Muzica occidentală

Era tonală și după: 1600 până în prezent

Începutul secolului al XVII-lea a fost unul dintre cele mai dramatice moment de cotitură din istoria muzicii, chiar mai mult decât începutul Ars Nova și aproape la fel de revoluționar ca începutul secolului XX. Vânturile schimbărilor au fost resimțite cu câteva decenii mai devreme, iar instituirea noului stil a necesitat câteva decenii după sfârșitul secolului, dar anul 1600 a văzut interpretarea mai multor lucrări destinate schimbării cursului muzicii.

Epoca barocă

Utilizat inițial într-un sens derogatoriu de referire la ceva bizar, degenerat și anormal, termenul Baroc a dobândit treptat o conotație pozitivă pentru spiritul grandios, dramatic, energic în artă care a predominat în perioada cuprinsă între 1600 și aproximativ 1750. Noul spirit a necesitat un vocabular muzical extrem de extins și a avut loc o evoluție rapidă a noilor tehnici, în special în muzica vocală. Au fost recunoscute două stiluri muzicale distincte. Una, prima practica (sau stil antico), a fost stilul universal al secolului al XVI-lea, culmea a două secole de aderare la modelele flamande. Cealaltă, numită seconda practica sau stil modern, se referea la noul stil teatral emanat din Italia.

Vocabularul extins a permis o distincție mai clară între muzica sacră și seculară, precum și între idiomurile vocale și instrumentale, iar diferențele naționale au devenit mai pronunțate. Organizarea tonală a muzicii a evoluat și ea, deoarece modurile medievale care au servit anterior ca bază a melodiei și a armoniei au fost înlocuite treptat, în timpul secolului al XVII-lea, de sistemul de tonalitate care domina muzica occidentală până în jurul anului 1900: un sistem bazat pe tastele contrastante. sau seturi de note și acorduri interrelaționate derivate dintr-o scară majoră sau minoră. Vizualizând perioada în ansamblu, două inovații suplimentare o disting cel mai clar de Renașterea precedentă: concertato, sau contrastul, combinația și alternarea vocilor și instrumentelor, și basso continuo (bas profund, bass figurat),un acompaniament format dintr-un instrument cu capăt redus, precum un violoncel sau un fagot, combinat cu un instrument de la tastatură sau laut capabil să elaboreze armonic.

Opera

Most typical of the emerging style were the dramatic productions of the Camerata, a group in Florence who were dedicated to recreating and imitating the musical ideals and practices of classical antiquity—in a sense, the musical manifestation of the Renaissance. Their guiding philosophy was the preeminence of textual over musical considerations; their belief was that the function of music was to heighten the dramatic impact of words. The musical result was monody: originally recitative (solo singing reflecting speech rhythms), later also arioso (more lyric than recitative) and aria (more elaborate song), accompanied by a basso continuo that could provide an innocuous background to a solo voice. Among the major figures in this revolutionary movement were Giulio Caccini and Jacopo Peri, both of whom composed operas based on the legend of Orpheus and Eurydice. Caccini also provided the name for the new movement with his publication of Le nuove musiche, a collection of solo songs with continuo accompaniment. The ideas and techniques conceived by the Camerata spread rapidly over Italy and, subsequently, all over Europe.

Early Italian operatic schools

During the 1620s and 1630s the centre of operatic activity shifted from Florence to Rome, where several distinctive features developed: a chorus was used extensively, dancing was incorporated into the dramatic spectacle, and an overture in the style of a canzona became the accepted norm. A flourishing operatic activity developed a decade later in Venice, where the first public opera house was opened in 1637. Public taste began to influence operatic composition, and, as a result, several innovations, such as the extensive use of popular tunes, spectacular staging, and short, fanfare-like overtures, were introduced. The audience’s desire for tuneful songs also contributed to the clear distinction between recitative and aria, which began with the Venetian school. Foremost among contemporary composers was Monteverdi, who had known of the activities of the Florentine Camerata while serving as musical director to the Gonzaga family in nearby Mantua. He adopted the new style for his later madrigals and wrote two operas, Orfeo (1607) and L’Arianna (1608), before moving to Venice in 1613. Francesco Cavalli and Antonio Cesti became the leading Venetian operatic composers after Monteverdi’s death in 1643.

Neapolitan opera

The last major operatic centre to develop in Italy began its activities in the 1670s in Naples. Neapolitan opera seria, or serious opera, with characters from classical history or mythology, dominated Europe for a century. It was essentially a series of recitatives and arias, the latter mostly of the da capo type (ABA, the A section given improvised embellishment on its repetition) characterized by florid virtuosic singing. Other features were, first, the distinction between recitativo secco (dry recitative), accompanied by the continuo, and recitativo accompagnato, or stromentato, accompanied by the orchestra, and, second, the establishment of the Italian overture. Called a sinfonia, the overture in three parts (fast–slow–fast) evolved into the symphony during the 18th century. Alessandro Scarlatti was the most influential of the early Neapolitan operatic composers.

France

During the same period, opera was introduced at courtly functions outside Italy. After Luigi Rossi’s Orfeo was performed in Paris in 1647, the Italian form was gradually merged with the major French dramatic form, the ballet; the importance of dancing in French operas thereafter is not surprising. Another distinguishing feature was the French overture (a slow movement, a fast movement, and, occasionally, a return to the opening slow section), which, like the Italian overture, later had an independent life. The masters of French opera during the Baroque period were Jean-Baptiste Lully and his successor Jean-Philippe Rameau. Because of the social and political upheaval of the Thirty Years’ War, there was less operatic activity in Germany than in France, and the activity that did occur was more completely dominated by the Italian style. Hamburg, Munich, Dresden, and Vienna were the major centres, with Reinhard Keiser and Georg Philipp Telemann as the most prolific composers.

England

The situation in England resembled that in France, since the English also had a flourishing musicodramatic form, the masque, which gradually merged with Italian opera. Henry Purcell and John Blow were the chief composers of opera in English before Italian domination of serious opera became almost complete during the 18th century.