..., Rémy Médard and Nicolas Derosier. The first, Martin, joined the maison of the king’s younger brother, Philippe d’Orléans, in 1658, and in 1663 he published Pièces de guitairre, the first collection of solo music for Baroque guitar in France. The slim volume contains two suites...

... on broadsides. English Baroque ground bass Farinel’s Ground folia basso ostinato popular songs Thomas D’Urfey broadside ballads political propaganda in 17th-century England In a previous article on ‘Farinel’s Ground’, published in the May 2021 issue of this journal, ¹ I...

... of the Alps. ⁸ On the other hand, there are the more novel instruments rapidly gaining in popularity, such as the violin and the five-course guitar—the latter known as chitarra spagnuola in 17th-century Italy, ⁹ and today commonly referred to as the Baroque guitar. While we...

... Baroque Ensemble. ³ He collected old oboes and read widely about the instrument. ⁴ His oboe sound was unlike that of most American players of the time, which may have contributed to his interest in the period instrument. ⁵ In 1951 Marx published an analysis...

... examine the evolution of the form of the first movement in the eighteenth-century concerto from the Baroque ritornello plan to the eighteenth-century Classical concerto by means of a statistical corpus study. Our data yields a more nuanced understanding of several key characteristics of this evolution...

.../open_access/funder_policies/chorus/standard_publication_model ) Abstract A survey of the extant toccatas in the 17th-century Italian lute and theorbo repertories reveals that the toccata emerged as an important genre for these instruments in the early Baroque. The assumption that the toccata was primarily...

... intractable contradictions to emerge within Schenkerian theory. The schematic aspect to early eighteenth-century tonality suggested by this feature is expanded to include two additional second-reprise openings, the V–vi schema and the in-III opening. A staple of most Baroque composers’ harmonic vocabulary...

... in Christopher Simpson’s The Division-Violist (London, 1659) and Thomas Mace’s Musick’s Monument (London, 1676), shedding light on what theorists and composers at the time thought about large-scale structure in division grounds, and in ground-bass compositions in general. English Baroque music...

... to reconstruct what happened, but also to understand why the Jesuits placed such great confidence in the efficacy of this multimedial communication strategy. Catholic Reformation Baroque multimediality mass communication Jesuit history senses in religion rhetoric urban culture In the Catholic Reformation...

... of presentation for large-scale works, and royal music printer Ballard’s first use of it in his edition of Didon (1693) was intended to exploit a market consisting of users who would perform the work, or selections from it, in unstaged private settings. French Baroque opera partition réduite...

... these guitars—a Greek merchant’s son, a French actress—and how the instruments would have been used. guitar cittern instrument-makers Enlightenment Baroque guitar cosmopolitanism Amsterdam The Dutch regard the 17th century as their ‘Gouden Eeuw’, or Golden Age, both in a cultural and an economic sense...

... attests to Antonio Lotti’s ‘adoption’ by Venetian nobility, and the existence of a brother, working as a violinist in Hanover and Dresden. Other long-standing biographical confusions about Antonio Lotti’s wife, the soprano Santa Stella, are also clarified. Baroque Antonio Lotti Santa Stella 18th...

...-century harmonic practice, in the form of alfabeto symbols, well into the early 18th century, long past the currency of alfabeto as a performance practice. tonality Baroque guitar 18th-century harmonic theory alfabeto Antonio Vivaldi Estensische Musikalische Nicolo...

.... Carnival commedia dell’arte Comédie-Italienne matassins mattaccini matachins Baroque dance gigue Desiderius Erasmus Praise of Folly Molière Pyrrhic dance Thoinot Arbeau In outdoor festivities and courtly entertainments of the 16th to 18th centuries...

... the Carnival of 1753, for the performance of Nicola Logroscino’s L’Olimpiade. claviorgan spinetta harpsichord table organ keyboard Giovanni Battista Doni Renaissance early Baroque The claviorgan is an instrument consisting of a harpsichord and an organ combined, mainly...

..., was a seminal figure not only in the development of the late Renaissance lute style, but also in that of early Baroque music. It is perhaps not surprising, then, that his ground-breaking collection of solo lute music, entitled Libro d’intavolatura di liuto (1584), demonstrated the practical benefits...

..., Werckmeister goes to considerable lengths to convince the reader that his insistence on equal temperament is not unique to his later writings, but that he had considered this tuning much earlier: Any discussion regarding Baroque keyboard tunings normally includes the assumption that Baroque musicians...

... welcomed the performance of music involving the Spanish guitar, as the frescoes of their palazzi suggest. Baroque guitar Genoa Spinola family palazzi musical paintings Genoa is a city of paradoxes, sitting precariously between the Mediterranean Sea (more properly...

...-status musicians in baroque society, along with court trumpeters. Other drums also were used to summon members of an urban militia to assemble. As Rath notes, both bells and drums helped establish order and mark time. 37 In Gotha, as in many small towns, the positions of Türmer and town musician...

... that it was not intended for Madrid and surrounding regions, but possibly for Spanish America, and even specifically for Chile. All this necessitates revision of some of the received ideas about Murcia and reveals the wide circulation of guitar music in the 18th century. Santiago de Murcia Baroque guitar villano vacas...