A History of Western Music

By Donald Jay Grout; Claude V. Palisca | Go to book overview

CHAPTER 9

MUSIC OF THE EARLY
BAROQUE PERIOD

GENERAL CHARACTERISTICS

Around 1750 the well-traveled Charles de Brosses complained that the façade of the Pamphili Palace in Rome (see illustration) was being made over with a kind of filigree ornamentation more suitable to tableware than to architecture. Addicted to colorful language, he called this decorative style baroque1. (from the Portuguese barroco, describing a deformed pearl). Thus was launched the career of a term that art historians in the late nineteenth century embraced to characterize a whole period of art and architecture. Years earlier, an anonymous music critic called the music of Jean-Philippe Rameau's Hippolyte et Aricie (1733) "barocque," complaining that it was noisy and unmelodious, with capricious and extravagant modulations, repetitions, and metrical changes. 2. Before the term was ever used by art or music critics, baroque meant abnormal, bizarre, exaggerated, grotesque, or in bad taste, and it retains that sense today.

The term baroque

It took the art criticism of Jacob Burckhardt and Karl Baedeker in the nineteenth century to overcome these derogatory aspects of the term and bring out its positive side. For them baroque summed up the admirably flamboyant, decorative, and expressionistic tendencies of seventeenth-century painting and architecture. In the 1920s, music historians followed suit and applied the term back to music from the late sixteenth century until about the mid-eighteenth. Baroque came to represent a particular style of music from an entire era, but it

____________________
1.
Charles de Brosses, L'Italie il y a cent ans ou Lettres écrites d'Italie à quelques amis en 1739 et 1740, ed. M. R. Colomb (Paris, 1836), 2:117f. The letters from Rome were not drafted until after his return to France between 1745 and 1755.
2.
Lettre de M ***à Mlle *** sur l'origine de la musique in Mercure de France, May 1734, pp. 861ff.

-251-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
A History of Western Music
Table of contents

Table of contents

Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen
/ 843

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.