COMPARE AND CONTRAST THE BAROQUE AND CLASSICAL PERIOD

COMPARE AND CONTRAST THE BAROQUE AND CLASSICAL PERIOD

Introduction

“Music” as the Oxford Dictionary defines it, is “an instrumental or vocal sound merged together in a way to produce beautiful forms of harmony, and expression of emotion.”  Arousing emotions and then treating them is indubitably very important feature of any form of music, but the way in which emotions are expressed has greatly changed[1]. All through the Baroque era (c. 1600 – 1750) artists tried to involve some specific emotions which extremely fascinated the listeners, while throughout the Classical era (c. 1750-1825) musicians sought maintain a balance of emotions[2]. As a result of the difference between the artistic movements over the two eras, emotions, which is a very critical part of music, was conveyed differently between the two periods, Baroque and Classical.

                                           Brief history of Baroque music
Music during Baroque period is distinctly characterized by its tone of development, the use of ornamentation in very elaborate ways, use of reckoned bass, and expressions which targeted just a single affection[3]. A philosophical feature that molded baroque music was its interest in the ideas borrowed from the Renaissance period and that spawn from both the ancient Greece and Rome. On the other hand, ancient Greeks and Romans perceived music as an instrument to pass message easily and stimulate the emotions of the listeners[4].

For that reason, musicians progressively began to realize their distinct capabilities I composing their music and which could arouse their emotions of target to the audiences’[5]. Therefore, the primary goal of music genre during the baroque era can be pointed out as a provocation on the listeners’ emotions, and which can be closely linked to the “doctrine of affections”. Doctrine of affections, derived from the ancient oratory and rhetoric theories, is a theory referring to a piece of art or music which could only express just a single emotion.

Brief history of Classical music

Fixing the date for which classical music began is just as elusive as identifying the millennium when dinosaurs became extinct[6]. Merely, 1000 AD is commonly pointed as the convenient start time for modern western music. Just around that date when the idea of merging several voices to sing melodies; and still the time when church also recognized the need to standardize the unaccompanied chants single lines which had dominated the sacred ceremonies for centuries[7].

Themes during this period have more contrasts in regard to moods which can fluctuate either suddenly or gradually[8]. In consideration to rhythm, it exercises flexibility greatly where at times there are sudden pauses and beat changes. The music is highly melodic and homophonic with gradual changes in dynamics. In this era also, piano became an important instrument to facilitate beat changes easily and composers began to recognize instrument capabilities. This era also marked the end of basso continuo[9].

Similarities between Baroque and Classical period

In both eras, the music composers had some connections or were employed by the Royal court or some sort of a Noble family, or the church[10]. For instance, Mozart has an employee in the Austria Emperor while Bach on the other hand was working under different chapels in his entire life. These rich patrons, families and establishments played some crucial roles by providing the composers welfare and lifestyle[11]

Both Baroque and Classical music shared some basic functional harmony which was not very adventurous in regard to modulation, however, during both mid and late genres of the classic period began to indicate some signs of wide degree of harmonic exploration. Some progressions in Baroque however have not laid ground for other common forms of Baroque to come later[12]. Both techniques as well as styles in Baroque were never forgotten despite the Classical period coming to a noticeable rise after the death of Bach. Composers kept writing striking operas, masses, sonatas and concertos. Some of the aspects of the Classical era of opera were: words written were supposed to be sung and the style to be adopted in singing was required to be powerful enough to project those words and music across the opera house. Words were not in English and the plots were often shortened since more time was needed in expressing the music thoughts compared to when simply spoken[13].

In addition to the above similarities, the two eras of Baroque and classical music produced some noticeable great household composers, like Johannes, Sebastian, Bach and George Handel in Baroque, while on the Classical era we get to know some of the composers like Wolfgang, Amadeus, Mozart and Joseph Haydn[14].

Differences between Baroque and Classical periods

For many listeners who have had considerable time to listen keenly to the music genres from the two eras, Baroque and Classical, they testify that the two are not that much different[15]. However, to fervent the listeners, the multifaceted differences in music structure, tone and styles between the two periods are too significant to be ignored[16]

Taking a look on the Baroque era, music was characterized by strong contrapuntal styles which were accompanied by heavy reliance of polyphony, a combination of several different “voices” in layered manner where different voices could appear on top of each other. Baroque melodies did not follow either strict or symmetrical orders but rather worked with the targeted themes and motives of the composer to spin out throughout the piece[17]. The technique of spinning out was referred to as Fortspinnung in its German name and was uniquely identified by its asymmetrical phrase approach, continuous motion, phrase omissions in some instances, harmonic sequences and key changes[18].

This technique gave listeners feelings of excitement, progressions of chord rendering and melodic sequences which were somewhat unpredictable[19]. The greatest composer who came out during this period was Johannes Sebastian Bach, whose music genre full of complex melodies with works and re-works of themes stated the launch of his pieces. Contrally, in the classical era, music was characterized by strict and symmetrical structures

The standards for constructing a phrase stated that those phrases were to be either divided into eight or four measures and with each measure conforming to a two part structure, consequent and antecedent phrase[20]. The antecedent part which was either eight or four measures was supposed to end in a half cadence in order to call for harmonic resolution. On the other hand, the consequent part which was usually of the same length as antecedent answered the call of the antecedent phrase by ending with a full cadence (tonic), and therefore resolving the tension created by the antecedent phrase. The biggest difference between Classical and Baroque music was their difference in terms of style was their phrase structure therefore[21].

Although both shared similar phrase endings (full cadences or plagal cadences), in Baroque era, the antecedent-consequent structure of the phrase and which characterizes most of Classical genres was not followed[22]. A good example of a composer who clearly demonstrates the approach of antecedent-consequent structure during the Classical era is Wolfgang Mozart. His symphonies, concertos and sonatas fully depict the antecedent-consequent phrase structures that have made the music so influential right from Romantic era to the contemporary music[23].

Away from the differences in the two era, Baroque and Classical period, in terms of the styles; there is also a difference in the two periods in the forms of composition utilized. And this is brought about by the differences in the instruments being used in each of the two periods. For instance, during the Baroque period, the main instrument being used is the Harpsichord whereas for the case of Classical period we encounter a widespread usage of Piano[24].

Also, in each of the two periods, Baroque and Classical, forms of the music which were popular differ[25]. In Baroque era for example, the popular music forms were the Concerti Gross (characterized by their orchestra design and full of soloists), Fugues (characterized by its counterpoint approach and full of voices which claimed same melodies), and Suites (characterized by their four movement pieces written for certain instrumentalists).

In classical period on the contrast, composers were more concerned with writing Concertos (characterized by their three movement approach for both orchestra and solo instruments), Symphonies (characterized by four movement approach but only for the orchestra instruments), and Sonatas (which were characterized by a three movement approach for one or more solo instruments)[26]. Most of Classical era pieces have been written in Sonata- form, a form which distinctly divides the piece to three parts: exposition, presenting the main theme of the song; development, whose aim is to develop the main theme by varying it in complex ways; and then the recapitulation part which then returns the main theme back[27].

References

Buelow, George J. “Music and Society in the Late Baroque Era.” In The Late Baroque Era, pp.    1-38. Palgrave Macmillan, London, 2016.

Post, Olaf, and David Huron. “Western classical music in the minor mode is slower (except in       the Romantic period).” Empirical Musicology Review 4, no. 1 (2012): 2-10.

Montagu, Jeremy. The world of baroque and classical musical instruments. Viking Pr, 2015.

Ulrich, Homer, and Paul Amadeus Pisk. A history of music and musical style. Harcourt Brace        College Publishers, 2013.

Kamien, Roger, and Nicki James. Music: an appreciation. New York, NY: McGraw-Hill, 2013.

[1] Buelow, George J. “Music and Society in the Late Baroque Era.” In The Late Baroque Era, pp.       1-38. Palgrave Macmillan, London, 2016.

[2] Buelow, George J. “Music and Society in the Late Baroque Era.” In The Late Baroque Era, pp.       1-38. Palgrave Macmillan, London, 2016.

[3] Kamien, Roger, and Nicki James. Music: an appreciation. New York, NY: McGraw-Hill, 2013.

[4] Buelow, George J. “Music and Society in the Late Baroque Era.” In The Late Baroque Era, pp.       1-38. Palgrave Macmillan, London, 2016.

[5] Post, Olaf, and David Huron. “Western classical music in the minor mode is slower (except in         the Romantic period).” Empirical Musicology Review 4, no. 1 (2012): 2-10.

[6] Montagu, Jeremy. The world of baroque and classical musical instruments. Viking Pr, 2015.

[7] Ulrich, Homer, and Paul Amadeus Pisk. A history of music and musical style. Harcourt Brace          College Publishers, 2013.

[8] Kamien, Roger, and Nicki James. Music: an appreciation. New York, NY: McGraw-Hill, 2013.

[9] Montagu, Jeremy. The world of baroque and classical musical instruments. Viking Pr, 2015.

[10] Post, Olaf, and David Huron. “Western classical music in the minor mode is slower (except in        the Romantic period).” Empirical Musicology Review 4, no. 1 (2012): 2-10.

[11] Ulrich, Homer, and Paul Amadeus Pisk. A history of music and musical style. Harcourt Brace        College Publishers, 2013.

[12] Buelow, George J. “Music and Society in the Late Baroque Era.” In The Late Baroque Era, pp.     1-38. Palgrave Macmillan,      London, 2016.

[13] Montagu, Jeremy. The world of baroque and classical musical instruments. Viking Pr, 2015.

[14] Buelow, George J. “Music and Society in the Late Baroque Era.” In The Late Baroque Era, pp.     1-38. Palgrave Macmillan,      London, 2016.

[15] Ulrich, Homer, and Paul Amadeus Pisk. A history of music and musical style. Harcourt Brace        College Publishers, 2013.

[16] Post, Olaf, and David Huron. “Western classical music in the minor mode is slower (except in        the Romantic           period).” Empirical Musicology Review 4, no. 1 (2012): 2-10.

[17] Montagu, Jeremy. The world of baroque and classical musical instruments. Viking Pr, 2015.

[18] Ulrich, Homer, and Paul Amadeus Pisk. A history of music and musical style. Harcourt Brace        College Publishers, 2013.

[19] Buelow, George J. “Music and Society in the Late Baroque Era.” In The Late Baroque Era, pp.     1-38. Palgrave Macmillan,      London, 2016.

[20] Post, Olaf, and David Huron. “Western classical music in the minor mode is slower (except in        the Romantic           period).” Empirical Musicology Review 4, no. 1 (2012): 2-10.

[21] Montagu, Jeremy. The world of baroque and classical musical instruments. Viking Pr, 2015.

[22] Ulrich, Homer, and Paul Amadeus Pisk. A history of music and musical style. Harcourt Brace        College Publishers, 2013.

[23] Buelow, George J. “Music and Society in the Late Baroque Era.” In The Late Baroque Era, pp.     1-38. Palgrave Macmillan,      London, 2016.

[24] Ulrich, Homer, and Paul Amadeus Pisk. A history of music and musical style. Harcourt Brace        College Publishers, 2013.

[25] Post, Olaf, and David Huron. “Western classical music in the minor mode is slower (except in        the Romantic           period).” Empirical Musicology Review 4, no. 1 (2012): 2-10.

[26] Buelow, George J. “Music and Society in the Late Baroque Era.” In The Late Baroque Era, pp.      1-38. Palgrave Macmillan,      London, 2016.

[27] Montagu, Jeremy. The world of baroque and classical musical instruments. Viking Pr, 2015.