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It's also probably worth noting that, although you'll invariably find Baroque music on the "ClassicalMusic" shelf at your local record store, the InsistentTerminology of music scholars distinguishes between "Classical" as a broad genre category, and the Classical Period, which is what came ''after'' the Baroque era. That's why it can be a mild FandomEnragingMisconception to say, for instance, that Music/JohannSebastianBach wrote classical music. As the saying goes, "[[Disney/BeautyAndTheBeast If it's not Baroque, don't fix it.]]"

to:

It's also probably worth noting that, although you'll invariably find Baroque music on the "ClassicalMusic" shelf at your local record store, the InsistentTerminology of music scholars distinguishes between "Classical" as a broad genre category, and the Classical Period, which is what came ''after'' the Baroque era. That's why it can be a mild FandomEnragingMisconception to say, for instance, that Music/JohannSebastianBach wrote classical music. As the saying goes, "[[Disney/BeautyAndTheBeast "[[WesternAnimation/BeautyAndTheBeast If it's not Baroque, don't fix it.]]"


Instruments aside, the era produced two different modes, the first practice, derived from the renaissance, based on vocal forms, and then the second practice, based on the new instrumental ones. Not surprisingly, this practice leaned heavily on the contemporary dance music. This became the starting point for almost every instrumental form achievable the next hundred years. Much of the instrumental music had strong rhythm, and was part of an elaborate pattern of dances, usually put together in a suite. In time, this was refined into music for listening, and even the symphony seems to have it`s roots in this pattern. To give an example of what the instrumentalists at the time were up to, listen to [[https://www.youtube.com/watch?v=-r6lVM6QPic this!]]

to:

Instruments aside, the era produced two different modes, the first practice, derived from the renaissance, based on vocal forms, and then the second practice, based on the new instrumental ones. Not surprisingly, this practice leaned heavily on the contemporary dance music. This became the starting point for almost every instrumental form achievable the next hundred years. Much of the instrumental music had strong rhythm, and was part of an elaborate pattern of dances, usually put together in a suite. In time, this was refined into music for listening, and even the symphony seems to have it`s its roots in this pattern. To give an example of what the instrumentalists at the time were up to, listen to [[https://www.youtube.com/watch?v=-r6lVM6QPic this!]]


It's also probably worth noting that, although you'll invariably find Baroque music on the "ClassicalMusic" shelf at your local record store, the InsistentTerminology of music scholars distinguishes between "Classical" as a broad genre category, and the Classical Period, which is what came ''after'' the Baroque era. That's why it can be a mild FandomEnragingMisconception to say, for instance, that Music/JohannSebastianBach wrote classical music. As the saying goes, "[[{{Pun}} If it ain't Baroque, don't fix it.]]"

to:

It's also probably worth noting that, although you'll invariably find Baroque music on the "ClassicalMusic" shelf at your local record store, the InsistentTerminology of music scholars distinguishes between "Classical" as a broad genre category, and the Classical Period, which is what came ''after'' the Baroque era. That's why it can be a mild FandomEnragingMisconception to say, for instance, that Music/JohannSebastianBach wrote classical music. As the saying goes, "[[{{Pun}} "[[Disney/BeautyAndTheBeast If it ain't it's not Baroque, don't fix it.]]"


The beginning of the baroque era tends to be placed in renaissance Venice, where the local lords, and the duke, hired a lot of musicians from 1560 and onwards. Here, some experimenting took place, and the composers of the day discussed how to revive the music of the classical period, which in this case meant {{ancient Greece}}. {{Madrigal}}s were the craze of the day and had been for years, but the style had been gradually more elaborate, and the combination of madrigals into a longer story with solo singing in between resulted in a new genre: the {{musical drama}}, or to be precise: the {{opera}}. The early operas snatched their plotlines from Greek myth, or roman myths, and a lot of the stories were remakes of the classical texts. They seemed to be rather fond of [[Myth/ClassicalMythology Orpheus]], as he was set to music several times over the years. The first surviving opera casts him in the leading role, with a {{happy ending}} nonetheless. The composer? UsefulNotes/{{Claudio Monteverdi}}, who couples as both a renaissance and a baroque composer. His fifth book of madrigals is often seen as a starting point for a new expressiveness (although this had been in making for years already).

to:

The beginning of the baroque era tends to be placed in renaissance Venice, where the local lords, and the duke, hired a lot of musicians from 1560 and onwards. Here, some experimenting took place, and the composers of the day discussed how to revive the music of the classical period, which in this case meant {{ancient Greece}}.UsefulNotes/AncientGreece. {{Madrigal}}s were the craze of the day and had been for years, but the style had been gradually more elaborate, and the combination of madrigals into a longer story with solo singing in between resulted in a new genre: the {{musical drama}}, or to be precise: the {{opera}}. The early operas snatched their plotlines from Greek myth, or roman myths, and a lot of the stories were remakes of the classical texts. They seemed to be rather fond of [[Myth/ClassicalMythology Orpheus]], as he was set to music several times over the years. The first surviving opera casts him in the leading role, with a {{happy ending}} nonetheless. The composer? UsefulNotes/{{Claudio Monteverdi}}, who couples as both a renaissance and a baroque composer. His fifth book of madrigals is often seen as a starting point for a new expressiveness (although this had been in making for years already).


It's also probably worth noting that, although you'll invariably find Baroque music on the "ClassicalMusic" shelf at your local record store, the InsistentTerminology of music scholars distinguishes between "Classical" as a broad genre category, and the Classical Period, which is what came ''after'' the Baroque era. That's why it can be a mild FandomBerserkButton to say, for instance, that Music/JohannSebastianBach wrote classical music. As the saying goes, "[[{{Pun}} If it ain't Baroque, don't fix it.]]"

to:

It's also probably worth noting that, although you'll invariably find Baroque music on the "ClassicalMusic" shelf at your local record store, the InsistentTerminology of music scholars distinguishes between "Classical" as a broad genre category, and the Classical Period, which is what came ''after'' the Baroque era. That's why it can be a mild FandomBerserkButton FandomEnragingMisconception to say, for instance, that Music/JohannSebastianBach wrote classical music. As the saying goes, "[[{{Pun}} If it ain't Baroque, don't fix it.]]"

Added DiffLines:


It's also probably worth noting that, although you'll invariably find Baroque music on the "ClassicalMusic" shelf at your local record store, the InsistentTerminology of music scholars distinguishes between "Classical" as a broad genre category, and the Classical Period, which is what came ''after'' the Baroque era. That's why it can be a mild FandomBerserkButton to say, for instance, that Music/JohannSebastianBach wrote classical music. As the saying goes, "[[{{Pun}} If it ain't Baroque, don't fix it.]]"


Meanwhile in the HolyRomanEmpire, which up until then had been considered a bit of a musical backwater, a new generation of composers sprang up that began to compete with French and Italian composers on at least equal terms and set the stage for Germany becoming a dominant force in European music for the next two centuries. The most three most prominent names were of course Bach, Händel and Telemann. A lot of this music was written for major and minor German courts, but there also evolved a more bourgeois music scene in the larger mercantile cities. Here public concerts and commercial opera houses were set up that were not paid for by wealthy patrons but by the tickets sold to the audience, and composers would add to their income by selling librettos to their oratorios to the audience or having their music printed and selling it to subscribers all over Germany and Europe. And the town fathers managed to entice some of the greatest names in music away from princely courts by giving them a secure position as directors of church music, as happened with Telemann (first in Frankfurt, then UsefulNotes/{{Hamburg}}) and Bach (at St. Thomas's church in Leipzig).

to:

Meanwhile in the HolyRomanEmpire, UsefulNotes/HolyRomanEmpire, which up until then had been considered a bit of a musical backwater, a new generation of composers sprang up that began to compete with French and Italian composers on at least equal terms and set the stage for Germany becoming a dominant force in European music for the next two centuries. The most three most prominent names were of course Bach, Händel and Telemann. A lot of this music was written for major and minor German courts, but there also evolved a more bourgeois music scene in the larger mercantile cities. Here public concerts and commercial opera houses were set up that were not paid for by wealthy patrons but by the tickets sold to the audience, and composers would add to their income by selling librettos to their oratorios to the audience or having their music printed and selling it to subscribers all over Germany and Europe. And the town fathers managed to entice some of the greatest names in music away from princely courts by giving them a secure position as directors of church music, as happened with Telemann (first in Frankfurt, then UsefulNotes/{{Hamburg}}) and Bach (at St. Thomas's church in Leipzig).


Meanwhile in the HolyRomanEmpire, which up until then had been considered a bit of a musical backwater, a new generation of composers sprang up that began to compete with French and Italian composers on at least equal terms and set the stage for Germany becoming a dominant force in European music for the next two centuries. The most three most prominent names were of course Bach, Händel and Telemann. A lot of this music was written for major and minor German courts, but there also evolved a more bourgeois music scene in the larger mercantile cities. Here public concerts and commercial opera houses were set up that were not paid for by wealthy patrons but by the tickets sold to the audience, and composers would add to their income by selling librettos to their oratorios to the audience or having their music printed and selling it to subscribers all over Germany and Europe. And the town fathers managed to entice some of the greatest names in music away from princely courts by giving them a secure position as directors of church music, as happened with Telemann (first in Frankfurt, then {{Hamburg}}) and Bach (at St. Thomas's church in Leipzig).

to:

Meanwhile in the HolyRomanEmpire, which up until then had been considered a bit of a musical backwater, a new generation of composers sprang up that began to compete with French and Italian composers on at least equal terms and set the stage for Germany becoming a dominant force in European music for the next two centuries. The most three most prominent names were of course Bach, Händel and Telemann. A lot of this music was written for major and minor German courts, but there also evolved a more bourgeois music scene in the larger mercantile cities. Here public concerts and commercial opera houses were set up that were not paid for by wealthy patrons but by the tickets sold to the audience, and composers would add to their income by selling librettos to their oratorios to the audience or having their music printed and selling it to subscribers all over Germany and Europe. And the town fathers managed to entice some of the greatest names in music away from princely courts by giving them a secure position as directors of church music, as happened with Telemann (first in Frankfurt, then {{Hamburg}}) UsefulNotes/{{Hamburg}}) and Bach (at St. Thomas's church in Leipzig).


The beginning of the baroque era tends to be placed in renaissance Venice, where the local lords, and the duke, hired a lot of musicians from 1560 and onwards. Here, some experimenting took place, and the composers of the day discussed how to revive the music of the classical period, which in this case meant {{ancient Greece}}. {{Madrigal}}s were the craze of the day and had been for years, but the style had been gradually more elaborate, and the combination of madrigals into a longer story with solo singing in between resulted in a new genre: the {{musical drama}}, or to be precise: the {{opera}}. The early operas snatched their plotlines from Greek myth, or roman myths, and a lot of the stories were remakes of the classical texts. They seemed to be rather fond of {{Orpheus}}, as he was set to music several times over the years. The first surviving opera casts him in the leading role, with a {{happy ending}} nonetheless. The composer? UsefulNotes/{{Claudio Monteverdi}}, who couples as both a renaissance and a baroque composer. His fifth book of madrigals is often seen as a starting point for a new expressiveness (although this had been in making for years already).

to:

The beginning of the baroque era tends to be placed in renaissance Venice, where the local lords, and the duke, hired a lot of musicians from 1560 and onwards. Here, some experimenting took place, and the composers of the day discussed how to revive the music of the classical period, which in this case meant {{ancient Greece}}. {{Madrigal}}s were the craze of the day and had been for years, but the style had been gradually more elaborate, and the combination of madrigals into a longer story with solo singing in between resulted in a new genre: the {{musical drama}}, or to be precise: the {{opera}}. The early operas snatched their plotlines from Greek myth, or roman myths, and a lot of the stories were remakes of the classical texts. They seemed to be rather fond of {{Orpheus}}, [[Myth/ClassicalMythology Orpheus]], as he was set to music several times over the years. The first surviving opera casts him in the leading role, with a {{happy ending}} nonetheless. The composer? UsefulNotes/{{Claudio Monteverdi}}, who couples as both a renaissance and a baroque composer. His fifth book of madrigals is often seen as a starting point for a new expressiveness (although this had been in making for years already).


Apart from France, Italy, and Germany, the main composer of the period was Music/{{Henry Purcell}}, who defined the musical style for Britain under the late Stuart kings. Unfortunately, he died before he passed 30, in 1692, and the torch was passed on to a German gentleman who came to England during the reign of king [[TheHouseOfHanover George I]]. His name was [[Music/GeorgeFredericHandel Georg Friedrich Händel]] (after moving to England, he anglicized the name to "George Frideric Handel"), and he was heavily influenced by Italian style and genres, and a self-promoting badass in many respects. Having previously worked at the opera in Hamburg, he took to the more modern and commercial ways of the music scene in London like a duck to water.

to:

Apart from France, Italy, and Germany, the main composer of the period was Music/{{Henry Purcell}}, who defined the musical style for Britain under the late Stuart kings. Unfortunately, he died before he passed 30, in 1692, and the torch was passed on to a German gentleman who came to England during the reign of king [[TheHouseOfHanover [[UsefulNotes/TheHouseOfHanover George I]]. His name was [[Music/GeorgeFredericHandel Georg Friedrich Händel]] (after moving to England, he anglicized the name to "George Frideric Handel"), and he was heavily influenced by Italian style and genres, and a self-promoting badass in many respects. Having previously worked at the opera in Hamburg, he took to the more modern and commercial ways of the music scene in London like a duck to water.


Instruments aside, the era produced two different modes, the first practice, derived from the renaissance, based on vocal forms, and then the second practice, based on the new instrumental ones. Not surprisingly, this practice leaned heavily on the contemporary dance music. This became the starting point for almost every instrumental form achievable the next hundred years. Much of the instrumental music had strong rhythm, and was part of an elaborate pattern of dances, usually put together in a suite. In time, this was refined into music for listening, and even the symphony seems to have it`s roots in this pattern. To give an example of what the instrumentalists at the time were up to, listen to [[http://www.youtube.com/watch?v=zmWxK7kHauc this!]]

to:

Instruments aside, the era produced two different modes, the first practice, derived from the renaissance, based on vocal forms, and then the second practice, based on the new instrumental ones. Not surprisingly, this practice leaned heavily on the contemporary dance music. This became the starting point for almost every instrumental form achievable the next hundred years. Much of the instrumental music had strong rhythm, and was part of an elaborate pattern of dances, usually put together in a suite. In time, this was refined into music for listening, and even the symphony seems to have it`s roots in this pattern. To give an example of what the instrumentalists at the time were up to, listen to [[http://www.[[https://www.youtube.com/watch?v=zmWxK7kHauc com/watch?v=-r6lVM6QPic this!]]


Because of the long span, the term has no clear border, either to the Renaissance or to the classical era: Late Renaissance music lived on and prospered for years, along with the musical tropes in question, all the way to 1660, while early classical tropes were well on the way in the last decade of Bach, when even he was considered old and out of fashion. So the years set are there mostly for convenience. Note that individual composers can be assigned to more than one period if they were adaptable and lived long enough; the incredibly productive and versatile Georg Philipp Telemann (1681-1767) for instance represents Middle and Late Baroque as well as Early Classicism. Baroque tropes surfaced in fact in the late Renaissance, as early as 1570, in an era called ''mannerism''. This covered visual art, literature and music, and was the {{Sturm und Drang}} period of the Renaissance.

to:

Because of the long span, the term has no clear border, either to the Renaissance or to the classical era: Late Renaissance music lived on and prospered for years, along with the musical tropes in question, all the way to 1660, while early classical tropes were well on the way in the last decade of Bach, when even he was considered old and out of fashion. So the years set are there mostly for convenience. Note that individual composers can be assigned to more than one period if they were adaptable and lived long enough; the incredibly productive and versatile Georg Philipp Telemann Music/GeorgPhilippTelemann (1681-1767) for instance represents Middle and Late Baroque as well as Early Classicism. Baroque tropes surfaced in fact in the late Renaissance, as early as 1570, in an era called ''mannerism''. This covered visual art, literature and music, and was the {{Sturm und Drang}} period of the Renaissance.


Meanwhile in the HolyRomanEmpire, which up until then had been considered a bit of a musical backwater, a new generation of composers sprang up that began to compete with French and Italian composers on at least equal terms and set the stage for Germany becoming a dominant force in European music for the next two centuries. The most three most prominent names were of course Bach, Händel and Telemann. A lot of this music was written for major and minor German courts, but there also evolved a more bourgeois music scene in the larger mercantile cities. Here public concerts and commercial opera houses were set up that were not paid for by wealthy patrons but by the tickets sold to the audience. And the town fathers managed to entice some of the greatest names in music away from princely courts by giving them a secure position as directors of church music, as happened with Telemann (first in Frankfurt, then {{Hamburg}}) and Bach (at St. Thomas's church in Leipzig).

Apart from France, Italy, and Germany, the main composer of the period was Music/{{Henry Purcell}}, who defined the musical style for Britain under the late Stuart kings. Unfortunately, he died before he passed 30, in 1692, and the torch was passed on to a German gentleman who came to England during the reign of king UsefulNotes/{{George I}}. His name was [[Music/GeorgeFredericHandel Georg Friedrich Händel]] (after moving to England, he anglicized the name to "George Frideric Handel"), and he was heavily influenced by Italian style and genres, and a self-promoting badass in many respects.

to:

Meanwhile in the HolyRomanEmpire, which up until then had been considered a bit of a musical backwater, a new generation of composers sprang up that began to compete with French and Italian composers on at least equal terms and set the stage for Germany becoming a dominant force in European music for the next two centuries. The most three most prominent names were of course Bach, Händel and Telemann. A lot of this music was written for major and minor German courts, but there also evolved a more bourgeois music scene in the larger mercantile cities. Here public concerts and commercial opera houses were set up that were not paid for by wealthy patrons but by the tickets sold to the audience.audience, and composers would add to their income by selling librettos to their oratorios to the audience or having their music printed and selling it to subscribers all over Germany and Europe. And the town fathers managed to entice some of the greatest names in music away from princely courts by giving them a secure position as directors of church music, as happened with Telemann (first in Frankfurt, then {{Hamburg}}) and Bach (at St. Thomas's church in Leipzig).

Apart from France, Italy, and Germany, the main composer of the period was Music/{{Henry Purcell}}, who defined the musical style for Britain under the late Stuart kings. Unfortunately, he died before he passed 30, in 1692, and the torch was passed on to a German gentleman who came to England during the reign of king UsefulNotes/{{George I}}.[[TheHouseOfHanover George I]]. His name was [[Music/GeorgeFredericHandel Georg Friedrich Händel]] (after moving to England, he anglicized the name to "George Frideric Handel"), and he was heavily influenced by Italian style and genres, and a self-promoting badass in many respects. \n Having previously worked at the opera in Hamburg, he took to the more modern and commercial ways of the music scene in London like a duck to water.


Not surprisingly, the late period came to be known as the era of Händel and Bach in later years, even if their contemporaries actually held Telemann in higher regard. At the same time, and at the time king Louis XIV in France died (at long last in 1715), people saw a shift in musical style, and more easy-going music. These new styles, called "sensitive style" in Germany and "regency style" in France (after the regent of the child king UsefulNotes/{{Louis XV}}) corresponded to the change in art and architecture from Baroque to Rococo and was a precursor for the "classical style" that was slowly emerging.

to:

Not surprisingly, the late period came to be known as the era of Händel and Bach in later years, even if their contemporaries actually held Telemann in higher regard. At the same time, and at the time king Louis XIV in France died (at long last in 1715), people saw a shift in musical style, and more easy-going music. These new styles, called "sensitive style" in Germany and "regency style" in France (after the regent of the child king UsefulNotes/{{Louis XV}}) XV}}), corresponded to the change in art and architecture from Baroque to Rococo and was a precursor were precursors for the slowly emerging "classical style" that was slowly emerging.style".


Not surprisingly, the late period came to be the era of Händel and Bach. At the same time, and at the time king Louis XIV in France died (at long last in 1715), people saw a shift in musical style, and more easy-going music. This "regency style", named after the regent of the child king UsefulNotes/{{Louis XV}}, were a precursor for the "classical style" that was slowly emerging.

The opera, who had been ''serious business'' up till then, often staging pure tragedy and high romance, started to take in more commonplace characters, and the comic opera evolved. Furthermore, from being pure Italian stuff, the opera was suddenly performed in the common language. Italian survived as the main language of opera right up to Mozart, both in the comic and the tragic subgenre, though.

to:

Not surprisingly, the late period came to be known as the era of Händel and Bach.Bach in later years, even if their contemporaries actually held Telemann in higher regard. At the same time, and at the time king Louis XIV in France died (at long last in 1715), people saw a shift in musical style, and more easy-going music. This These new styles, called "sensitive style" in Germany and "regency style", named after style" in France (after the regent of the child king UsefulNotes/{{Louis XV}}, were XV}}) corresponded to the change in art and architecture from Baroque to Rococo and was a precursor for the "classical style" that was slowly emerging.

The opera, who had been ''serious business'' up till then, often staging pure tragedy and high romance, started to take in more commonplace characters, and the comic opera evolved. Furthermore, from being pure Italian stuff, the opera was suddenly performed in the common language. Italian survived as the main language of opera right up to Mozart, opera, both in the comic and the tragic subgenre, though.though, even though French continued to be used as well, and German was at least used for the usually more comic ''Singspiele''.



But as the eighteenth century marched on, the Italian opera became old fashioned, and Händel in England, being in touch with his times, went on to write oratorios instead, in English. He wrote a fair lot of them, and they are still on the classical hit parade.

Meanwhile, in Germany, his contemporary Bach concentrated his efforts on church music and secular music alike, and produced enough music for a lifetime of studies. But he also produced a number of sons, who in their turn became composers. And more than one of those denounced their father as the new styles emerged. Bach's music became neglected for hundred years, and studied solely by scholars. Even so, Music/{{Wolfgang Amadeus Mozart}} owes much of his style to Vivaldi and Bach, especially in his last, and unfinished, requiem.

It is fair to say that the Baroque era died with Bach. The year he died, 1750, saw the debut of a then 20 year old composer with a brand new idea for the use of strings. His name was Music/{{Joseph Haydn}}, but he belongs to [[ClassicalMusic another story]].

to:

But as the eighteenth century marched on, the Italian opera became old fashioned, and fell out of fashion, especially in England, where Händel in England, being in touch with his times, went on to write oratorios instead, in English. He wrote a fair lot instead. Many of them, and they them are still on the classical hit parade.

Meanwhile, in Germany, his contemporary Bach
parade. In Germany Bach, who never wrote any operas, concentrated his efforts on church music and secular music alike, and produced enough music for a lifetime of studies. But he also produced a number of sons, who in their turn became composers. And more than one of those denounced their father as the new styles emerged. Bach's music became neglected for hundred years, and studied solely by scholars. Even so, Music/{{Wolfgang Amadeus Mozart}} owes much of his style to Vivaldi and Bach, especially in his last, and unfinished, requiem.

It is fair convenient to say that the Baroque era died with Bach. The year he died, 1750, saw the debut of a then 20 year old composer with a brand new idea for the use of strings. His name was Music/{{Joseph Haydn}}, but he belongs to [[ClassicalMusic another story]].

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