An Outline of The History of Western Music Grout ... - The Reel Score

(2) by the end of the century, these distinctions were glossed over and
compositional vocabulary was the same for the three categories
3. Idiomatic writing
a) Polyphony tended to homogenize instrumental and vocal writing
(1) much of it could be sung or played by almost any combination of voices and
instruments
(2) but even the earliest music for solo lute, organ, or harpsicord contained
particulars idiomatic for the instrument
(3) the prominent role of the soloist - singer or instrumentalist - invited composers
to address their thoughts to a particular medium
i) development of the violin family was especially important - the forceful
overhand bowing possibility produced an unvocal & idiosyncratic sound
ii) technical improvements in wind instruments made them suitable for
exposed solo performance
b) Instrumental and vocal styles began to diverge - eventually becoming so distinct
that composers could consciously borrow vocal idioms in instrumental writing and
vice versa
4. The Affections
a) Vocal & instrumental composers were united in a common goal to express or
represent a wide range of feelings vivdly & vigorously - continuing the efforts of the
late 16th century madrigal
b) Sought musical means to express or arouse the "affections" such as rage,
excitement, grandeur, etc - thought then as relatively stable states of the soul
(1) not to express personal feelings but rather in a generic sense
(2) to endow them with a more objective reality
c) Music was free to expand its expressive field in whatever directions a composer's
imagination led
d) This freedom stimulated the development of music's emotional power and
elevated its standing among the arts
C. Musical Characteristics
1. Rhythm
a) in contrast to the even rhythmic flow of the Renaissance polyphony, the Baroque
was either very regular or very free
b) Regular dance rhythms were characteristic of much earlier music but not until the
17th century was most music written in measures - marked by barlines implying
patterns of strong & weak beats
(1) at first these patterns were not recurrent
i) time signatures corresponding to a varying succession of harmonic &
accentual patters
ii) set of by barlines at regular intervals
(2) composers used irregular, flexible rhythms when writing vocal recitative and
improvisatory pieces such as toccatas & preludes
2. The Basso Continuo
a) typical texture of the Renaissance was a polyphony of independent voices
b) typical texture of the Baroque period was a firm bass & a florid treble - held
together by unobtrusive harmony