Baroque definition

Baroque means 1600 1750. Secular music predominated over sacred music and there was a certain "theatrical" spirit of elaborate design in the music, painting, and architecture.

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Baroque means “misshapen pearl.” An apt, albeit disparaging term to describe architecture of the period, it is a misnomer for the music of the period. Even though some found the music to be bizarre, extravagant and unnatural, music of this period is really the basis for all consequent classical music. The period witnessed the development of functional tonality, changes in musical notation, new instruments and playing techniques, and new musical forms, terms and concepts many of which are still used to the present day.

Examples of Baroque in a sentence

• Arrangements from popular methods such as Piano Adventures, Suzuki, or other method books broadly characterized as Baroque era representations are welcome.

• III, Latin American Art, and the Baroque Period in Europe, Princeton 1963, pp.

• Nor is the internal design of French Baroque recorders in this early period revolutionary: it is rather very similar to that of other ‘early Baroque’ instruments elsewhere in Europe.

• The range of the fingerings presented in Baroque treatises for the recorder is also shown in Table A.76 76 For the sake of completion, and in order to show that the range mostly remains the same after the Baroque period (with only a few exceptions), Table A also includes treatises dated later than 1759.

• Focusing on this rich Italian Baroque repertoire, let us try to draw a map of the places in which it was composed and/or published.

• In its relevant form, with a duct formed by an internal wooden block which forms a windway, a thumbhole on the back side and eight or nine holes (nine, in its Medieval and Renaissance form, or eight holes, in its most common Baroque form), it was already widely used in Europe in the Middle Ages.

• It would therefore be mistaken to expect music of the various Italian centers of the Baroque period all to conform to the same archetypes.

• In Italy, ▇▇▇▇▇▇▇▇▇▇ ▇▇▇▇▇▇▇▇▇▇ (writer, composer and cornetto player) includes an illustration of a Baroque alto recorder in G in his Compendio musicale of 1677, but a much earlier anonymous manuscript treatise, dated 1630, shows a recorder with ‘Hotteterre-like’ fingerings.

• We know as well that small instruments in two pieces existed in the Renaissance or Early Baroque period,55 and that small instruments in two pieces (sopraninos for instance) remained the norm throughout the Baroque period, so this change cannot be granted to the French either.

• The fact that pitch standards were not only diverse but also coexisted and even used together,51 and that nominal pitches are not always possible to define with precision,52 represents a further complication to the possibility of assigning the patent for the new Baroque alto in F53 to the French.