Music in the Baroque

by Wendy Heller, Walter Frisch

Overview

Baroque music in its cultural, social, and intellectual contexts.

Wendy Heller's Music in the Baroque traces the production and consumption of music in the seventeenth and early eighteenth century. Going beyond a history of styles, the text explores patronage, education, religious and civic ritual, theater, and visual culture. Heller focuses not only on the nature of music in the Baroque period, but also on the very different ways in which men and women experienced music in their daily lives. Treating music as an expression of political and national identity, she examines it in the context of the era's art and literature, political and religious conflicts, and contentious issues of class and gender.

Western Music in Context: A Norton History comprises six volumes of moderate length, each written in an engaging style by a recognized expert. Authoritative and current, the series examines music in the broadest sense—as sounds notated, performed, and heard—focusing not only on composers and works, but also on broader social and intellectual currents.

Product Details

ISBN-13:	9780393929171
Publisher:	Norton, W. W. & Company, Inc.
Publication date:	07/31/2013
Series:	Western Music in Context: A Norton History
Edition description:	New Edition
Pages:	336
Product dimensions:	6.10(w) x 9.20(h) x 0.80(d)

About the Author

Wendy Heller is Professor of Music and Director of the Program in Italian Studies at Princeton University. She is the author of Emblems of Eloquence: Opera and Women's Voices in Seventeenth-Century Venice and articles published in the Journal of the American Musicological Society, Early Music, and Music & Letters. Heller’s writings have received awards from the American Musicological Society and the Society for the Study of Early Modern Women, and she has received grants from the National Endowment for the Humanities and the American Council of Learned Societies.

Walter Frisch is H. Harold Gumm/Harry and Albert von Tilzer Professor of Music at Columbia University. He is the author of numerous books and articles, including Brahms: The Four Symphonies, The Early Works of Arnold Schoenberg 1903–1908, and German Modernism: Music and the Arts. He is the recipient of two ASCAP-Deems Taylor Awards and fellowships from the National Endowment for the Humanities, the Alexander von Humboldt Foundation, and the Center for Scholars and Writers at the New York Public Library.

Table of Contents

Anthology Repertoire xii

Series Editor's Preface xv

Author's Preface xvii

Chapter 1 Baroque Music in Early Modern Europe 1

Defining "Baroque" 3

Humanism and Beyond 6

Political and Religious Conflict 10

Toward the Enlightenment 13

Baroque Music and Style 14

For Further Reading 16

Part I Musical Expression and Innovation

Chapter 2 Ancients and Moderns 20

Theory and Practice in the Age of Humanism 21

Inventing Opera Dramatizing the Madrigal: Il pastor fido 28

Moving the Passions with Song 30

From Performance to Print and Back Again 34

For Further Reading 37

Chapter 3 Theatrical Baroque 39

Monteverdi's Mantua 40

Opera in Italy and Beyond 46

Other Varieties of Musical Theater 48

Exoticism 53

For Further Reading 55

Chapter 4 The Art and Craft of Instrumental Music in the Early Seventeenth Century 56

The Practical Musician 58

Building Instruments for Sight and Sound 59

Patrons, Audiences, and Performers 61

Music, Rhetoric, and National Styles 63

Genre and Style in Seventeenth-Century Instrumental Music 65

For Further Reading 73

Chapter 5 Music in Civic and Religious Ritual 75

Music, Faith, and Ideology 76

Religious Diversity and Stylistic Pluralism 79

Music and Paraliturgical Practices 88

For Further Reading 92

Part II Musical Institutions

Chapter 6 Opera in Venice and Beyond 95

Opera and the Venetian Republic 96

The Venetian Opera Industry 97

The Anatomy of an Opera: Monteverdi's L'incoronazione di Poppea 98

Staging Venetian Opera 104

Cavalli's Giasone 106

Beyond Giasone and Venice 108

Operatic Conventions in the Late Seventeenth Century 109

For Further Reading 110

Chapter 7 Power and Pleasure at the Court of Louis XIV 112

Centralization of the Arts under Bourbon Rule 114

What Is So French about French Music? 116

Staging the Monarchy 121

The Burlesque as a Mirror of the Court: The Comédie-Ballet 123

The Tragic Ideal 124

The Power of the Sorceress: From Armide to Médée 126

For Further Reading 129

Chapter 8 Music in Seventeenth-Century England 130

Music in the Jacobean and Caroline Ages 131

Music for the Church of England 135

The Interregnum 136

John Playford: Music Publishing from the Interregnum to the Restoration 137

Music during the Restoration 141

Henry Purcell 142

For Further Reading 146

Chapter 9 Music and Education 148

Choirboys 149

Learning to Sing 152

Convents 154

Orphans and Foundlings 158

For Further Reading 162

Chapter 10 Academies, Salons, and Music Societies 163

Singing at the Italian Academies 164

Women Patrons: The Salons 170

Professionalism: The Accademia Filarmonica of Bologna 173

Musical Entrepreneurs and the Rise of Public Concerts 176

For Further Reading 179

Part III Musical Synthesis in the Capitals of Europe

Chapter 11 Rome in the Age of the Arcadian Academy 184

Patrons and Composers in Eighteenth-Century Rome 185

Alternatives to Opera 188

The Arcadian Academy 191

Opera and the Arcadians 195

Corelli and the Cult of Instrumental Music 196

For Further Reading 200

Chapter 12 Parisians and Their Music in the Eighteenth Century 201

Resisting the Monarchy: The Politics of the Italian Style 202

Pleasures in Paris 204

François Couperin and Les gouts réunis 208

The French Cantata 212

Paris during the Regency 213

For Further Reading 217

Chapter 13 Music in City, Court, and Church in the Holy Roman Empire 218

A Domestic Music Scene in North Germany 219

Buxtehude in Lübeck 221

Public Concerts in Hamburg and Lübeck 224

Heinrich Biber in Salzburg 226

Vienna and the Imperial Style 230

For Further Reading 233

Chapter 14 The London of Handel and Hogarth 235

Commerce and Politics in Eighteenth-Century London 237

Italian Music in London 240

Oratorio and the Apotheosis of Handel 248

For Further Reading 251

Chapter 15 Postlude and Prelude: Bach and the Baroque 252

The Road to Leipzig 254

Music in Leipzig 255

Music for the Church 257

The Coffeehouse Composer 263

Beyond Genre: The Universal Bach 264

For Further Reading 271

Glossary A1

Endnotes A10

Credits A14

Index A16