Music history of the Baroque era

In the early 17th century the most common type of the performance was madrigal comedy, which prohibited the text from being heard via a complicated polyphonical arrangement of songs. The humanist thinkers and musicians – the Florentine Camerata – were seeking for methods to restore the old tragedy form. Members of Camerata, composer Jacopo Peri and poet Ottavio Rinuccini have reinvented madrigal comedy to turn monologues into Arias, recitations into talks and madrigals into chores themselves. The first creations of this new genre are Daphne (1598) and Eurydice (1600), not preserved.

The idea of musical grammar is written first in Polish by Nikolai Diletsky, Ortheoretical graduate of the Jesuit Academy in Vilna, and later in Slavonic Church. This is not only the first Russian music theoretical research that linked modern European music with ancient Rus’s, but also an introductory theory textbook. For the first time in history, a picture appears here from a circle of tonalities that clearly explains the construction of the major minor system.

A concert was held in the Baroque era. His precursor, Concerto Grosso, comment-101239 is a big instrumental genre that competes rather than doubles up orchestras, instruments and solo instruments to enhance sounds. Earlier, such rivalry existed primarily in spoken music with musical components.

Giovanni Bononcini and Giuseppe Torelli have composed their first concerts. Monk Antonio Vivaldi (1678-1741), who had made more than 500 instrumental performances, became the most popular of our times.