Baroque Music: Music in Western Europe, 1580?1750

John Walter Hill?s highly anticipated text presents a broad survey of the music of Western Europe from 1580 to 1750. This essential addition to the Norton Introduction to Music History series provides a comprehensive introduction to the music of the Baroque, incorporating discussions of culture, religion, and political history with in-depth analysis of musical compositions. The narrative is complemented by a wide range of music in both the text and the accompanying Anthology of Baroque Music; the works included reflect the innovations and great stylistic diversity of music during this dynamic period.

Driven by Innovative Scholarship

In this text, John Walter Hill provides original contributions to current scholarship and takes a broad view of the repertoire of the period. Coverage encompasses standard Western European repertoire along with the music of Spain, Portugal, and the New World; improvisatory forms, styles, and practices; the reinforcement of modal structures by normalized harmony; comprehensive discussion of the music of France; and discussions of the accomplishments of women during the period, as both composers and performers.
More Music, More Analysis

Baroque Music features a broad range of musical examples, including 79 selections in the text alone, to show changing styles over nearly 200 years. Additionally, there are 176 complete works or movements available: 130 printed in the companion Anthology and 46 available for download on the Web at wwnorton.com/music/hill (coming soon). Music theory of the period is discussed in each chapter and underlies all the musical analyses presented.
Extensive Social and Historical Context

Professor Hill offers in-depth discussions of culture, religion, government, monarchy, and aristocracy to give students the context for understanding the changes in music during this period and to provide them with an entrée into the mindset of those who created Baroque music?the composers and performers, as well as the listeners, patrons, teachers, and critics.

CONTENIDO:

Chapter I: Introduction: Monarchy, Religion, and the Rhetoric of the Arts
- Introduction
- Monarchy and Nobility
- Religion
- The Rhetoric of the Arts

Chapter II: The Birth of Opera, Monody, and the Concerted Madrigal
- Court Culture, Politics, and Spectacle in Florence
- The First Operas
- Le nuove musiche
- Monody and the Serious Canzonetta in Naples, Rome, and Elsewhere
- Seconda pratica and the Concerted Madrigal
- Court Opera in Mantua, Florence, and Rome

Chapter III: New Genres of Instrumental Music in Italy
- Frescobaldi, Lutenists, and Style Change in Harpsichord Music
- Chordal Composition
- Modal Composition
- Church Organ Music in Early Seventeenth-Century Italy
- The Violin and Italian Instrumental Ensemble Music

Chapter IV: Church Music in Italy, 1600-1650
- Churches and Other Religious Institutions
- Persistence of Traditions
- The Small-Scale Sacred Concerto
- Sacred Dialogues and Oratorios
- Large-Scale Concerted Church Music

Chapter V: Stage, Instrumental, and Church Music in France to 1650
- The Balet comique de la Royne
- Types of Dance in Court Ballets, Other Spectacles, and Social Contexts in France
- The air de cour
- Lute Music
- Harpsichord Music
- Instrumental Ensemble Music
- Organs and Organ Music
- Vocal Music for Church

Chapter VI: Music in the Empire through the Thirty-Years War
- The Italian Influx to the Empire and East
- The Earliest Lutheran Composers to Assimilate New Italian Styles after 1600
- Heinrich Schütz
- Calvinist Music
- Lutheran Organ Music
- Froberger
- Ensemble Music in the Empire
- Stadpfeidern
- The German Continuo Song

Chapter VII: Music in England under the First Stuart Kings and Commonwealth
- Instrumental Ensemble Music in England
- Lute and Harpsichord Music
- Church Music under the Stuart Kings
- Madrigals, Ayres, and Songs
- The Masque at the Courts of the First Stuart Kings
- Music, the English Civil War, and Commonwealth

Chapter VIII: The Diffusion of New Vocal Genres for Theater, Chamber, and Church in Italy, 1635-1680
- The Spread of Opera from Rome
- Venetian Theaters
- Incogniti Operas
- Venetian Opera Conventions
- Venetian Arias
- Florence, Naples, Genoa
- The Spread of the Chamber Cantata
- The Oratorio in Rome at Mid-Century
- The Spread of the Oratorio throughout Italy
- Changes in Liturgical Music in Italy

Chapter IX: Music at the Court of Louis XIV to the Death of Lully
- Political, Economic, and Cultural Centralization in France
- Musique de la Grande Écurie
- Musique de la Chambre
- The Chapelle Royale
- Italian Opera at the French Royal Court
- Spectacle as Propaganda at the Court of Louis XIV
- The System of Royal Academies
- The Beginnings of French Opera
- Ballets de cour and Comèdies-Ballets
- Tragédie en Musique
- Lully?s Alceste
- Lully?s Harmony
- Music in the City of Paris in the Age of Louis XIV

Chapter X: Music in Spain, Portugal, and their Colonies
- The Spanish Empire and Its Church
- Latin Liturgical Music
- The Villancico and Other Vernacular Church Music
- Autos Sacramentales
- Vocal Chamber Music
- Stage Music
- The Zarzuela
- Keyboard Music
- Harp and Guitar

Chapter XI: Music in the Empire during the Later Seventeenth Century
- The New Lutheran Piety and the Religious Aria
- Sacred Concertos for Solo Voice
- Sacred Concertos for Several Voices
- Chorale Concertos
- Religious Vocal Music at the Catholic German Courts
- Keyboard Music
- Instrumental Ensemble Music
- Seventeenth-Century Opera in the German Lands
- German Music Theory
- Summary

Chapter XII: Sonata and Concerto in Late Seventeenth-Century Italy
- The Italian Trio and Solo Sonata in the Second Half of the Seventeenth Century
- Arcangelo Corelli
- The Normalized Harmonic Style
- The Solo Sonata after Corelli
- The Rise of the Concerto Grosso
- The Bolognese Trumpet Sonata
- The Solo Violin Concerto

Chapter XIII: England from the Restoration through the Augustan Age
- Charles II and the Musical Institutions of His Court
- Anthems and Services
- Odes and Welcome Songs
- Songs and Domestic Vocal Ensembles
- Viols and Violins
- Solo Keyboard Music
- Plays with Music
- Dramatick Operas
- All-Sung Operas

Chapter XIV: Italian Vocal Music, ca. 1680-1730
- The Neoclassical Reform of Italian Opera, ca. 1680-1706
- "A Perfect Spritual Melodramma": The Italian Oratorio, ca. 1680-1730
- The Chamber Cantata
- Latin Church Music
- Opera seria, part 1
- "The Doctrine of the Affections"
- Opera seria, part 2

Chapter XV. French Music from the War of the Grand Alliance to the End of the Regency
- France Declines in the Theater of Europe
- Italian Music: Rapprochement and Resistance
- The cantate françoise
- Vocal Church Music
- Organ Music
- Pièces de clavecin
- Sonatas and sonades
- Orchestral Music
- The Harmonic Theories of Jean-Philippe Rameau

Chapter XVI: German Traditions and Innovations, ca. 1690-1750
- The New Lutheran Cantata
- Bach?s Cantatas
- Protestant Oratorios and Passions
- Handel?s Oratorios
- Bach?s Passions and Oratorios
- Bach?s Keyboard Works
- Instrumental Ensemble Music
- The End of an Era.The Legacy of the Baroque

Appendix: Rhetorical Figures that Are Frequently Mirrored in Music