Transition From Renaissance To Baroque In Instrumental Music
In the years centering around 1600 in Europe, several distinct shifts emerged in ways of thinking about the purposes, writing and performance of music. Partly these changes were revolutionary, deliberately instigated by a group of intellectuals in Florence known as the Camerata, and partly they were evolutionary, in that precursors of the new Baroque style can be found far back in the Renaissance, and the changes merely built on extant forms and practices. The transitions emanated from the cultural centers of northern Italy, then spread to Rome, France, Germany, and Spain, and lastly reached England. In terms of instrumental music, shifts in four discrete areas can be observed: idiomatic writing, texture, instrument use and orchestration.
Read more about Transition From Renaissance To Baroque In Instrumental Music: Instrumentation, Texture, Instrument Use and Aesthetics, Orchestration, See Also
Famous quotes containing the words transition from, transition, renaissance, baroque, instrumental and/or music:
“The god or hero of the sculptor is always represented in a transition from that which is representable to the senses, to that which is not.”
—Ralph Waldo Emerson (1803–1882)
“When I was going through my transition of being famous, I tried to ask God why was I here? what was my purpose? Surely, it wasn’t just to win three gold medals. There has to be more to this life than that.”
—Wilma Rudolph (1940–1994)
“People nowadays like to be together not in the old-fashioned way of, say, mingling on the piazza of an Italian Renaissance city, but, instead, huddled together in traffic jams, bus queues, on escalators and so on. It’s a new kind of togetherness which may seem totally alien, but it’s the togetherness of modern technology.”
—J.G. (James Graham)
“It is the Late city that first defies the land, contradicts Nature in the lines of its silhouette, denies all Nature. It wants to be something different from and higher than Nature. These high-pitched gables, these Baroque cupolas, spires, and pinnacles, neither are, nor desire to be, related with anything in Nature. And then begins the gigantic megalopolis, the city-as-world, which suffers nothing beside itself and sets about annihilating the country picture.”
—Oswald Spengler (1880–1936)
“All history attests that man has subjected woman to his will, used her as a means to promote his selfish gratification, to minister to his sensual pleasures, to be instrumental in promoting his comfort; but never has he desired to elevate her to that rank she was created to fill. He has done all he could to debase and enslave her mind; and now he looks triumphantly on the ruin he has wrought, and say, the being he has thus deeply injured is his inferior.”
—Sarah M. Grimke (1792–1873)
“For do but note a wild and wanton herd
Or race of youthful and unhandled colts
Fetching mad bounds, bellowing and neighing loud,
Which is the hot condition of their blood;
If they but hear perchance a trumpet sound,
Or any air of music touch their ears,
You shall perceive them make a mutual stand,
Their savage eyes turned to a modest gaze
By the sweet power of music.”
—William Shake{peare (1564–1616)