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Lecture

MU1711 Mar 22

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Department
Music
Course
Music 1711F/G
Professor
Kate Helsen
Semester
Winter

Description
Mar 22 – The New Practice: Music in the Baroque Era – a Stylistic Overview Diff b/w Renaissance and Baroque Emergence of Basso Continuo – Major compositional technique influencing from the early Baroque era til now – Basso Continuo – paradigm shift in music Co-existence of old and new styles – Must differentiate b/w prima and seconda prattica Modal (Renaissance) vs. Tonal writing (Baroque) – Use of eight church modes – how tones and semitones are distributed over an octave – Going from this method to either being in major or minor tonality – from this, we manipulate the music – Controversy – Monteverdi doesn't want modal language go. – Handel (early 18 century) - “A good composer should know the modes, but he doesn't see what use they have in today's music.” - major/minor by Handel's time. Intervallic to Chordal Harmony – Going to the idea of chords – functions of chords. – Until now: harmony is a result of good counterpoint – not thinking in chords and what function they serve Rhythmic Regularity vs. Rhythmic freedom – Renaissance – beat is regulated, and the harmony is on top – Rhythmic freedom – no barlines – sense of “tactus” - pulse rather than text- declamation-driven freedom of the Renaissance Differences b/w Renaissance and Baroque Style Uniformity vs. Individual Virtuosity – Renaissance: Equality of roles – uniformity of parts. Baroque era – accompanim
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