Influence of Baroque Music to Classical Music

4177 words 17 pages
CHAPTER I
INTRODUCTION

Music of any period reflects, in its own way, some of the same influences, tendencies, and generative impulses that are found in the other arts of that time (Donna, 2005). Thus the word "baroque," usually used despairingly by eighteenth-century art critics to describe the art and architecture of the seventeenth and early eighteenth centuries, came to be applied also to the music of the seventeenth and early eighteenth centuries. After some years after the death of Johann Sebastian Bach, the ornate, formal and strict form of the High Baroque became “old-fashion” and lost its favor. Music slowly began to change form the style and forms of the High Baroque to a simpler yet tuneful form around 1750. The period
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Terraced dynamics were used as the main keyboard instrument was the harpsichord, which could only be played in two modes, either forte (loud) or piano (soft), precluding the ability to accomplish crescendos or decrescendos (Kamien, 2008). Moreover, baroque composers fashion their work with different kinds of ornamentation. For Baroque musicians, ornamentation is not merely decoration that has no intrinsic value but rather the chief way of moving affections. One should, therefore, try in his ornamentation, as in all other aspects of his interpretation, to effectively communicate the sense of the music. In a lyrical movement, baroque performers intensify the expressiveness through the use of smooth melodic ornaments and appoggiaturas, in a brilliant movement, incorporate virtuosic ornaments, and in a movement that seems complete, add almost nothing besides essential cadential trills (www.musebaroque.fr). Eventually, both vocalists and instrumentalists recognized the principal ways of ornamenting a melodic line. First, brief formulas called ornaments—such as trills, turns, appoggiaturas, and mordents—were added to certain notes to emphasize accents, cadences, and other significant points in the melody (Norton, 2010). Second, more extended embellishments—such as scale and arpeggio passages, and other types of flourishes—were added to create a free and elaborate paraphrase of the written line

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