Table Of Contents:

List of Maps and Illustrations xi
Photo Credits xv
Preface xvii

Introduction: Monarchy, Religion, and the Rhetoric of the Arts 1(21)

Monarchy and Nobility 4(7)

Religion 11(4)

The Rhetoric of the Arts 15(7)

The Birth of Opera, Monody, and the Concerted Madrigal 22(33)

Court Culture, Politics, and Spectacle in Florence 22(4)

The First Operas 26(5)

Le nuove musiche 31(7)

Monody and the Serious Canzonetta in Naples, Rome, and Elsewhere 38(6)

Seconda pratica and the Concerted Madrigal 44(4)

Court Opera in Mantua, Florence, and Rome 48(7)

New Genres of Instrumental Music 55(31)

Frescobaldi and Style Change in Lute and Harpsichord Music 55(8)

Chordal Composition 63(1)

Modal Composition 64(7)

Church Organ Music in Early Seventeenth-Century Italy 71(4)

The Violin and Italian Instrumental Ensemble Music 75(11)

Church Music in Italy, 1600--1650 86(23)

Churches and Other Religious Institutions 86(5)

Persistence of Traditions 91(5)

The Small-Scale Sacred Concerto 96(5)

Sacred Dialogues and Oratorios 101(3)

Large-Scale Concerted Church Music 104(5)

Stage, Instrumental, and Church Music in France to 1650 109(30)

The Balet comique de la Royne 109(3)

Types of Dance in Court Ballets, Other Spectacles, and Social Contexts 112(7)

The air de cour 119(4)

Lute Music 123(4)

Harpsichord Music 127(3)

Instrumental Ensemble Music 130(2)

Organs and Organ Music 132(2)

Vocal Music for Church 134(5)

Music in the Empire through the Thirty Years' War 139(25)

The Italian Influx to the Empire and Eastern Europe 139(4)

The Earliest Lutheran Composers to Assimilate New Italian Styles after 1600 143(6)

Heinrich Schutz 149(4)

Calvinist Music 153(1)

Lutheran Organ Music 154(2)

Froberger 156(2)

Ensemble Music in the Empire 158(1)

Stadpfeifern 159(1)

The German Continuo Song 160(4)

Music in England under the First Stuart Kings and Commonwealth 164(23)

England in the European Context 164(1)

Instrumental Ensemble Music in England 164(6)

Lute and Harpsichord Music 170(3)

Church Music under the Stuart Kings 173(1)

Madrigals, Ayres, and Songs 174(3)

The Masque at the Courts of the First Stuart Kings 177(6)

Music, the English Civil War, and Commonwealth 183(4)

The Diffusion of New Vocal Genres for Theater, Chamber, and Church in Italy, 1635--1680 187(29)

The Spread of Opera from Rome 187(2)

Venetian Theaters 189(2)

Incogniti Operas 191(4)

Venetian Opera Conventions 195(3)

Venetian Arias 198(1)

Florence, Naples, Genoa 199(3)

The Spread of the Chamber Cantata 202(3)

The Oratorio in Rome at Mid-Century 205(3)

Changes in Liturgical Music in Italy 208(8)

Music at the Court of Louis XIV to the Death of Lully 216(41)

Political, Economic, and Cultural Centralization in France 216(2)

Musique de la Grande Ecurie 218(2)

Musique de la Chambre 220(5)

The Chapelle Royale 225(4)

Italian Opera at the French Royal Court 229(1)

Spectacle as Propaganda at the Court of Louis XIV 230(1)

The System of Royal Academies 231(1)

The Beginnings of French Opera 232(1)

Ballets de cour and Comedies-ballets 233(6)

Tragedie en Musique 239(2)

Lully's Alceste 241(7)

Lully's Harmony 248(4)

Music in the City of Paris in the Age of Louis XIV 252(5)

Music in Spain, Portugal, and their Colonies 257(30)

The Spanish Empire and Its Church 257(2)

Latin Liturgical Music 259(3)

The Villancico and Other Vernacular Church Music 262(6)

Autos sacramentales 268(1)

Vocal Chamber Music 269(4)

Stage Music 273(4)

The Zarzuela 277(1)

Keyboard Music 278(3)

Harp and Guitar 281(6)

Music in the Empire during the Later Seventeenth Century 287(35)

The New Lutheran Piety and the Religious Aria 287(2)

Sacred Concertos for Solo Voice 289(2)

Sacred Concertos for Several Voices 291(2)

Chorale Concertos 293(4)

Religious Vocal Music at the Catholic German Courts 297(4)

Keyboard Music 301(4)

Instrumental Ensemble Music 305(7)

Seventeenth-Century Opera in the German Lands 312(3)

German Music Theory 315(3)

Summary 318(4)

Sonata and Concerto in Late Seventeenth-Century Italy 322(35)

The Italian Trio and Solo Sonata in the Second Half of the Seventeenth Century 322(6)

Arcangelo Corelli 328(2)

The Normalized Harmonic Style 330(13)

The Solo Sonata after Corelli 343(1)

The Rise of the Concerto Grosso 344(4)

The Bolognese Trumpet Sonata 348(3)

The Solo Violin Concerto 351(6)

England from the Restoration through the Augustan Age 357(25)

Charles II and the Musical Institutions of His Court 357(2)

Anthems and Services 359(2)

Odes and Welcome Songs 361(2)

Songs and Domestic Vocal Ensembles 363(1)

Viols and Violins 364(5)

Solo Key-board Music 369(2)

Plays with Music---Dramatick Operas 371(4)

All-Sung Operas 375(7)

Italian Vocal Music, ca. 1680--1730 382(41)

The Neoclassical Reform of Italian Opera, ca. 1680--1706 382(5)

Opera seria, Part 1 387(2)

The Doctrine of the Affections 389(7)

Opera seria, Part 2 396(10)

``A Perfect Spiritual Melodramma'': The Italian Oratorio, ca. 1680--1730 406(4)

The Chamber Cantata 410(4)

Latin Church Music 414(9)

French Music from the War of the Grand Alliance to the End of the Regency 423(31)

France Declines in the Theater of Europe 423(2)

Italian Music: Rap-prochement and Resistance 425(5)

The cantate francoise 430(5)

Vocal Church Music 435(3)

Organ Music 438(2)

Pieces de clavecin 440(6)

Sonatas and sonades 446(3)

Orchestral Music 449(1)

The Harmonic Theories of Jean-Philippe Rameau 450(4)

German Traditions and Innovations, ca. 1690--1750 454(41)

The New Lutheran Cantata 454(6)

Bach's Cantatas 460(7)

Protestant Oratorios and Passions 467(2)

Handel's Oratorios 469(4)

Bach's Passions and Oratorios 473(8)

Bach's Keyboard Works 481(6)

Instrumental Ensemble Music 487(4)

The End of an Era---The Legacy of the Baroque 491(4)
Appendix: Rhetorical Figures that Are Frequently Mirrored in Music 495(3)
Index 498