UNIVERSITI TEKNOLOGI MARA,

FACULTY OF ARTISTIC & CREATIVE TECHNOLOGY

CTT442 Music & Society

Project title/ Assignment 2

Era Peradaban Seni Baroque

Prepared by NAME : NORLELANIZA BINTI MUALIP ID STUDENT : 2010521235 PROGRAME : CT225- THEATRE

Prepared for < MS. TUNKU MARINA TUNKU ZUBIR>

Submission date 01/11/2011

Zaman Baroque merupakan era selepas zaman Medieval dan zaman Renaissance iaitu sekitar tahun 1600 hingga 1760. Zaman Baroque merupakan awal gerakan protestantism yang terjadi di Jerman bagian utara dan Belanda. Gerakan Protestantism melibatkan tokoh-tokoh Kristen seperti gerakan Katolik di Roma yang dipandang telah menyimpang dari misi keagamaannya. Karya-karya seni yang

Dalam hal ini, karya-karya seni yang tercipta pada zaman baroque juga merupakan cerminan keadaan zaman tersebut sehingga memiliki ciri-ciri khusus yang tentunya berbeza dengan corak seni pada zaman-zaman sebelumnya. Perkataan baroque berasal dari sebuah kata dalam bahasa Portugis yaitu barroco yang berarti jenis mutiara besar yang kasar yang biasa dipakai untuk perhiasan badan yang penuh ornamentasi di masa itu . Menurut Barnes, corak seni baroque mengandung unsur tekanan yang kuat, kekuatan emosi, dan sesuatu yang elegan (Barnes, 2005).

Baroque music
The Baroque period in music is associated with the development around 1600 of the figured bass, with dramatic implications in the realm of solo vocal music such as the monodies of the

Florentine Camerata and opera. This innovation was in fact an extension of established practice of accompanying choral music at the organ, either from a skeletal reduced score (from which otherwise lost pieces can sometimes be reconstructed) or from a basso seguente, a part on a single staff containing the lowest sounding part. A new genre was the vocal concertato, combining voices and instruments; its origins may be sought in the polychoral music of the Venetian school. Claudio Monteverdi (15671643) brought it to perfection with his Vespers and his Eighth Book of Madrigals,[5] which call for great virtuosity on the part of singers and instruments alike. His pupil Heinrich Schtz (15851672) (who had earlier studied with Giovanni Gabrieli) introduced the new style to Germany. Alongside the new music of the seconda pratica, contrapuntal motets in the stile antico or old style continued to be written well into the 19th century. It should be remembered that choirs at this time were usually quite small and that singers could be classified as suited to church or to chamber singing. Monteverdi, himself a singer, is documented as taking part in performances of his Magnificat with one voice per part.[6] Independent instrumental accompaniment opened up new possibilities for choral music. Verse anthems alternated accompanied solos with choral sections; the best-known composers of this genre were Orlando Gibbons and Henry Purcell. Grand motets (such as those of Lully and Delalande) separated these sections into separate movements. Oratorio, pioneered by Giacomo Carissimi, extended this concept into concert-length works, usually loosely based on Biblical stories. The pinnacle of the oratorio is found in George Frideric Handel's works, notably Messiah and Israel in Egypt. While the modern chorus of hundreds had to await the growth of Choral Societies and his centennial commemoration concert, we find Handel already using a variety of performing forces, from the soloists of the Chandos Anthems to larger groups (whose proportions are still quite different from modern orchestra choruses): Yesterday [Oct. 6] there was a Rehearsal of the Coronation Anthem in Wesminster-Abby, set to musick by the famous Mr Hendall: there being 40 voices, and about 160 violins, Trumpets, Hautboys, Kettle-Drums and Bass' proportionable..! Norwich Gazette, October 14, 1727 Lutheran composers wrote instrumentally accompanied cantatas, often based on chorales (hymns). While Dieterich Buxtehude was a significant composer of such works, it was largely up to the next generation to undertake cantata cycles on texts for the entire church year. Telemann wrote choral cantatas for Frankfurt (later published in solo versions as the Harmonische Gottesdienst) and Graupner cycles for Darmstadt, but Johann Sebastian Bach (16851750) made a truly monumental contribution: his obituary mentions five complete cycles of his cantatas, of which three, comprising some 200 works, are known today, in addition to motets. Bach himself rarely used the term cantata. Motet refers to his church music without orchestra accompaniment, but instruments playing colla parte with the voices. His works with accompaniment consists of his Passions, Masses, the Magnificat and the cantatas.

Baroque cantata with one voice per part A point of hot controversy today is the so-called "Rifkin hypothesis," which re-examines the famous "Entwurff," Bach's 1730 memo to the Leipzig City Council (A Short but Most Necessary Draft for a Well Appointed Church Music) calling for at least 12 singers. In light of Bach's responsibility to provide music to four churches and be able to perform double choir compositions with a substitute for each voice, Joshua Rifkin concludes that Bach's music was normally written with one voice per part in mind. A few sets of original performing parts include ripieni who reinforce rather than slavishly double the vocal quartet.