An analysis of baroque period music

Back to Top What is the philosophy of Baroque music? Although a single philosophy cannot describe years of music from all over Europe, several concepts are important in the Baroque period. A belief in music as a potent tool of communication One of the major philosophical currents in Baroque music comes from the Renaissance interest in ideas from ancient Greece and Rome.

An analysis of baroque period music

Composition and sound synthesis are complementary processes because the first may lead to the second. Composers may elect to use a set of compositional programs to produce a composition. They may then stop using a computer and print their results for transcription to instrumental… Societal perspectives Whether referring to the process or to the completed work, composition implies the creation of a unique musical event that may or may not be based on original musical materials.

At certain cultural levels and in many non-Western societies, unique performance characteristics tend to assume greater significance than composition itself. In oral traditions, related variants of common origin often take the place of unalterable musical entities, so that tune families rather than single autonomous tunes form the collective repertoire.

Where certain patterns of musical structure have gained broad recognition as the ragas, or melody types, of Indiamusicians will as a rule rework such patterns extemporaneously though in accordance with prevailing conventions. European music was communicated orally well into the Middle Ages and received important stimuli from a variety of oral traditions even after musical notation had developed to a high degree of precision.

An analysis of baroque period music

Indeed, the lower population strata, especially in rural areas, never abandoned the relative freedom that comes from reliance on the ear alone, and the sophisticated music of the upper strata, throughout its rapid evolution, rarely severed its connection with folk music altogether.

Ultimately, the process of composition, as seen by the American musicologist Alan P. Hence, the supreme authority in matters musical was the musicus as theorist; only he was considered sufficiently conversant with musical science to vouchsafe its continued existence as the sonorous embodiment of universal truths.

And it was because the metaphysical properties of numbers were allegedly embedded in the rules of composition that music, on a par with arithmetic, geometry, and astronomy, attained and retained an honorable place as a constituent member of the quadrivium, the more exalted of the two divisions of the seven liberal arts.

Aboutmusical composition as a mere craft was ranked by Johannes de Grocheo, a shrewd observer of the Parisian musical scene, with shoemaking and tanning. Musical elements At its most fundamental level the act of composition involves the ordering of pitched sounds in musical time and space.

Pitch relationships are referred to as intervals; their specific occurrence in musical time is determined by rhythm, a concept that embraces all durational aspects of music.

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Rhythm in turn may or may not be regulated by metre. Metrical rhythm is nearly always present in dance music because its patterning is largely analogous to that of bodily motions and step figurations. But logogenic, or word-determined, music also often employs metrical patterns, corresponding as a rule to those of the poetic text.

The first large corpus of logogenic compositions transmitted through the ages is that of medieval plainchant, consisting of monophonic settings limited to a single melodic line of liturgical texts for the entire year, based on a system of eight church modes, diatonic scales abstracted from the melodic motives utilized by medieval singers.

Modality—whether referring to a melodic or a rhythmic framework—furnishes compositional frames of reference in a wide variety of essentially monophonic musical styles, especially in Asia.

Asian influences upon early European music cannot be ruled out, whether by way of ancient Judaea, Greece, Byzantium, or the medieval Arab invasions. But unlike their Asian counterparts, Europeans at first limited modality to melody, through pitch arrangements.

The rhythmic properties of plainchant have largely remained a matter of conjecture, for no systematic discussion of plainchant rhythm survives, and the notation used was noncommittal with respect to rhythm. By the same token, plainchant no doubt owed much of its amazing vitality to the absence of an all-encompassing notation, which made possible the flexibility of performance and regional variation inherent in a partly written, partly oral tradition.

Music like medieval plainchant, in which the lengths of individual tones tend to be rather uniform, is often referred to as nonrhythmic or rhythmless.

An analysis of baroque period music

Thus the rhythmic equanimity of the monophonic plainchant, at least in the interpretation set forth by the 19th-century Benedictine monks of Solesmes, France, and recognized as authoritative by the Roman Catholic Churcheffectively symbolizes an atmosphere of faith and inner peace.

The smallest melodic-rhythmic unit minimally two separately perceived sounds is the motive. Pitched sounds are, however, not of the essence: By and large, rhythmic motives are used to endow pitch relationships with identifiable durational characteristics.

And consequently rhythmic identity often serves to establish motive connections between different intervals. Types of melody owe their aesthetic associations in many instances to their motivic peculiarities. In Western music motivic contrast has been identified with emotional conflict since at least the midth century, when composers of madrigals Italian polyphonic secular songs began to set dramatic texts.

Conversely, melodic lyricism correlates with a high degree of motive affinity. Peter Crossley-Holland Development of composition in the Middle Ages The European written tradition, largely because it evolved under church auspicesde-emphasized rhythmic distinctiveness long after multipart music had superseded the monophonic plainchant.

But multipart music might never have gone beyond the most primitive stages of counterpoint had it not been for the application of organized rhythm to musical structure in the late Middle Ages. This era witnessed the emergence of basic polyphonic concepts identified with European art music ever since.

Toward the end of the 1st millennium of the Christian Era, church singers had grown accustomed to enhancing their chants through organum.The Torah, or Jewish Written Law, consists of the five books of the Hebrew Bible - known more commonly to non-Jews as the "Old Testament" - that were given by G-d to Moses on Mount Sinai and include within them all of the biblical laws of Judaism.

The Torah is also known as the Chumash, Pentateuch or Five Books of Moses. Rococo (/ r ə ˈ k oʊ k oʊ / or / r oʊ k ə ˈ k oʊ /), less commonly roccoco, or "Late Baroque", was an exuberantly decorative 18th-century European style of art, architecture and interior decoration generally holding sway between about and In many respects, it is considered the final expression of the Baroque movement which .

And thus, borrowing the idea of this baroque rhetoric figure, Beethoven starts his Sonata. But what really captured the public’s heart was the ever-imploring polyrhythmic motif making up the main theme.

Nov 14,  · Do you like Baroque Music? I do. And it's a personal taste. But can you look into yourself and say what qualities of Baroque Music you find attractive? Or if you are more knowledgeable than me, can you do a bit of musicological analysis, and tell us what is the musical quintessence of the Baroque 5/5().

Musical composition: Musical composition, the act of conceiving a piece of music, the art of creating music, or the finished product.

These meanings are interdependent and presume a tradition in which musical works exist as repeatable entities. In this sense, composition is necessarily distinct from improvisation. Nation, Ethnicity and the Conflict in Afghanistan Political Islam and the rise of ethno-politics – By Raghav Sharma.

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