Baroque versus Renaissance style
Baroque music shares with Renaissance music a heavy use of polyphony and counterpoint. However, its use of these techniques differs from Renaissance music. In the Renaissance, harmony is more the result of consonances incidental to the smooth flow of polyphony, while in the early Baroque era the order of these consonances becomes important, for they begin to be felt as chords in a hierarchical, functional tonal scheme. Around 1600 there is considerable blurring of this definition: for example one can see essentially tonal progressions around cadential points in madrigals, while in early monody the feeling of tonality is still rather tenuous. Another distinction between Renaissance and Baroque practice in harmony is the frequency of chord root motion by third in the earlier period, while motion of fourths or fifths predominates later (which partially defines functional tonality). In addition, Baroque music uses longer lines and stronger rhythms: the initial line is extended, either alone or accompanied only by the basso continuo, until the theme reappears in another voice. In this later approach to counterpoint, the harmony was more often defined either by the basso continuo, or tacitly by the notes of the theme itself.
These stylistic differences mark the transition from the ricercars, fantasias, and canzonas of the Renaissance to the fugue, a defining Baroque form. Monteverdi called this newer, looser style the seconda prattica, contrasting it with the prima prattica that characterized the motets and other sacred choral pieces of high Renaissance masters like Palestrina. Monteverdi himself used both styles; he wrote his Mass In illo tempore in the older, Palestrinan style, and his 1610 Vespers in the new style.
There are other, more general differences between Baroque and Renaissance style. Baroque music often strives for a greater level of emotional intensity than Renaissance music, and a Baroque piece often uniformly depicts a single particular emotion (exultation, grief, piety, etc.) (see doctrine of the affections). Baroque music was more often written for virtuoso singers and instrumentalists, and is characteristically harder to perform than Renaissance music, although idiomatic instrumental writing was one of the most important innovations of the period. Baroque music employs a great deal of ornamentation, which was often improvised by the performer. Instruments came to play a greater part in Baroque music, and a cappella vocal music receded in importance.
Baroque music shares with Renaissance music a heavy use of polyphony and counterpoint. However, its use of these techniques differs from Renaissance music. In the Renaissance, harmony is more the result of consonances incidental to the smooth flow of polyphony, while in the early Baroque era the order of these consonances becomes important, for they begin to be felt as chords in a hierarchical, functional tonal scheme. Around 1600 there is considerable blurring of this definition: for example one can see essentially tonal progressions around cadential points in madrigals, while in early monody the feeling of tonality is still rather tenuous. Another distinction between Renaissance and Baroque practice in harmony is the frequency of chord root motion by third in the earlier period, while motion of fourths or fifths predominates later (which partially defines functional tonality). In addition, Baroque music uses longer lines and stronger rhythms: the initial line is extended, either alone or accompanied only by the basso continuo, until the theme reappears in another voice. In this later approach to counterpoint, the harmony was more often defined either by the basso continuo, or tacitly by the notes of the theme itself.
These stylistic differences mark the transition from the ricercars, fantasias, and canzonas of the Renaissance to the fugue, a defining Baroque form. Monteverdi called this newer, looser style the seconda prattica, contrasting it with the prima prattica that characterized the motets and other sacred choral pieces of high Renaissance masters like Palestrina. Monteverdi himself used both styles; he wrote his Mass In illo tempore in the older, Palestrinan style, and his 1610 Vespers in the new style.
There are other, more general differences between Baroque and Renaissance style. Baroque music often strives for a greater level of emotional intensity than Renaissance music, and a Baroque piece often uniformly depicts a single particular emotion (exultation, grief, piety, etc.) (see doctrine of the affections). Baroque music was more often written for virtuoso singers and instrumentalists, and is characteristically harder to perform than Renaissance music, although idiomatic instrumental writing was one of the most important innovations of the period. Baroque music employs a great deal of ornamentation, which was often improvised by the performer. Instruments came to play a greater part in Baroque music, and a cappella vocal music receded in importance.