
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and treble-bass polarity, along with the development of
1246:; David Tunley; James R. Goodall; Juan José Carreras.
1124:
1276:
802:, in which all voices are theoretically equal, to
1279:Music in Late Renaissance and Early Baroque Italy
1229:"Forms and genres," in Companion to Baroque Music
612:, shifts in four discrete areas can be observed:
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1168:. Aldershot, England: Ashgate. pp. 234–245.
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16:Historical period of Western classical music
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895:Dialogo della musica antica e della moderna
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1242:Colin Timms; Nigel Fortune; Malcolm Boyd;
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691:settings of preexisting melodies, such as
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978:of unlike instruments remained the norm.
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1129:. Upper Saddle River, NJ: Prentice Hall.
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1125:Brown, Howard; Louis K. Stein (1999).
1023:in the early seventeenth century, the
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1231:. London: Dent and Sons. p. 391.
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739:than for others. Furthermore, Count
1205:"Grove Music Online - Cori spezzati"
1109:
1105:. New York: Oxford University Press.
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1804:
580:style can be found far back in the
13:
1267:
849:beginning shortly after Caccini's
644:available to Renaissance composers
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556:In the years centering on 1600 in
14:
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1203:Denis Arnold; Anthony F. Carver.
1803:
1793:
1784:
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1184:"Grove Music Online - "Consort""
1151:Source Readings in Music History
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747:, was demonstrably aware of the
660:According to David Schulenberg,
576:, in that precursors of the new
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1302:Price, Curtis, ed. (1993).
1101:Schulenberg, David (2001).
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737:groups of like instruments
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910:possible effectiveness."
903:move or impress listeners
723:music for solo voice and
656:Specified instrumentation
332:Transition to Renaissance
1649:Unruly audience response
1227:Mangsen, Sandra (1990).
1164:Owens, Samantha (2005).
1127:Music of the Renaissance
640:family, one of the many
1353:Western classical music
1259:(subscription required)
1216:(subscription required)
1149:Strunk, Oliver (2001).
642:consorts of instruments
572:, and partly they were
451:Transition to Modernism
399:Transition to Classical
298:Western classical music
1451:Transition to Romantic
1381:Major periods and eras
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928:consort of instruments
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822:
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620:, instrument use, and
425:Transition to Romantic
372:Common practice period
1830:Italian music history
1407:Transition to Baroque
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816:
688:played on instruments
662:Renaissance composers
635:
604:, and lastly reached
358:Transition to Baroque
65:Movements and schools
53:Transition to Baroque
1739:Worldwide traditions
1692:Classical music blog
1275:Carter, Tim (1992).
1244:Friedhelm Krummacher
1103:Music of the Baroque
905:and provoke certain
1591:Students by teacher
1153:. New York: Norton.
745:Florentine Camerata
570:Florentine Camerata
512: •
507: •
102:English Virginalist
87:Florentine Camerata
1015:(divided choirs).
1003:St Mark's Basilica
990:
986:St Mark's Basilica
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891:musical aesthetics
865:and the others as
823:
821:, 1601, title page
781:Claudio Monteverdi
741:Giovanni de' Bardi
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610:instrumental music
1840:Renaissance music
1817:
1816:
1712:Progressive music
1506:
1505:
1313:978-0-13-223793-2
1182:Warwick Edwards.
1055:, and the German
999:Giovanni Gabrieli
755:Idiomatic writing
733:Pierre Attaignant
717:, preambles, and
614:idiomatic writing
588:, then spread to
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851:Le Nuove Musiche
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695:or popular songs
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120:Major figures
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1734:Third stream
1697:Experimental
1528:Porto Alegre
1498:21st-century
1493:20th-century
1488:Contemporary
1436:
1406:
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1251:. Retrieved
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1187:. Retrieved
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52:
51: /
1809:WikiProject
1702:Light music
1687:Baroque pop
1682:Avant-garde
1637:Performance
1402:Renaissance
1389:Early music
835: 1580
763:improvised
686:vocal music
582:Renaissance
501: 1945
485: 1890
342:Renaissance
305:Early music
200:Major forms
1824:Categories
1722:Film score
1717:Soundtrack
1656:Conducting
1575:Birmingham
1511:By country
1360:Definition
1283:. London:
1253:2007-07-09
1210:2007-07-09
1189:2013-04-08
1063:References
1025:concertato
907:archetypal
837:letter to
773:polyphonic
693:plainchant
187:Monteverdi
167:Palestrina
72:Burgundian
1767:Festivals
1666:Orchestra
1518:Australia
1483:Modernism
1475:New music
1446:Classical
1367:Art music
858:madrigals
853:in 1601.
817:Caccini,
800:polyphony
761:virtuosic
706:fantasias
702:ricercars
476:Modernism
465:New music
409:Classical
147:Tinctoris
49:Composers
1789:Category
1458:Romantic
1397:Medieval
1285:Batsford
932:racketts
787:scores.
719:toccatas
715:preludes
710:canzonas
671:racketts
667:sackbuts
638:recorder
566:Florence
435:Romantic
316:Medieval
219:Madrigal
182:Victoria
137:Ockeghem
132:Binchois
97:Venetian
82:Colorist
39:Overview
24:a series
22:Part of
1779:Outline
1675:Related
1644:Concert
1550:Ireland
1545:Germany
1427:Baroque
1057:cantata
1043:. The
1027:style (
956:cornett
847:sonatas
791:Texture
783:in his
775:style.
749:timbral
618:texture
606:England
598:Germany
578:Baroque
383:Baroque
213:Chanson
162:Zarlino
152:Josquin
142:Busnois
1799:Portal
1757:Genres
1628:T to Z
1623:R to S
1618:N to G
1613:K to M
1608:G to J
1603:C to F
1598:A to B
1565:Russia
1560:Kosovo
1540:France
1535:Canada
1523:Brazil
1432:Galant
1310:
1291:
1051:, the
1007:Venice
995:Andrea
948:violin
936:shawms
863:melody
804:monody
708:, and
675:per se
600:, and
594:France
558:Europe
207:Anthem
157:Tallis
127:Du Fay
1752:Lists
1555:Italy
1033:tutti
919:shawm
785:opera
602:Spain
496:from
480:from
229:Motet
172:Lasso
92:Roman
1308:ISBN
1289:ISBN
997:and
952:oboe
940:viol
934:and
917:The
877:and
725:lute
636:The
590:Rome
224:Mass
177:Byrd
1005:in
1001:at
1826::
1287:.
1174:^
1135:^
1111:^
1071:^
1059:.
897:,
832:c.
704:,
624:.
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592:,
498:c.
482:c.
440:c.
414:c.
388:c.
347:c.
321:c.
26:on
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1316:.
1297:.
1256:.
1213:.
1192:.
545:e
538:t
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281:e
274:t
267:v
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