Table of Contents

Preface; 1. INTRODUCTION; Music History, 1600-1750: Some Basic Ideas; Historical Background: Western Europe 1600-1750; Music in European History 1600-1750; The Place of Music and Musicians in Society; Performance Practices; 2. A SIXTEENTH-CENTURY PROLOGUE: MOTET AND MADRIGAL; The Late-Renaissance Motet: Palestrina and Lassus; The Madrigal: Gesualdo and Monteverdi; 3. TRANSISTIONS AROUND 1600; Some General Developments; Instruments; Monody; 4. MONTEVERDI AND EARLY BAROQUE MUSICAL DRAMA; Claudio Monteverdi; Monteverdi's Orfeo; The Combattimento di Tancredi e Clorinda; Venetian Opera; 5. LULLY AND FRENCH MUSICAL DRAMA; The French Style; Lully's Armide; 6. SECULAR VOCAL MUSIC OF THE LATER SEVENTEENTH CENTURY; Barbara Strozzi; Alessandro Scarlatti and the Later Cantata; English Vocal Music in the Later Seventeenth Century; 7. SEVENTEENTH-CENTURY SACRED MUSIC; Sacred Music in Venice: Giovanni Gabrieli; Sacred Music in Germany: Heinrich Schutz; Seventeeth-Century Oratorio; 8. LATE-BAROQUE OPERA; Handel; Rameau; 9. LATE-BAROQUE SACRED MUSIC; Johann Sebastian Bach; Handel: Jephtha; 10. BAROQUE KEYBOARD MUSIC I: TOCCATA AND SUITE; Keyboard Instruments of the Seventeenth and Eighteenth Centuries; The Uses of Keyboard Music; Baroque Keyboard Music in Italy; Baroque Keyboard Music in France and Germany; 11. BAROQUE KEYBOARD MUSIC II: FUGUES, PIECES, AND SONATAS; Later Baroque German Keyboard Music; Eighteenth-Century Keyboard Music in France; Other Eighteenth-Century Keyboard Composers; 12. BAROQUE MUSIC FOR INSTRUMENTAL ENSEMBLE: THE SONATA; The Chief Ensemble Instruments of the Baroque; Types of Baroque Music for Instrumental Ensemble; The Baroque Sonata; Biber; Corelli; 13. THE BAROQUE INSTRUMENTAL CONCERTO; Corelli and the Concernto Grosso; The Solo Concerto; J.S. Bach and the Concerto; 14. A MID-EIGHTEENTH CENTURY EPILOGUE: THE GALANT STYLE; The Galant Style; Telemann; Carl Philipp Emanuel Bach; BIBLIOGRAPHY; INDEX

Reviews

There is considerable emphasis on performative aspects of music, evident most notably in the extensive treatment of performance practice, a feature that will endear this book to instructors in conservatories and schools of music ... extraordinarily well-executed account of the Baroque, distinguished especially by its skilful incorporation of performance practice and the rather more extensive treatments of individual works than is customary. Music and Letters One of the book's most carefully considered features is its use of illustrations ... Some of the illustrations provide period flavour, but most are extraordinarily well integrated with the main text . Music and Letters Numerous details of design and presentation attest to the author's practical experience in teaching this material. Important terms are presented in boldface type and glossed on their first appearance, and there is unapologetic review and recapitulation of central ideas at several points in the text ... The choice of works that Schulenberg singles out for discussion in the text and for inclusion in his anthology is particularly thoughtful. Music and Letters David Schulenberg's Music of the Baroque provides an extraordinarily well-conceived textbook and anthology for the so-called period survey course, with very clear organization and sensible, though largely traditional, choices concerning coverage ... The text is not only lucidly and engagingly written but also evinces Schulenberg's considerable experience as teacher and scholar. Music and Letters Schulenberg's sympathies are wide, if not always evenly spread ... and his many enthusiasms make for lively reading. BBC Music Magazine