Baroque era music history

The most prevalent kind of performance in the early 17th century was madrigal comedy, which forbade the texts from being heard through a complex polyphonic arrangement of songs. The Florentine Camerata, the humanistic thinker & musician, were looking for ways to revive the traditional form of tragedy. Camerata, Jacopo Peri’s composer, and Ottavio Rinuccini’s poet have reworked madrigal comics to transform monologs to Arias, reciting conversations and madrigals into their own tasks. Daphne (1598) and Eurydice (1600), not preserved, are the first works of this new type.

Nikolai Diletsky, a graduate of the Orthoeological School in Vilnius, and afterwards of the Slavonian Church, first spoke in Polish about musical grammar. This is not only the first Russian music theoretical research, but also a textbook introduction to modern European music. A depiction of a circle of tones that clearly shows the architecture of the big minor system emerges here for the first time in history.

In the Baroque era, a concert took place. His predecessor, Concerto Grosso, is a great instrumental genre, which competes to increase sound rather than twice orchestras, instruments and homepage solo instruments. Previously, there was a rivalry with musical components especially in spoken music.

Their initial concerts were composed by Giovanni Bononcini and Giuseppe Torelli. The most popular of our times was Monk Antonio Vivaldi (1678-1741), who created more than 500 musicals.

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