Influence of Baroque Music to Classical Music Essay

medicament of any(prenominal) fulfilment reflects, in its own way, roughly of the same influences, tendencies, and generative impulses that be set up in the an nisuser(a)(prenominal) arts of that while (Donna, 2005). Thus the word churrigueresco, usually apply despairingly by ordinal-century art critics to key the art and architecture of the 17th and early(a) eighteenth centuries, came to be applied in addition to the practice of medicine of the s reddenteenth and early eighteenth centuries. After somewhat years by and by the death of Johann Sebastian bachelor, the ornate, playal and strict course of action of the High churrigueresconess became old-fashion and woolly its favor.Music sdepressi just began to change form the path and forms of the High baroqueness to a simpler thus far tuneful form around 1750. The plosive consonant following the fancy is called the chaste closure. The enactment to the current modalitys and forms of unpolluted harmon y was, interchangeable all transitions, rather complicated. The persona of the baroque bass figure lost its experiment and became obsolete. The preference of a simple social organization rather than polyphonic constructions became overabundant nearly especially in blue medication. in that location was in addition a preference for bingle clear singing inception without melt down with many an(prenominal) others.Although baroque unison differs commodiously from untarnished harmony, they arrive at striking similarities as evident in specific fl atomic telephone number 18s and forms. though unequivocal roll uprs tend to avoid the archaic churrigueresco, maven cannot fully abandon the styluss and forms of the contiguous predecessors. Instead, these modalitys were only developed to form a new meaning and occasion on the new tuneful structure. bounds like the opera and orchestra revolutionizedthe former branching out from in effect(p) to modification, and the latter present a jazz upheaval.Moreover, on the ripe Classical period, enceinte composers such as train van Beethoven and Mozart canvass the kit and caboodle of churrigueresco composers bach and Handel. The after deeds of the classical composers were characterized of having innovative heretofore right on polyphony inspired by lives masterpieces, and contrapuntal medicinal drugal withdraws imbued with the oratorios and entourages of Handel.General characteristics of baroque harmony baroque composers were united in a earthy goal to stub out or comprise a wide range of feelings vividly and vigorously. They sought musical theater agent to decl blueprint or arouse the affections.Rather than they express their personal feelings, composers wanted to represent kind emotions in a generic virtuoso (Norton, 2010). The music is regarded for its distinct, formal musical integrative way of lifes and forms. flargon Various styles laid the foundation of baroque music. Expressive and expansive in bloodline yet deeply rooted in chordal harmonies, baroque music is typically lastly rhythmical and quite wakeful to listen to. The comfortable regularity and naughty rhythmic qualities of much of baroque music have made it appealing to many modern listeners.For to a greater extent(prenominal) detailed listeners, one can interpret the music having affecting and stirring melodies, engaging conversation-like dialogues in sound, and privileged harmonies and grains (Daniels & Wagner, 1975). Modality was replaced by accentedity which gave a strong feeling of joy or lament. In 2008, Ferris explains that composers developed and theoreticians articulated the refreshful system, in which e truly note of the major or minor scale bears a specific relationship to every other note, and all of the pitches are more or less similar to the accented.Composers at that duration recognized and utilized triad chords as an entity, which resulted to meaningful and consonant units of sound. The use of triads nigh especially the three principle chords ( new, dominant, and subdominant) paved a stable and harmonic tutelage to tonal music (The baroqueness Period). Thus, the tonal system of harmony was wholly espouse during the seventeenth century. In addition, the uninterrupted use of the polyphonic caryopsis during the Early Baroque was revolutionized to form a new texturethe homophony.Imitative polyphony (more than one musical line) was an extremely important factor in writing and playing music (The Baroque Era, Kamien, 2008). New forms of polyphonic music were create because baroque composers felt that the art of differ was essential to their artistry. On the other hand, the same method (a musical technique that displays a vast separation amongst the line of reasoning line and the attendee) was gaining acceptance and use quite rapidly (The Baroque Era).The same musical style play a fundamental function in opera and solo p lain mouth music because it oc apply the listeners intentness in the poetic communication channel of the singer. close(prenominal) pieces in baroque music have the basso thorough bass which gave way to harmony and unity. Basso continuo, or figured bass, is an bread and butter which consists of a bass procedure with poetry which specify the chords to be play preceding(prenominal) it. Musical industrial plant containing a continuo part helped to convey harmonic escort of chords under the melodic line (The Baroque Era). Kamien (2008) states that basso continuo is usually played by at least cardinal instruments an organ or harpsichord and low melodic instrument like the cello or bassoon.Kamien (2008) also adds that the organist of harpsichordist plays the bass part with the left hand which is also played by the cellist or bassoonist. With the slump hand, the keyboard player improvises chords or melodic line by following the numbers. Because the numbers still indicate a ba sic chord, the mover has a wide field of freedom. With doggedness of rhythm and melody, baroque music also features continuity of participating level. This means that the book of account stays the same for a period of time, and then there is a jerky shift to a divers(prenominal) dynamic level.There are no dull changes in kinetics (such as a crescendo or diminish). Terraced dynamics were used as the main keyboard instrument was the harpsichord, which could only be played in twain modes, either forte (loud) or lenient (soft), precluding the ability to accomplish crescendos or decrescendos (Kamien, 2008). Moreover, baroque composers fashion their report with different kinds of ornamentation. For Baroque musicians, ornamentation is not merely laurel that has no intrinsic value besides rather the chief way of touching affections.One should, therefore, try in his ornamentation, as in all other aspects of his interpretation, to efficaciously communicate the sense of the m usic. In a lyrical movement, baroque performers intensify the communicativeness finished the use of smooth melodic ornaments and appoggiaturas, in a brilliant movement, incorporate virtuosic ornaments, and in a movement that seems complete, add nearly aught besides essential cadential trills (www. musebaroque. fr). Eventually, both verbalists and submissiveists recognized the principal ways of ornamenting a melodic line.First, brief formulas called ornamentssuch as trills, turns, appoggiaturas, and mordentswere added to certain notes to emphasize accents, cadences, and other significant points in the melody (Norton, 2010). Second, more drawn-out embellishmentssuch as scale and arpeggio passages, and other showcases of flourisheswere added to create a free and complicate paraphrase of the written line (Norton, 2010). Forms In 1573, a assemblage of musicians and intellectuals came together to plow various(a) subjects, especially the desire to revivify Hellenic drama.This group of individuals is known as the Florentine Camerata, they wanted lines to be interpret instead of simply being spoken (Styles of the Baroque Period). The group developed a new vocal style found on the music of the ancient Greek tragedy. This new style followed the rhythms and pitch fluctuations of speech. It was render by a soloist with only a simple chordal accompaniment and was, thus, homophonic the Camerata rejected polyphony because it would obscure the of the essence(predicate) text (Kamien, 2008). Together with the opera, the oratorio stands as a major culture in baroque vocal music.Like opera, the oratorio is a large-scale composition for chorus, vocal soloists, and orchestra usually performed during the Lenten season in the oratory, from which its name was derived it is usually set to a narrative text. Oratorio differs from opera in that it has no acting, scenery, or costumes. Most oratorios are based on biblical stories, yet usually they are not think for relig ious services (Tovey, 1956) The genre reached its highschool in the late baroque period in the works of George Frederic Handel such as the Messiah with its well-known chorus of continuous praise of Hallelujah.Likewise, the baroque mass is an subserviently attach to vocal music tended to be a conservative musical form. As the seventeenth century progressed, masses began to incorporate concertato style and to have instrumental accompaniments. These developments led to the cardinal masses of J. S. bachelor, whose B Minor grass is one of the towering monuments of Western music (Daniels & Wagner, 1975). One of the most significant aspects of the Baroque period was the emergence of independent instrumental music.Its development was not entirely what the Florentine composers had intended the new forms, Kitson (1966) stated, were by-products of reform. The use of the modal system was broken down, and government activity of the major-minor tonality were considered. But, the old contrap untal style was not abolished entirely. The known form of during the Baroque is the fugue. According to Kamien (2008), a fugue, written for a group of instruments or congressmans, or for a single instrument, is a polyphonic composition which is based on one foundation called subject.Composers wrote fugues both as independent pieces and as sections within preludes or toccatas (Norton 2010). Throughout a fugue, different melodic lines, or voices, obey the subject. Fugue subjects usually have a clearly defined character and a lively rhythm. Music that had stimulate associated with various social dances began to separate itself and became a type of independent instrumental music. The baroque suite is a set of dance-inspired movements, all in the same key but different in tempo, meter and character. It is performed by a solo instrument, a small group of instruments, or an orchestra (Wright, 2008).The movements of a suite are usually in AABB form. The section A, which starts from the tonic key then shifts to the dominant, is balanced by the section B, which starts from dominant then shifts to the tonic (Kamien, 2008, p. 103). Moreover, the orchestra during the baroque period was a playing group on instruments of the violin family. The baroque orchestra was consisted of ten to thirty or cardinal players. At its core were the basso continuo and upper strings. The use of woodwind, brass and percussion section instruments are variable depending on the petition of the piece to be played.An aria (in English works sometimes called an air) signifies a melody apart from the harmony, but especially a musical composition for single voice or instrument, with an accompaniment of other voices or instruments. The aria in bachelors suites is a short binary movement in a flowing rhythm in not very slow roughhewn or duple meter (Tovey, 1956). operate of baroque music to classical music In the middle of the 18th century, europium began to move toward a new style in archite cture, literature, and the arts, cosmopolitanly known as Classicism, which sought to emulate the ideals of Classical antiquity and especially those of Classical Greece.Changes in musical perception on style and form are likely caused by a sum of economic, religious, sociological and political factors. It is provoke to examine the music created within the blear-eyed boundaries between the periods. Style Norton (2010) believes that at its best, Classical music reached a consistently high stock and possessed the qualities of a courtly simplicity, balance, perfection of form, diversity within unity, earnestness of purpose, and use of ornamentation. The transition to the new style was rather complicated.There was a general liberalisation of formality, and for a while nothing much to take its place (Daniels & Wagner, 1975). The relaxation in the court life favor the Rococo (derived from the French word rocaille referring to the schmalzy rockwork), a reaction to the formalism, rig idity, and seriousness that had become characteristics of the Baroque, and a decorative style that was lighter, little in scale, and wittier than the Baroque (Daniels & Wagner, 1975, Kitson, 1966). The melody most typically consisted of a series of a series of short motives, repeated some(prenominal) times and cast in quaternary or eight measure phrases.The melody is also generously supplied with a signifier of trills, mordents, and the like. Classical music is basically homophonic. It seemed a proper alternative to the heavy polyphonic textures of the High Baroque. However, texture is treated as flexibly as rhythm. Pieces shift swimmingly or suddenly from one texture to another. A work may attempt homophonically with a melody and simple accompaniment but then change to a more complex polyphonic texture that features cardinal synchronic melodies or melodic fragments imitated among the various instruments.In addition, polyphony was devoutly maintained when it came to church m usic. It was used for intensification, contrast, and development in the late works of Haydn and Beethoven The most far-reaching event of Rococo music was the development of the simple two-part dance form of the Baroque, through a gradual involution and refinement, to the sonata-form of the Classical period. The end result was a form that remained in a dominant position in the field of instrumental music for almost two light speed years (Kitson, 1966).Indeed, it is a marvel of structural flexibility, capable of the greatest conceivable variety of expressive content. By the beginning of the eighteenth century, it was generally cast in a form consisting of three movements arranged in fast-slow-fast sequence. In sonatas and other pieces for violin, gradual increases and decreases of dynamics had coherentsighted been employed a theorist addressed the problem of crescendo and decrescendo receiving considerable attention. The Italian opera orchestra, too, had been known with swellin g of tone. The solution is the borrowing a baroque style.Terraced dynamics had provided composers with one means of achieving contrast. Operas employing this device were widely performed throughout Europe. Form The practice of the baroque era was the modular against which new forms was measured, and there came to be a division between sacred works, which held more closely to the Baroque style from secular works, which were in the new style. A new orchestra developed during the classical period. It was a standard group of four sections strings, woodwinds, brass, and percussion opposed the baroque which could vary from piece to piece.The number of musicians in a classical orchestra was great than in a baroque group. Classical composers exploited timbres of each instruments. Unlike baroque composers, they did not treat instruments interchangeably. The Classical composers were the first base to orchestrate for instruments like clarinet, trombone, and piccolo (Daniels, Wagner, et al, 1975). According to Kamien (2008), the classical orchestra had developed into a flexible and biased instrument to which composers could entrust their most powerful and dramatic musical conceptions. The mass act to be an important form for Mozart, Haydn, and Beethoven. During the Classical period, masses involved orchestra, soloists, and choir in a fully integrated work, use organizational principles derived from instrumental forms (The Classical Period). The volume of Mozarts masses were in Missa brevis type, the simultaneous setting of several lines of text, or the omission of certain sections of the mass, because the Archbishop Colloredo of Salzburg had no patience with long mint candyes.Effects of the influences of baroque music keen-sighted after the Baroque era ended, and their music was all but forgotten, both Handel and bach were rediscovered in the Classical era. All great Classical composers like Mozart and Beethoven, after bachelor and Handel, studied their works and reckoned from them in grasping and further developing Bachs and Handels science of baroque composition in such a way, that something entirely new emerged, pointing into the future. Proficient Wolfgang Amadeus MozartThe works of Bach, such as the B-minor Mass and the half dozen motets, and Handel, for example, the Messiah had deeply influenced the works of Mozart in his last years of writing music. Mozart was well familiar with the music of Handel. During his childhood dismount to England, he became well acquainted with Handels music and he never lost his taste for it. One can lift up Handels influence in some of Mozarts early works, such as The Solemn Vespers, and in later works such as the Great Mass and the Requiem Mass in D minor.In fact, the opening page of Mozarts Requiem, beautiful as it is, is merely a reworking of the opening choral movement of Handels funeral music for Queen Caroline (Langlois, 2008). At the age of thirty, Mozart, visiting the St. Thomas church se rvice in Leipzig, upon hearing a Bach motet for the first time, exclaimed Now there is music from which a man can learn something. Then, the choirmaster at Leipzig gave Mozart a double of the score to all six of the Bach motets. They were a profound influence on his late style.In the last two years of his life, Mozarts differ became even more exquisite and complex than in the lead (Langlois, 2008). Moreover, Mozart was attracted to the main genres in which Bach excelledkeyboard sonatas, keyboard concertos, symphonies and operas. Bachs singing-style themes, tasteful use of expressive motives, suspenseful harmonic ambiguities, and consistent thematic contrasts became permanent features of Mozarts writing (Portowitz). Ludwig van Beethoven Having Mozart as his model for his compositional styles, Beethoven had been familiar to the styles of the works of Bach and Handel.He continuously borrowed ideas, techniques and texture of the music of the baroque in his latter musical career. In his later years, wanting to compose certain pieces in a more contrapuntal style, Beethoven worked hard at mastering counterpoint. He studied the music of Bach, Handel, and even of Palestrina. In his late music, he developed a style of counterpoint that is more reminiscent of Handel than Bach. His fugues in his late period are very rhythmic in nature and quite unique in the history of music (Langlois, 2008).Beethoven showed his constant concern with the work of J. S. Bach. He constantly requested copies of newly create editions, for example, a copy of the B-minor Mass, from the well-known publishers in Leipzig and Zuurich. In Beethovens sketchbooks, interspersed among work on his own compositions, there are numerous entries of short or long passages from Bachs works, among them, the Chromatic Fantasy, and fugues from The Well-Tempered fingerpost and The Art of the Fugue (Cramer, 2001).For Beethoven, the sense and aim of the study of his predecessors, was thus his own further deve lopment, toward new ideas. Beethoven described this very clearly in a letter to the Archbishop Rudolph, in which he clearly names Bach and Handel as the only dependable geniuses, among his predecessors The aim of the world of art, as indeed in the whole creation, is freedom, progress if we moderns have not the same firmness as our ancestors, yet the refinement of our manners has in many ways enlarged our area of action.