Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-76fb5796d-25wd4 Total loading time: 0 Render date: 2024-04-29T04:15:58.743Z Has data issue: false hasContentIssue false

1 - Renaissance, Mannerism, Baroque

Published online by Cambridge University Press:  28 March 2008

By
Tim Carter
Edited by
Tim Carter  and
John Butt
Tim Carter
Affiliation:
University of North Carolina, Chapel Hill
John Butt
Affiliation:
University of Glasgow
Get access

Summary

It is in the nature of historians of Western art-music to divide their repertories by periods; it is also in the nature of music histories to begin with some disclaimer about the dangers of such periodisation. These disclaimers conventionally go along one or both of the following lines. First, a period never has a clear beginning or end. It would be absurd to argue, say, that anything produced before 31 December 1599 was ‘Renaissance’ and anything after 1 January 1600 ‘Baroque’; rather, there are always periods of transition when new currents start to bubble to the surface and older trends slowly disappear. Thirty or forty years either way will usually suffice, and may be further enshrined in period subdivisions (Early, Middle, High, Late). So, the Late Renaissance may somehow overlap with the Early Baroque, but by the time we get to the Middle or High Baroque, the Renaissance is well and truly over. Secondly, not everything that happens in a given period will necessarily contain all (or even some of) the presumed characteristics of that period. Thus not all Renaissance music will be ‘Renaissance’ by any (narrow or broad) definition of the term, yet if the label is not to be meaningless save as some vague chronological marker, enough of the important music produced during the Renaissance period will indeed be somehow identifiable with the Renaissance in general.

Type
Chapter
Information
The Cambridge History of Seventeenth-Century Music
, pp. 1 - 26
Publisher: Cambridge University Press
Print publication year: 2005

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Aston, T. (ed.), Crisis in Europe, 1550–1650: Essays from ‘Past and Present’. London, 1965 Google Scholar
Baker, N. K., and Hanning, B. R. (eds), Musical Humanism and its Legacy: Essays in Honor of Claude V. Palisca. Stuyvesant, NY, 1992 Google Scholar
Bianconi, L., Music in the Seventeenth Century, trans. Bryant, D.. Cambridge, 1987 CrossRefGoogle Scholar
Blume, F., Renaissance and Baroque Music. London, 1968 Google Scholar
Brown, H. M., Sixteenth-Century Instrumentation: the Music for the Florentine Intermedii, ‘Musicological Studies and Documents’, 30. American Institute of Musicology, 1973 Google Scholar
Brown, H. M., Embellishing Sixteenth-Century Music. London, 1976 Google Scholar
Bukofzer, M. F., Music in the Baroque Era: from Monteverdi to Bach. New York, 1947 Google Scholar
Burckhardt, J., The Civilization of the Renaissance in Italy. 2nd edn, London, 1945 Google Scholar
Burke, P., The Fortunes of the Courtier: the European Reception of Castiglione’s ‘Cortegiano’. Cambridge, 1995 Google Scholar
Carter, T., ‘Artusi, Monteverdi, and the Poetics of Modern Music’. In Baker, and Hanning, (eds), Musical Humanism and its Legacy
Carter, T., ‘Music Publishing in Italy, c.1580–c.1625: Some Preliminary Observations’. Royal Musical Association Research Chronicle, 20 (1986–7)Google Scholar
Carter, T., ‘Secular Vocal Music’. In Bray, R. (ed.), The Blackwell History of Music in Britain, ii: The Sixteenth Century. Oxford, 1995 Google Scholar
Carter, T., Monteverdi’s Musical Theatre. New Haven and London, 2002 Google Scholar
Carter, T., Music in Late Renaissance and Early Baroque Italy. London, 1992 Google Scholar
Castiglione, B., The Book of the Courtier, trans. Bull, G.. Harmondsworth, 1967 Google Scholar
Clercx, S., Le Baroque et la musique: essai d’esthétique musical. Brussels, 1948 Google Scholar
Coclico, , Musical Compendium, trans. Seay, A., ‘Colorado College Music Press Translations’, 5 (Colorado Springs, 1973).Google Scholar
Culley, T. D., ‘Musical Activity in Some Sixteenth-Century Jesuit Colleges, with Special Reference to the Venerable English College in Rome from 1579 to 1589’. Analecta musicologica, 19 (1979)Google Scholar
Culley, T. D., Jesuits and Music, i: A Study of the Musicians Connected with the German College in Rome During the 17th Century and of Their Activities in Northern Europe. Rome and St Louis, 1970 Google Scholar
de Vries, J., The Economy of Europe in an Age of Crisis, 1600–1750. Cambridge, 1976 CrossRefGoogle Scholar
Dixon, G., ‘The Origins of the Roman “Colossal Baroque”’. Proceedings of the Royal Musical Association, 106 (1979–80)CrossRefGoogle Scholar
Fenlon, I., Music and Patronage in Sixteenth-Century Mantua. 2 vols, Cambridge, 1980, 1982 Google Scholar
Fenlon, I. (ed.), The Renaissance: from the 1470s to the End of the 16th Century, ‘Man and Music’, 2. Basingstoke and London, 1989 Google Scholar
Goldthwaite, R. A., Wealth and the Demand for Art in Italy, 1300–1600. Baltimore and London, 1993 Google Scholar
Haar, J., ‘Classicism and Mannerism in 16th-Century Music’. International Review of Music Aesthetics and Sociology, 1 (1970)CrossRefGoogle Scholar
Haar, J., ‘Self-Consciousness about Style, Form and Genre in 16th-Century Music’. Studi musicali, 3 (1974)Google Scholar
Haas, R., Die Musik des Barocks. Potsdam, 1928 Google Scholar
Hauser, A., The Social History of Art, ii: Renaissance, Mannerism, Baroque. London, 1962 Google Scholar
Hay, D., The Italian Renaissance in its Historical Background. 2nd edn, Cambridge, 1977 Google Scholar
Hill, J. W., ‘Oratory Music in Florence, i: Recitar cantando, 1583–1655’. Acta musicologica, 51 (1979)CrossRefGoogle Scholar
Kennedy, T. F., ‘Jesuits and Music: Reconsidering the Early Years’. Studi musicali, 17 (1988)Google Scholar
Kiernan, V. G., State and Society in Europe, 1550–1650. Oxford, 1980 Google Scholar
Lang, P. H., Music in Western Civilization. New York, 1941 Google Scholar
Luzzaschi, Sesto libro de’ madrigali a cinque voci (1596), in Newcomb, , The Madrigal at Ferrara, i.Google Scholar
Maas, M., ‘Timotheus at Sparta: the Nature of the Crime’. In Baker, and Hanning, (eds), Musical Humanism and its Legacy
Maniates, M. R., Mannerism in Italian Music and Culture, 1530–1630. Manchester, 1979 Google Scholar
Masello, S. J., ‘Thomas Hoby: a Protestant Traveler to Circe’s Court’. Cahiers Elisabethains, 27 (1985)Google Scholar
Mirollo, J. V., Mannerism and Renaissance Poetry: Concept, Mode, Inner Design. New Haven and London, 1984 Google Scholar
Mirollo, J. V., The Poet of the Marvelous: Giambattista Marino. New York, 1963 Google Scholar
Molinari, C., Le nozze degli dèi: un saggio sul grande spettacolo italiano nel Seicento. Rome, 1968 Google Scholar
Moore, J. H., ‘ Venezia favorita da Maria: Music for the Madonna Nicopeia and Santa Maria della Salute’. Journal of the American Musicological Society, 37 (1984)CrossRefGoogle Scholar
Moore, J. H., ‘The Vespero delli Cinque Laudate and the Role of Salmi spezzati at St. Mark’s’. Journal of the American Musicological Society, 34 (1981)CrossRefGoogle Scholar
Morley, T., A Plain and Easy Introduction to Practical Music, ed. Harman, R. A. (London, 1952; repr. 1966).Google Scholar
Nagler, A. M., Theatre Festivals of the Medici, 1539–1637. New Haven and London, 1964; repr. New York, 1976 Google Scholar
Newcomb, A., The Madrigal at Ferrara, 1579–1597. 2 vols, Princeton, 1980 Google Scholar
O’Malley, J. W. et al. (eds), The Jesuits: Cultures, Sciences, and the Arts 1540–1773. Toronto, 1999 Google Scholar
Palisca, C. V., ‘Baroque’. In Sadie, S. (ed.), The New Grove Dictionary of Music and Musicians. 20 vols, London, 1980, ii:Google Scholar
Palisca, C. V., ‘The Artusi-Monteverdi Controversy’. In Arnold, D. and Fortune, N. (eds), The New Monteverdi Companion, London, 1985 ; reprinted in Palisca, Studies in the History of Italian Music and Music Theory Google Scholar
Palisca, C. V., ‘Towards an Intrinsically Musical Definition of Mannerism in the Sixteenth Century’. Studi musicali, 3 (1974); reprinted in Palisca, Studies in the History of Italian Music and Music Theory Google Scholar
Palisca, C. V., ‘Vincenzo Galilei and Some Links Between “Pseudo-Monody” and Monody’. Musical Quarterly, 46 (1960); reprinted in Palisca, Studies in the History of Italian Music and Music Theory Google Scholar
Palisca, C. V., Baroque Music. Englewood Cliffs, 1968; 3rd edn, 1991 Google Scholar
Palisca, C. V., Girolamo Mei (1519–1594): Letters on Ancient and Modern Music to Vincenzo Galilei and Giovanni Bardi; a Study with Annotated Texts, ‘Musicological Studies and Documents’, 3. 2nd edn, American Institute of Musicology, 1977 Google Scholar
Palisca, C. V., Humanism in Italian Renaissance Musical Thought. New Haven and London, 1985 Google Scholar
Palisca, C. V., Studies in the History of Italian Music and Music Theory. Oxford, 1994 Google Scholar
Palisca, C. V., The Florentine Camerata: Documentary Studies and Translations. New Haven and London, 1989 Google Scholar
Parker, G., and Smith, L. M. (eds), The General Crisis of the Seventeenth Century. London, 1978 Google Scholar
Pirrotta, N., ‘Temperaments and Tendencies in the Florentine Camerata’. Musical Quarterly, 40 (1954); reprinted in Pirrotta, Music and Culture in Italy from the Middle Ages to the Baroque Google Scholar
Pirrotta, N., Music and Culture in Italy from the Middle Ages to the Baroque: a Collection of Essays. Cambridge, MA, and London, 1984 (including ‘Music and Cultural Tendencies in Fifteenth-Century Italy’ ; ‘Novelty and Renewal in Italy, 1300–1600’)CrossRefGoogle Scholar
Pirrotta, N., Music and Theatre from Poliziano to Monteverdi. Cambridge, 1982 Google Scholar
Price, C. (ed.), The Early Baroque Era: from the Late 16th Century to the 1660s, ‘Man and Music’, 3. Basingstoke and London, 1993 Google Scholar
Rabb, T. K., The Struggle for Stability in Early Modern Europe. New York, 1975 Google Scholar
Rapp, R. T., Industry and Economic Decline in Seventeenth-Century Venice. Cambridge, MA, 1976 Google Scholar
Rosand, E., Opera in Seventeenth-Century Venice: the Creation of a Genre. Berkeley, Los Angeles and Oxford, 1991 Google Scholar
Shearman, J., Mannerism. Harmondsworth, 1967 Google Scholar
Silbiger, A. ‘Music and the Crisis of Seventeenth-Century Europe’. In Coelho, V. (ed.), Music and Science in the Age of Galileo. Dordrecht, 1992 Google Scholar
Skrine, P. N., The Baroque: Literature and Culture in Seventeenth-Century Europe. London, 1978 Google Scholar
Smither, H. E., A History of the Oratorio, i: The Oratorio in the Baroque Era: Italy, Vienna, Paris. Chapel Hill, NC, 1977 Google Scholar
Smyth, C. H., Mannerism and ‘Maniera’. Locust Valley, NY, 1963 Google Scholar
Stevens, D. (trans.), The Letters of Claudio Monteverdi. 2nd edn, Oxford, 1995 Google Scholar
Strunk, O., Source Readings in Music History, Revised Edition, iv: The Baroque Era, ed. Murata, M.. New York and London, 1998 Google Scholar
Thompson, R. R., ‘Francis Tregian the Younger as Music Copyist: a Legend and an Alternative View’. Music and Letters, 82 (2001)CrossRefGoogle Scholar
Tomlinson, G., ‘Madrigal, Monody, and Monteverdi’s “via naturale alla immitatione”’. Journal of the American Musicological Society, 34 (1981)CrossRefGoogle Scholar
Tomlinson, G., Monteverdi and the End of the Renaissance. Oxford, 1987 Google Scholar
Tomlinson, G., Music in Renaissance Magic: Toward a Historiography of Others. Chicago and London, 1993 Google Scholar
Zarlino, , Le istitutioni harmoniche (Venice, 1558).Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×