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Transition from Renaissance to Baroque in instrumental music - Wikipedia
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rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><table class="sidebar sidebar-collapse nomobile nowraplinks plainlist"><tbody><tr><td class="sidebar-pretitle">Part of <a href="/wiki/Category:Renaissance_music" title="Category:Renaissance music">a series</a> on</td></tr><tr><th class="sidebar-title-with-pretitle" style="font-size:140%;"><a href="/wiki/Renaissance_music" title="Renaissance music">Renaissance music</a></th></tr><tr><th class="sidebar-heading" style="background-color:darkblue"> <span class="tmp-color" style="color:white">Overview</span></th></tr><tr><td class="sidebar-content"> <ul><li><div style="display: inline-block; line-height: 1.2em; padding: .1em 0;"><a href="/wiki/List_of_Renaissance_composers" title="List of Renaissance composers">Composers</a> / <a class="mw-selflink selflink">Transition to Baroque</a></div><hr /></li></ul></td> </tr><tr><td class="sidebar-content"> <div class="sidebar-list mw-collapsible mw-collapsed"><div class="sidebar-list-title" style="color: var(--color-base)">Movements and schools</div><div class="sidebar-list-content mw-collapsible-content"><div class="hlist"> <ul><li><a href="/wiki/Burgundian_School" title="Burgundian School">Burgundian</a></li> <li><a href="/wiki/Franco-Flemish_School" title="Franco-Flemish School">Franco-Flemish</a></li> <li><a href="/wiki/Colorist_(music)" title="Colorist (music)">Colorist</a></li> <li><a href="/wiki/Florentine_Camerata" title="Florentine Camerata">Florentine Camerata</a></li> <li><a href="/wiki/Roman_School" title="Roman School">Roman</a></li> <li><a href="/wiki/Venetian_School_(music)" title="Venetian School (music)">Venetian</a></li> <li><a href="/wiki/English_Virginalist_School" title="English Virginalist School">English Virginalist</a></li> <li><a href="/wiki/English_Madrigal_School" title="English Madrigal School">English Madrigal</a></li></ul> </div></div></div></td> </tr><tr><td class="sidebar-content"> <div class="sidebar-list mw-collapsible mw-collapsed"><div class="sidebar-list-title" style="color: var(--color-base)">Major figures</div><div class="sidebar-list-content mw-collapsible-content"><div class="hlist"> <ul><li><a href="/wiki/Guillaume_Du_Fay" title="Guillaume Du Fay">Du Fay</a></li> <li><a href="/wiki/Gilles_Binchois" title="Gilles Binchois">Binchois</a></li> <li><a href="/wiki/Johannes_Ockeghem" title="Johannes Ockeghem">Ockeghem</a></li> <li><a href="/wiki/Antoine_Busnois" title="Antoine Busnois">Busnois</a></li> <li><a href="/wiki/Johannes_Tinctoris" title="Johannes Tinctoris">Tinctoris</a></li> <li><a href="/wiki/Josquin_des_Prez" title="Josquin des Prez">Josquin</a></li> <li><a href="/wiki/Thomas_Tallis" title="Thomas Tallis">Tallis</a></li> <li><a href="/wiki/Gioseffo_Zarlino" title="Gioseffo Zarlino">Zarlino</a></li> <li><a href="/wiki/Giovanni_Pierluigi_da_Palestrina" title="Giovanni Pierluigi da Palestrina">Palestrina</a></li> <li><a href="/wiki/Orlando_di_Lasso" title="Orlando di Lasso">Lasso</a></li> <li><a href="/wiki/William_Byrd" title="William Byrd">Byrd</a></li> <li><a href="/wiki/Tom%C3%A1s_Luis_de_Victoria" title="Tomás Luis de Victoria">Victoria</a></li> <li><a href="/wiki/Claudio_Monteverdi" title="Claudio Monteverdi">Monteverdi</a></li></ul> </div></div></div></td> </tr><tr><td class="sidebar-content"> <div class="sidebar-list mw-collapsible mw-collapsed"><div class="sidebar-list-title" style="color: var(--color-base)">Major forms</div><div class="sidebar-list-content mw-collapsible-content"><div class="hlist"> <ul><li><a href="/wiki/Anthem" title="Anthem">Anthem</a></li> <li><i><a href="/wiki/Chanson" title="Chanson">Chanson</a></i></li> <li><a href="/wiki/Madrigal" title="Madrigal">Madrigal</a></li> <li><a href="/wiki/Mass_(music)" title="Mass (music)">Mass</a></li> <li><a href="/wiki/Motet" title="Motet">Motet</a></li></ul> </div></div></div></td> </tr><tr><td class="sidebar-below" style="padding-top:0.1em;"> <ul><li><div style="float: left;"><b><a href="/wiki/Medieval_music" title="Medieval music">← Medieval music</a></b></div><div style="float: right;"><b><a href="/wiki/Baroque_music" title="Baroque music">Baroque music →</a></b></div></li></ul></td></tr><tr><td class="sidebar-navbar"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><style data-mw-deduplicate="TemplateStyles:r1239400231">.mw-parser-output .navbar{display:inline;font-size:88%;font-weight:normal}.mw-parser-output .navbar-collapse{float:left;text-align:left}.mw-parser-output .navbar-boxtext{word-spacing:0}.mw-parser-output .navbar ul{display:inline-block;white-space:nowrap;line-height:inherit}.mw-parser-output .navbar-brackets::before{margin-right:-0.125em;content:"[ "}.mw-parser-output .navbar-brackets::after{margin-left:-0.125em;content:" ]"}.mw-parser-output .navbar li{word-spacing:-0.125em}.mw-parser-output .navbar a>span,.mw-parser-output .navbar a>abbr{text-decoration:inherit}.mw-parser-output .navbar-mini abbr{font-variant:small-caps;border-bottom:none;text-decoration:none;cursor:inherit}.mw-parser-output .navbar-ct-full{font-size:114%;margin:0 7em}.mw-parser-output .navbar-ct-mini{font-size:114%;margin:0 4em}html.skin-theme-clientpref-night .mw-parser-output .navbar li a abbr{color:var(--color-base)!important}@media(prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .navbar li a abbr{color:var(--color-base)!important}}@media print{.mw-parser-output .navbar{display:none!important}}</style><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Renaissance_music_sidebar" title="Template:Renaissance music sidebar"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Renaissance_music_sidebar" title="Template talk:Renaissance music sidebar"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Renaissance_music_sidebar" title="Special:EditPage/Template:Renaissance music sidebar"><abbr title="Edit this template">e</abbr></a></li></ul></div></td></tr></tbody></table> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1246091330"><table class="sidebar nomobile nowraplinks" style="width:16.0em"><tbody><tr><th class="sidebar-title" style="background:#d6d6ff;font-size:120%;padding:0.2em 0.4em 0.4em;line-height:1.2em;">Major eras of<br /><a href="/wiki/Classical_music" title="Classical music">Western classical music</a></th></tr><tr><th class="sidebar-heading" style="background:#e6e6ff;padding-bottom:0.2em;"> <a href="/wiki/Early_music" title="Early music">Early music</a></th></tr><tr><td class="sidebar-content"> <table style="width:100%;border-collapse:collapse;border-spacing:0px 0px;border:none"><tbody><tr style="vertical-align:top"><td style="text-align:left;"> <a href="/wiki/Medieval_music" title="Medieval music">Medieval</a></td><td style="white-space:nowrap;text-align:right;"> <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 500–1400</span></td></tr><tr style="vertical-align:top"><td style="text-align:left;"> <span style="font-size:85%;"><a href="/wiki/Medieval_music#Transitioning_to_the_Renaissance" title="Medieval music">Transition to Renaissance</a></span></td><td style="white-space:nowrap;text-align:right;"></td></tr><tr style="vertical-align:top"><td style="text-align:left;"> <a href="/wiki/Renaissance_music" title="Renaissance music">Renaissance</a></td><td style="white-space:nowrap;text-align:right;"> <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1400–1600</span></td></tr><tr style="vertical-align:top"><td style="text-align:left;"> <span style="font-size:85%;"><a class="mw-selflink selflink">Transition to Baroque</a></span></td><td style="white-space:nowrap;text-align:right;"></td></tr></tbody></table></td> </tr><tr><th class="sidebar-heading" style="background:#e6e6ff;padding-bottom:0.2em;"> <a href="/wiki/Common_practice_period" title="Common practice period">Common practice period</a></th></tr><tr><td class="sidebar-content"> <table style="width:100%;border-collapse:collapse;border-spacing:0px 0px;border:none"><tbody><tr style="vertical-align:top"><td style="text-align:left;"> <a href="/wiki/Baroque_music" title="Baroque music">Baroque</a></td><td style="white-space:nowrap;text-align:right;"> <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1600–1750</span></td></tr><tr style="vertical-align:top"><td style="text-align:left;"> <span style="font-size:85%;"><a href="/wiki/Galant_music" title="Galant music">Transition to Classical</a></span></td><td style="white-space:nowrap;text-align:right;"></td></tr><tr style="vertical-align:top"><td style="text-align:left;"> <a href="/wiki/Classical_period_(music)" title="Classical period (music)">Classical</a></td><td style="white-space:nowrap;text-align:right;"> <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1730–1820</span></td></tr><tr style="vertical-align:top"><td style="text-align:left;"> <span style="font-size:85%;"><a href="/wiki/Transition_from_Classical_to_Romantic_music" title="Transition from Classical to Romantic music">Transition to Romantic</a></span></td><td style="white-space:nowrap;text-align:right;"></td></tr><tr style="vertical-align:top"><td style="text-align:left;"> <a href="/wiki/Romantic_music" title="Romantic music">Romantic</a></td><td style="white-space:nowrap;text-align:right;"> <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1800–1910</span></td></tr><tr style="vertical-align:top"><td style="text-align:left;"> <span style="font-size:85%;"><a href="/wiki/Post-romanticism" title="Post-romanticism">Transition to Modernism</a></span></td><td style="white-space:nowrap;text-align:right;"></td></tr></tbody></table></td> </tr><tr><th class="sidebar-heading" style="background:#e6e6ff;padding-bottom:0.2em;"> <a href="/wiki/Neue_Musik" title="Neue Musik">New music</a></th></tr><tr><td class="sidebar-content"> <table style="width:100%;border-collapse:collapse;border-spacing:0px 0px;border:none"><tbody><tr style="vertical-align:top"><td style="text-align:left;"> <a href="/wiki/Modernism_(music)" title="Modernism (music)">Modernism</a></td><td style="white-space:nowrap;text-align:right;"> from <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1890</span></td></tr><tr style="vertical-align:top"><td style="text-align:left;"> <a href="/wiki/Contemporary_classical_music" title="Contemporary classical music">Contemporary</a></td><td style="white-space:nowrap;text-align:right;"> from <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1945</span></td></tr><tr style="vertical-align:top"><td style="text-align:left;">  •  <a href="/wiki/20th-century_classical_music" title="20th-century classical music">20th-century</a><br />  •  <a href="/wiki/21st-century_classical_music" title="21st-century classical music">21st-century</a></td><td style="white-space:nowrap;text-align:right;"></td></tr></tbody></table></td> </tr><tr><td class="sidebar-navbar"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239400231"><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:History_of_Western_art_music" title="Template:History of Western art music"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:History_of_Western_art_music" title="Template talk:History of Western art music"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:History_of_Western_art_music" title="Special:EditPage/Template:History of Western art music"><abbr title="Edit this template">e</abbr></a></li></ul></div></td></tr></tbody></table> <p>In the years centering on 1600 in <a href="/wiki/History_of_Europe#Early_modern" title="History of Europe">Europe</a><sup class="noprint Inline-Template" style="white-space:nowrap;">[<i><a href="/wiki/MOS:BROKENSECTIONLINKS" class="mw-redirect" title="MOS:BROKENSECTIONLINKS"><span title="The anchor (Early modern) has been deleted. (2024-07-23)">broken anchor</span></a></i>]</sup>, several distinct shifts emerged in ways of thinking about the purposes, writing and performance of music. Partly these changes were <i>revolutionary</i>, deliberately instigated by a group of intellectuals in <a href="/wiki/Florence" title="Florence">Florence</a> known as the <a href="/wiki/Florentine_Camerata" title="Florentine Camerata">Florentine Camerata</a>, and partly they were <i>evolutionary</i>, in that precursors of the new <a href="/wiki/Baroque_music" title="Baroque music">Baroque</a> style can be found far back in the <a href="/wiki/Renaissance_music" title="Renaissance music">Renaissance</a>, and the changes merely built on extant forms and practices. The transitions emanated from the cultural centers of <a href="/wiki/Northern_Italy" title="Northern Italy">Northern Italy</a>, then spread to <a href="/wiki/History_of_Rome#Renaissance_Rome" title="History of Rome">Rome</a>, <a href="/wiki/Early_Modern_France" class="mw-redirect" title="Early Modern France">France</a>, <a href="/wiki/German_Renaissance" title="German Renaissance">Germany</a>, and <a href="/wiki/Spanish_Renaissance" title="Spanish Renaissance">Spain</a>, and lastly reached <a href="/wiki/English_Renaissance" title="English Renaissance">England</a> .<sup id="cite_ref-Schulenberg_1-0" class="reference"><a href="#cite_note-Schulenberg-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> In terms of <a href="/wiki/Instrumental_music" class="mw-redirect" title="Instrumental music">instrumental music</a>, shifts in four discrete areas can be observed: <a href="/wiki/Instrumental_idiom" title="Instrumental idiom">idiomatic writing</a>, <a href="/wiki/Texture_(music)" title="Texture (music)">texture</a>, instrument use, and <a href="/wiki/Orchestration" title="Orchestration">orchestration</a>. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Instrumentation">Instrumentation</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Transition_from_Renaissance_to_Baroque_in_instrumental_music&action=edit&section=1" title="Edit section: Instrumentation"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Barocke_Blockfl%C3%B6ten.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/df/Barocke_Blockfl%C3%B6ten.png/220px-Barocke_Blockfl%C3%B6ten.png" decoding="async" width="220" height="210" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/df/Barocke_Blockfl%C3%B6ten.png/330px-Barocke_Blockfl%C3%B6ten.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/df/Barocke_Blockfl%C3%B6ten.png/440px-Barocke_Blockfl%C3%B6ten.png 2x" data-file-width="461" data-file-height="440" /></a><figcaption>The <a href="/wiki/Recorder_(musical_instrument)" title="Recorder (musical instrument)">recorder</a> family, one of the many <a href="/wiki/Consort_of_instruments" title="Consort of instruments">consorts of instruments</a> available to Renaissance composers</figcaption></figure> <p>One key distinction between Renaissance and Baroque instrumental music is in <a href="/wiki/Instrumentation_(music)" title="Instrumentation (music)">instrumentation</a>; that is, the ways in which instruments are used or not used in a particular work. Closely tied to this concept is the idea of idiomatic writing, for if composers are unaware of or indifferent to the idiomatic capabilities of different instruments, then they will have little reason to specify which instruments they desire. </p> <div class="mw-heading mw-heading3"><h3 id="Specified_instrumentation">Specified instrumentation</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Transition_from_Renaissance_to_Baroque_in_instrumental_music&action=edit&section=2" title="Edit section: Specified instrumentation"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>According to David Schulenberg, <a href="/wiki/List_of_Renaissance_composers" title="List of Renaissance composers">Renaissance composers</a> did not, as a general rule, specify which instruments were to play which part; in any given piece, "each part [was] playable on any instrument whose range encompassed that of the part."<sup id="cite_ref-Schulenberg_1-1" class="reference"><a href="#cite_note-Schulenberg-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> Nor were they necessarily concerned with individual instrumental sonorities or even aware of idiomatic instrumental capabilities.<sup id="cite_ref-Schulenberg_1-2" class="reference"><a href="#cite_note-Schulenberg-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> The concept of writing a quartet specifically for <a href="/wiki/Sackbut" title="Sackbut">sackbuts</a> or a sextet for <a href="/wiki/Rackett" title="Rackett">racketts</a>, for instance, was apparently a foreign one to Renaissance composers. Thus, one might deduce that little instrumental music <i>per se</i> was written in the Renaissance, with the chief repertoire of instruments consisting of borrowed vocal music. </p><p>Howard Brown, while acknowledging the importance of vocal transcriptions in Renaissance instrumental repertoire, has identified six categories of specifically instrumental music in the sixteenth century: </p> <ol><li><a href="/wiki/Vocal_music" title="Vocal music">vocal music</a> played on instruments</li> <li>settings of preexisting melodies, such as <a href="/wiki/Plainchant" class="mw-redirect" title="Plainchant">plainchant</a> or popular songs</li> <li>variation sets</li> <li><a href="/wiki/Ricercar" title="Ricercar">ricercars</a>, <a href="/wiki/Fantasia_(music)" class="mw-redirect" title="Fantasia (music)">fantasias</a>, and <a href="/wiki/Canzona" title="Canzona">canzonas</a></li> <li><a href="/wiki/Prelude_(music)" title="Prelude (music)">preludes</a>, preambles, and <a href="/wiki/Toccata" title="Toccata">toccatas</a></li> <li>music for solo voice and <a href="/wiki/Lute" title="Lute">lute</a><sup id="cite_ref-Brown_2-0" class="reference"><a href="#cite_note-Brown-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup></li></ol> <p>While the first three could easily be performed vocally, the last three are clearly instrumental in nature, suggesting that even in the sixteenth century, composers were writing with specifically instrumental capabilities in mind, as opposed to vocal. In contention of composers' supposed indifference to instrumental timbres, Brown has also pointed out that as early as 1533, <a href="/wiki/Pierre_Attaignant" class="mw-redirect" title="Pierre Attaignant">Pierre Attaignant</a> was already marking some vocal arrangements as more suitable for certain <a href="/wiki/Consort_of_instruments" title="Consort of instruments">groups of like instruments</a> than for others.<sup id="cite_ref-Brown_2-1" class="reference"><a href="#cite_note-Brown-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> Furthermore, Count <a href="/wiki/Giovanni_de%27_Bardi" title="Giovanni de' Bardi">Giovanni de' Bardi</a>, host of a gathering of prominent 1580s scholars and artists known as the <a href="/wiki/Florentine_Camerata" title="Florentine Camerata">Florentine Camerata</a>, was demonstrably aware of the <a href="/wiki/Timbre#In_music_history" title="Timbre">timbral</a> effects of different instruments and regarded different instruments as being suited to expressing particular moods.<sup id="cite_ref-Strunk_3-0" class="reference"><a href="#cite_note-Strunk-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Idiomatic_writing">Idiomatic writing</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Transition_from_Renaissance_to_Baroque_in_instrumental_music&action=edit&section=3" title="Edit section: Idiomatic writing"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In the absence of idiomatic writing in the sixteenth century, characteristic instrumental effects may have been improvised in performance.<sup id="cite_ref-Schulenberg_1-3" class="reference"><a href="#cite_note-Schulenberg-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> On the other hand, idiomatic writing may have stemmed from <a href="/wiki/Virtuoso" title="Virtuoso">virtuosic</a> improvised <a href="/wiki/Ornamentation_(music)" class="mw-redirect" title="Ornamentation (music)">ornamentation</a> on a vocal line – to the point that such playing became more idiomatic of the instrument than of the voice.<sup id="cite_ref-Brown_2-2" class="reference"><a href="#cite_note-Brown-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> </p><p>In the early Baroque, these melodic embellishments that had been improvised in the Renaissance began to be incorporated into compositions as standardized melodic gestures. With the Baroque's emphasis on a soloist as virtuoso, the range of pitches and characteristic techniques formerly found only in virtuosic improvisation, as well as the first dynamic markings, were now written as the expected standard.<sup id="cite_ref-Schulenberg_1-4" class="reference"><a href="#cite_note-Schulenberg-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> On the other hand, some of the instrumental genres listed above, such as the prelude, toccata, and intonation,<sup class="noprint Inline-Template" style="margin-left:0.1em; white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Please_clarify" title="Wikipedia:Please clarify"><span title="The text near this tag may need clarification or removal of jargon. (April 2013)">clarification needed</span></a></i>]</sup> were improvisation-based to begin with. Even in the early sixteenth century, these genres were truly, idiomatically instrumental; they could not be adapted for voices because they were not composed in a consistent <a href="/wiki/Polyphony" title="Polyphony">polyphonic</a> style.<sup id="cite_ref-Brown_2-3" class="reference"><a href="#cite_note-Brown-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> </p><p>Thus, idiomatic instrumental effects were present in Renaissance performance, if not in writing. By the early Baroque, however, they had clearly found their way into writing when composers began specifying desired instrumentation, notably <a href="/wiki/Claudio_Monteverdi" title="Claudio Monteverdi">Claudio Monteverdi</a> in his <a href="/wiki/Opera" title="Opera">opera</a> scores.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (April 2013)">citation needed</span></a></i>]</sup> </p> <div class="mw-heading mw-heading2"><h2 id="Texture">Texture</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Transition_from_Renaissance_to_Baroque_in_instrumental_music&action=edit&section=4" title="Edit section: Texture"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Another crucial distinction between Renaissance and Baroque writing is its texture: the shift from <a href="/wiki/Counterpoint" title="Counterpoint">contrapuntal</a> <a href="/wiki/Polyphony" title="Polyphony">polyphony</a>, in which all voices are theoretically equal, to <a href="/wiki/Monody" title="Monody">monody</a> and treble-bass polarity, along with the development of <a href="/wiki/Basso_continuo" title="Basso continuo">basso continuo</a>. In this new style of writing, solo melody and bass line accompaniment were now the important lines, with the inner voices filling in harmonies. </p> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Caccini_-_le_nuove_musiche.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/01/Caccini_-_le_nuove_musiche.jpg/220px-Caccini_-_le_nuove_musiche.jpg" decoding="async" width="220" height="333" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/01/Caccini_-_le_nuove_musiche.jpg/330px-Caccini_-_le_nuove_musiche.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/01/Caccini_-_le_nuove_musiche.jpg/440px-Caccini_-_le_nuove_musiche.jpg 2x" data-file-width="3300" data-file-height="5000" /></a><figcaption>Caccini, <i>Le Nuove musiche</i>, 1601, title page</figcaption></figure> <p>The application of this principle to instrumental writing was partly an extension of the forces of change in <i>vocal writing</i> stemming from the Florentine Camerata and their head Count Giovanni de' Bardi, who deliberately sought to change the way music was written, and adopted an overarching goal of a music renaissance.<sup id="cite_ref-Strunk_3-1" class="reference"><a href="#cite_note-Strunk-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> In a <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1580</span> letter to <a href="/wiki/Giulio_Caccini" title="Giulio Caccini">Giulio Caccini</a>, a composer and member of the Camerata, Bardi decried counterpoint's obscuring of the text in vocal settings and advocates a return to the music of the <a href="/wiki/Ancient_Greece" title="Ancient Greece">ancient Greeks</a>, which he believed consisted of a single melodic line and simple accompaniment, allowing direct, intelligible expression of the text. He instructed Caccini to "make it your chief aim to arrange the verse well and to declaim the words as intelligibly as you can."<sup id="cite_ref-Strunk_3-2" class="reference"><a href="#cite_note-Strunk-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> While Bardi's letter dealt with vocal music, the principle of a single, clear melody dominating a simple accompaniment easily carries over to the instrumental realm. This is seen in the proliferation of hitherto unknown solo instrumental <a href="/wiki/Sonata" title="Sonata">sonatas</a> beginning shortly after Caccini's <i>Le Nuove Musiche</i> in 1601.<sup id="cite_ref-Schulenberg_1-5" class="reference"><a href="#cite_note-Schulenberg-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> </p><p>The rise of instrumental monody did not have its roots exclusively in vocal music. In part, it was based on the extant sixteenth-century practice of performing polyphonic <a href="/wiki/Madrigal_(music)" class="mw-redirect" title="Madrigal (music)">madrigals</a> with one voice singing the treble line, while the others were played by instruments or by a single keyboard instrument.<sup id="cite_ref-Schulenberg_1-6" class="reference"><a href="#cite_note-Schulenberg-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> Thus, while all voices were still theoretically equal in these polyphonic compositions, in practice the listener would have heard one voice as being a <a href="/wiki/Melody" title="Melody">melody</a> and the others as <a href="/wiki/Accompaniment" title="Accompaniment">accompaniment</a>. Furthermore, the new musical genres that appeared in the late sixteenth and early seventeenth centuries, especially the instrumental sonata, revealed a transition in ways of thinking about composition and performance, from a collaboration of equals to a soloist backed up by a relatively unimportant accompaniment.<sup id="cite_ref-Schulenberg_1-7" class="reference"><a href="#cite_note-Schulenberg-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> In addition, even in the mid sixteenth century, most works for <a href="/wiki/Lute_song" title="Lute song">voice and lute</a> were conceived specifically as such. In the realm of English ayres, for instance, this meant that composers such as <a href="/wiki/John_Dowland" title="John Dowland">John Dowland</a> and <a href="/wiki/Adrian_Le_Roy" title="Adrian Le Roy">Adrian Le Roy</a> were already thinking of a dichotomous melody and bass, filled in not with counterpoint but with chords "planned for harmonic effect."<sup id="cite_ref-Brown_2-4" class="reference"><a href="#cite_note-Brown-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Instrument_use_and_aesthetics">Instrument use and aesthetics</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Transition_from_Renaissance_to_Baroque_in_instrumental_music&action=edit&section=5" title="Edit section: Instrument use and aesthetics"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>A third major difference between Renaissance and Baroque music lies in which instruments were favored and used in performance. This is directly related to a larger shift in <a href="/wiki/Aesthetics_of_music" title="Aesthetics of music">musical aesthetics</a>, again stemming chiefly from the Florentine Camerata. In his <i>Dialogo della musica antica e della moderna</i>, <a href="/wiki/Vincenzo_Galilei" title="Vincenzo Galilei">Vincenzo Galilei</a>, like Bardi, lauds the music of the Greeks, convinced that their music had "virtuous and wonderful effects" on listeners, while saying that modern composers did not know how to "express the conceptions of the mind [or] how to impress them with the greatest possible effectiveness on the minds of the listeners."<sup id="cite_ref-Strunk_3-3" class="reference"><a href="#cite_note-Strunk-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> The idea that music could and ought to <a href="/wiki/Doctrine_of_the_affections" title="Doctrine of the affections">move or impress listeners</a> and provoke certain <a href="/wiki/Archetype" title="Archetype">archetypal</a> emotional states evidenced a change in thinking about music. This went hand-in-hand with the transition from polyphony to monody discussed above, for a solo instrument or pair of instruments would ideally be not only be the sole melodic vehicle but also be capable of "impressing [the listeners] with the greatest possible effectiveness."<sup id="cite_ref-Strunk_3-4" class="reference"><a href="#cite_note-Strunk-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Woman_playing_bass_Shawn,_Tobias_Stimmer.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/a/a7/Woman_playing_bass_Shawn%2C_Tobias_Stimmer.jpg/220px-Woman_playing_bass_Shawn%2C_Tobias_Stimmer.jpg" decoding="async" width="220" height="278" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/a/a7/Woman_playing_bass_Shawn%2C_Tobias_Stimmer.jpg/330px-Woman_playing_bass_Shawn%2C_Tobias_Stimmer.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/a/a7/Woman_playing_bass_Shawn%2C_Tobias_Stimmer.jpg/440px-Woman_playing_bass_Shawn%2C_Tobias_Stimmer.jpg 2x" data-file-width="601" data-file-height="760" /></a><figcaption>The <a href="/wiki/Shawm" title="Shawm">shawm</a> family was one of several consorts to gradually fall out of use after 1600.</figcaption></figure> <p>This necessarily led to a change in the types of instruments that were preferred by composers, for many instruments of the Renaissance were greatly limited in pitch range, being designed only to play a discreet role in a <a href="/wiki/Consort_of_instruments" title="Consort of instruments">consort of instruments</a>, as well as in dynamic scope. Entire families of instruments, such as <a href="/wiki/Rackett" title="Rackett">racketts</a> and <a href="/wiki/Shawm" title="Shawm">shawms</a>, were unsuited to carrying a solo melodic line with brilliance and expressiveness because they were incapable of dynamic variation, and fell into disuse or at best provided color in string-dominated ensembles.<sup id="cite_ref-Schulenberg_1-8" class="reference"><a href="#cite_note-Schulenberg-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> The low instruments of the woodwind consorts were all but abandoned.<sup id="cite_ref-Schulenberg_1-9" class="reference"><a href="#cite_note-Schulenberg-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> Even in the string family, members of the <a href="/wiki/Viol" title="Viol">viol</a> family – except for the bass viol which provided the necessary <i>basso continuo</i> – were gradually replaced by the new and highly virtuosic <a href="/wiki/Violin" title="Violin">violin</a>. The lute and viola da gamba continued being written for in an accompanimental role but could not compete with the violin in volume.<sup id="cite_ref-Schulenberg_1-10" class="reference"><a href="#cite_note-Schulenberg-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> The shawm was replaced by the <a href="/wiki/Oboe" title="Oboe">oboe</a>, which had a more refined sound and was capable of dynamic nuance.<sup id="cite_ref-Schulenberg_1-11" class="reference"><a href="#cite_note-Schulenberg-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> The <a href="/wiki/Cornett" title="Cornett">cornett</a>, which in the Renaissance tended to function as the soprano member of the sackbut family, survived in the early seventeenth century as a solo instrument, even having a large repertoire rivaling that of the violin, but eventually disappeared as well.<sup id="cite_ref-Schulenberg_1-12" class="reference"><a href="#cite_note-Schulenberg-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> However, Renaissance instruments did not vanish from use quickly; contemporary references indicate such instruments survived in chamber or military contexts well throughout the seventeenth century and even into the eighteenth.<sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> </p><p>As a general rule, however, one can see in the Baroque an overwhelming preference for those instruments that were capable of carrying a melodic line alone: those that were louder and higher, that could achieve a variety of dynamics, and that lent themselves to virtuosic display and emotional expression, none of which the Renaissance instruments were designed to do. Lower-pitched instruments, those that could not vary dynamics, or those that were cumbersome, were deprecated. Thus, the supremacy of melody in the Baroque mind had wide-reaching consequences in the instrumental choices made by composers and makers. </p> <div class="mw-heading mw-heading2"><h2 id="Orchestration">Orchestration</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Transition_from_Renaissance_to_Baroque_in_instrumental_music&action=edit&section=6" title="Edit section: Orchestration"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>A change between Renaissance and Baroque styles can also be discerned in the realm of <a href="/wiki/Orchestration" title="Orchestration">orchestration</a>, or instrumental groupings. As has been discussed above, instruments in the sixteenth century were grouped together, either as fixed ("whole") or broken (mixed) consorts: fixed consorts consisting of instruments from the same family (such as recorders or viols) or broken being a combination of instruments from different families (like the English consort), with or without voice.<sup id="cite_ref-Grove1_5-0" class="reference"><a href="#cite_note-Grove1-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> As the century went on, small <a href="/wiki/Broken_consort" title="Broken consort">mixed consorts</a> of unlike instruments remained the norm.<sup id="cite_ref-Grove1_5-1" class="reference"><a href="#cite_note-Grove1-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Naya,_Carlo_(1816-1882)_-_Venezia_-_Basilica_di_San_Marco.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/b/b0/Naya%2C_Carlo_%281816-1882%29_-_Venezia_-_Basilica_di_San_Marco.jpg/220px-Naya%2C_Carlo_%281816-1882%29_-_Venezia_-_Basilica_di_San_Marco.jpg" decoding="async" width="220" height="167" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/b0/Naya%2C_Carlo_%281816-1882%29_-_Venezia_-_Basilica_di_San_Marco.jpg/330px-Naya%2C_Carlo_%281816-1882%29_-_Venezia_-_Basilica_di_San_Marco.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/b0/Naya%2C_Carlo_%281816-1882%29_-_Venezia_-_Basilica_di_San_Marco.jpg/440px-Naya%2C_Carlo_%281816-1882%29_-_Venezia_-_Basilica_di_San_Marco.jpg 2x" data-file-width="469" data-file-height="355" /></a><figcaption><a href="/wiki/St_Mark%27s_Basilica" title="St Mark's Basilica">St Mark's Basilica</a> in Venice, where the Gabrieli's innovations in orchestration were first heard</figcaption></figure> <p>Regardless of the type of ensemble, a heterogeneous texture prevailed in these ensembles and in the works they played; each member of the ensemble had a distinct part in the texture, which they played through from beginning to end. In the late sixteenth century, however, <a href="/wiki/Andrea_Gabrieli" title="Andrea Gabrieli">Andrea</a> and <a href="/wiki/Giovanni_Gabrieli" title="Giovanni Gabrieli">Giovanni Gabrieli</a> at <a href="/wiki/St_Mark%27s_Basilica" title="St Mark's Basilica">St Mark's Basilica</a> in <a href="/wiki/Venice" title="Venice">Venice</a> began experimenting with placing diverse group of performers – instrumental and vocal – in antiphonal locations around the vast interior of the church, in what became known as <i><a href="/wiki/Venetian_polychoral_style" title="Venetian polychoral style">cori spezzati</a></i> (divided choirs).<sup id="cite_ref-Grove2_6-0" class="reference"><a href="#cite_note-Grove2-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> </p><p>Such music allowed for highly dramatic effects, with sudden shifts in volume, articulation, timbre and texture, for not all of the choirs were the same size, and could be made up of radically different combinations of voices and instruments. With the addition of the <i>basso continuo</i> in the early seventeenth century, the <a href="/wiki/Concertato" title="Concertato">concertato</a> style (<i>stile concertato</i>) had essentially been developed, featuring a larger overarching ensemble out of which smaller groups were selected at will to play successive musical phrases in different styles, or to perform simultaneously in different manners. Thus, one phrase might be soloistic, the next set in imitative polyphony, the next homophonic, the next an instrumental <a href="/wiki/Tutti" title="Tutti">tutti</a>, and so on. Alternatively, a chorus could declaim a text <a href="/wiki/Homophony" title="Homophony">homophonically</a> while violins played in an entirely different style at the same time – in a different register, in a different location in the church, all performed over a <i>basso continuo</i>.<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> The <i>stile concertato</i> spread throughout Europe and was particularly dominant in Italy and Germany, later forming the basis of the <a href="/wiki/Concerto#Baroque_concertos" title="Concerto">Baroque concerto</a>, the <a href="/wiki/Concerto_grosso" title="Concerto grosso">concerto grosso</a>, and the German <a href="/wiki/Cantata" title="Cantata">cantata</a>.<sup id="cite_ref-Grove3_8-0" class="reference"><a href="#cite_note-Grove3-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Transition_from_Renaissance_to_Baroque_in_instrumental_music&action=edit&section=7" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap"><ol class="references"> <li id="cite_note-Schulenberg-1"><span class="mw-cite-backlink">^ <a href="#cite_ref-Schulenberg_1-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Schulenberg_1-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Schulenberg_1-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Schulenberg_1-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-Schulenberg_1-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-Schulenberg_1-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-Schulenberg_1-6"><sup><i><b>g</b></i></sup></a> <a href="#cite_ref-Schulenberg_1-7"><sup><i><b>h</b></i></sup></a> <a href="#cite_ref-Schulenberg_1-8"><sup><i><b>i</b></i></sup></a> <a href="#cite_ref-Schulenberg_1-9"><sup><i><b>j</b></i></sup></a> <a href="#cite_ref-Schulenberg_1-10"><sup><i><b>k</b></i></sup></a> <a href="#cite_ref-Schulenberg_1-11"><sup><i><b>l</b></i></sup></a> <a href="#cite_ref-Schulenberg_1-12"><sup><i><b>m</b></i></sup></a></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite id="CITEREFSchulenberg2001" class="citation book cs1">Schulenberg, David (2001). <i>Music of the Baroque</i>. New York: Oxford University Press.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Music+of+the+Baroque&rft.place=New+York&rft.pub=Oxford+University+Press&rft.date=2001&rft.aulast=Schulenberg&rft.aufirst=David&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATransition+from+Renaissance+to+Baroque+in+instrumental+music" class="Z3988"></span></span> </li> <li id="cite_note-Brown-2"><span class="mw-cite-backlink">^ <a href="#cite_ref-Brown_2-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Brown_2-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Brown_2-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Brown_2-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-Brown_2-4"><sup><i><b>e</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBrownLouis_K._Stein1999" class="citation book cs1">Brown, Howard; Louis K. Stein (1999). <i>Music of the Renaissance</i>. Upper Saddle River, NJ: Prentice Hall.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Music+of+the+Renaissance&rft.place=Upper+Saddle+River%2C+NJ&rft.pub=Prentice+Hall&rft.date=1999&rft.aulast=Brown&rft.aufirst=Howard&rft.au=Louis+K.+Stein&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATransition+from+Renaissance+to+Baroque+in+instrumental+music" class="Z3988"></span></span> </li> <li id="cite_note-Strunk-3"><span class="mw-cite-backlink">^ <a href="#cite_ref-Strunk_3-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Strunk_3-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Strunk_3-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Strunk_3-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-Strunk_3-4"><sup><i><b>e</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFStrunk2001" class="citation book cs1">Strunk, Oliver (2001). <i>Source Readings in Music History</i>. New York: Norton.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Source+Readings+in+Music+History&rft.place=New+York&rft.pub=Norton&rft.date=2001&rft.aulast=Strunk&rft.aufirst=Oliver&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATransition+from+Renaissance+to+Baroque+in+instrumental+music" class="Z3988"></span><sup class="noprint Inline-Template" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citing_sources" title="Wikipedia:Citing sources"><span title="This citation requires a reference to the specific page or range of pages in which the material appears. (April 2013)">page needed</span></a></i>]</sup></span> </li> <li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFOwens2005" class="citation book cs1">Owens, Samantha (2005). <i>"Upgrading from Consorts to Orchestra at the Württemberg Court" in From Renaissance to Baroque</i>. Aldershot, England: Ashgate. pp. 234–245.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=%22Upgrading+from+Consorts+to+Orchestra+at+the+W%C3%BCrttemberg+Court%22+in+From+Renaissance+to+Baroque&rft.place=Aldershot%2C+England&rft.pages=234-245&rft.pub=Ashgate&rft.date=2005&rft.aulast=Owens&rft.aufirst=Samantha&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATransition+from+Renaissance+to+Baroque+in+instrumental+music" class="Z3988"></span></span> </li> <li id="cite_note-Grove1-5"><span class="mw-cite-backlink">^ <a href="#cite_ref-Grove1_5-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Grove1_5-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWarwick_Edwards" class="citation web cs1">Warwick Edwards. <a rel="nofollow" class="external text" href="http://www.grovemusic.com">"Grove Music Online - "Consort"<span class="cs1-kern-right"></span>"</a><span class="reference-accessdate">. Retrieved <span class="nowrap">2013-04-08</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Grove+Music+Online+-+%22Consort%22&rft.au=Warwick+Edwards&rft_id=http%3A%2F%2Fwww.grovemusic.com&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATransition+from+Renaissance+to+Baroque+in+instrumental+music" class="Z3988"></span></span> </li> <li id="cite_note-Grove2-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-Grove2_6-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDenis_ArnoldAnthony_F._Carver" class="citation web cs1">Denis Arnold; Anthony F. Carver. <a rel="nofollow" class="external text" href="http://www.grovemusic.com">"Grove Music Online - Cori spezzati"</a><span class="reference-accessdate">. Retrieved <span class="nowrap">2007-07-09</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Grove+Music+Online+-+Cori+spezzati&rft.au=Denis+Arnold&rft.au=Anthony+F.+Carver&rft_id=http%3A%2F%2Fwww.grovemusic.com&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATransition+from+Renaissance+to+Baroque+in+instrumental+music" class="Z3988"></span><span style="font-size:0.95em; font-size:95%; color: var( --color-subtle, #555 )">(subscription required)</span></span> </li> <li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMangsen1990" class="citation book cs1">Mangsen, Sandra (1990). <i>"Forms and genres," in Companion to Baroque Music</i>. London: Dent and Sons. p. 391.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=%22Forms+and+genres%2C%22+in+Companion+to+Baroque+Music&rft.place=London&rft.pages=391&rft.pub=Dent+and+Sons&rft.date=1990&rft.aulast=Mangsen&rft.aufirst=Sandra&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATransition+from+Renaissance+to+Baroque+in+instrumental+music" class="Z3988"></span></span> </li> <li id="cite_note-Grove3-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-Grove3_8-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFColin_TimmsNigel_FortuneMalcolm_BoydFriedhelm_Krummacher" class="citation web cs1">Colin Timms; Nigel Fortune; Malcolm Boyd; <a href="/wiki/Friedhelm_Krummacher" title="Friedhelm Krummacher">Friedhelm Krummacher</a>; David Tunley; James R. Goodall; Juan José Carreras. <a rel="nofollow" class="external text" href="http://www.grovemusic.com">"Grove Music Online - Cantata - The German Cantata to 1800 The 17th-century Protestant cantata: Origins"</a><span class="reference-accessdate">. Retrieved <span class="nowrap">2007-07-09</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Grove+Music+Online+-+Cantata+-+The+German+Cantata+to+1800+The+17th-century+Protestant+cantata%3A+Origins&rft.au=Colin+Timms&rft.au=Nigel+Fortune&rft.au=Malcolm+Boyd&rft.au=Friedhelm+Krummacher&rft.au=David+Tunley&rft.au=James+R.+Goodall&rft.au=Juan+Jos%C3%A9+Carreras&rft_id=http%3A%2F%2Fwww.grovemusic.com&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATransition+from+Renaissance+to+Baroque+in+instrumental+music" class="Z3988"></span><span style="font-size:0.95em; font-size:95%; color: var( --color-subtle, #555 )">(subscription required)</span></span> </li> </ol></div></div> <div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Transition_from_Renaissance_to_Baroque_in_instrumental_music&action=edit&section=8" title="Edit section: Further reading"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239549316">.mw-parser-output .refbegin{margin-bottom:0.5em}.mw-parser-output .refbegin-hanging-indents>ul{margin-left:0}.mw-parser-output .refbegin-hanging-indents>ul>li{margin-left:0;padding-left:3.2em;text-indent:-3.2em}.mw-parser-output .refbegin-hanging-indents ul,.mw-parser-output .refbegin-hanging-indents ul li{list-style:none}@media(max-width:720px){.mw-parser-output .refbegin-hanging-indents>ul>li{padding-left:1.6em;text-indent:-1.6em}}.mw-parser-output .refbegin-columns{margin-top:0.3em}.mw-parser-output .refbegin-columns ul{margin-top:0}.mw-parser-output .refbegin-columns li{page-break-inside:avoid;break-inside:avoid-column}@media screen{.mw-parser-output .refbegin{font-size:90%}}</style><div class="refbegin" style=""> <ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCarter1992" class="citation book cs1">Carter, Tim (1992). <span class="id-lock-registration" title="Free registration required"><a rel="nofollow" class="external text" href="https://archive.org/details/musicinlaterenai0000cart"><i>Music in Late Renaissance and Early Baroque Italy</i></a></span>. London: <a href="/wiki/Anova_Books" class="mw-redirect" title="Anova Books">Batsford</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7134-6730-4" title="Special:BookSources/0-7134-6730-4"><bdi>0-7134-6730-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Music+in+Late+Renaissance+and+Early+Baroque+Italy&rft.place=London&rft.pub=Batsford&rft.date=1992&rft.isbn=0-7134-6730-4&rft.aulast=Carter&rft.aufirst=Tim&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fmusicinlaterenai0000cart&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATransition+from+Renaissance+to+Baroque+in+instrumental+music" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPrice1993" class="citation book cs1">Price, Curtis, ed. (1993). <i>The Early Baroque Era: from the late 16th Century to the 1660s</i>. Music & Society. Vol. 3. Lebanon, IN: Prentice Hall. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-13-223793-2" title="Special:BookSources/978-0-13-223793-2"><bdi>978-0-13-223793-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Early+Baroque+Era%3A+from+the+late+16th+Century+to+the+1660s&rft.place=Lebanon%2C+IN&rft.series=Music+%26+Society&rft.pub=Prentice+Hall&rft.date=1993&rft.isbn=978-0-13-223793-2&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATransition+from+Renaissance+to+Baroque+in+instrumental+music" class="Z3988"></span></li></ul> </div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><style data-mw-deduplicate="TemplateStyles:r1236075235">.mw-parser-output .navbox{box-sizing:border-box;border:1px solid #a2a9b1;width:100%;clear:both;font-size:88%;text-align:center;padding:1px;margin:1em 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.navbox-abovebelow,.mw-parser-output .navbox-group,.mw-parser-output .navbox-subgroup .navbox-title{background-color:#ddf}.mw-parser-output .navbox-subgroup .navbox-group,.mw-parser-output .navbox-subgroup .navbox-abovebelow{background-color:#e6e6ff}.mw-parser-output .navbox-even{background-color:#f7f7f7}.mw-parser-output .navbox-odd{background-color:transparent}.mw-parser-output .navbox .hlist td dl,.mw-parser-output .navbox .hlist td ol,.mw-parser-output .navbox .hlist td ul,.mw-parser-output .navbox td.hlist dl,.mw-parser-output .navbox td.hlist ol,.mw-parser-output .navbox td.hlist ul{padding:0.125em 0}.mw-parser-output .navbox .navbar{display:block;font-size:100%}.mw-parser-output .navbox-title .navbar{float:left;text-align:left;margin-right:0.5em}body.skin--responsive .mw-parser-output .navbox-image img{max-width:none!important}@media print{body.ns-0 .mw-parser-output .navbox{display:none!important}}</style></div><div role="navigation" class="navbox" aria-labelledby="Western_classical_music" style="padding:3px"><table class="nowraplinks hlist mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239400231"><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Classical_music" title="Template:Classical music"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Classical_music" title="Template talk:Classical music"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Classical_music" title="Special:EditPage/Template:Classical music"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="Western_classical_music" style="font-size:114%;margin:0 4em"><a href="/wiki/Classical_music" title="Classical music">Western classical music</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">Definition</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Art_music" title="Art music">Art music</a></li> <li><a href="/wiki/Dates_of_classical_music_eras" title="Dates of classical music eras">Dates of eras</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Major periods and eras</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Early_music" title="Early music">Early music</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Medieval_music" title="Medieval music">Medieval</a></li> <li><a href="/wiki/Renaissance_music" title="Renaissance music">Renaissance</a> <ul><li><a class="mw-selflink selflink">Transition to Baroque</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Common_practice_period" title="Common practice period">Common practice</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Baroque_music" title="Baroque music">Baroque</a> <ul><li><a href="/wiki/Galant_music" title="Galant music">Galant</a></li> <li><i><a href="/wiki/Empfindsamkeit_(music)" title="Empfindsamkeit (music)">Empfindsamkeit</a></i></li></ul></li> <li><a href="/wiki/Classical_period_(music)" title="Classical period (music)">Classical</a> <ul><li><a href="/wiki/Transition_from_Classical_to_Romantic_music" title="Transition from Classical to Romantic music">Transition to Romantic</a></li></ul></li> <li><a href="/wiki/Romantic_music" title="Romantic music">Romantic</a> <ul><li><a href="/wiki/Post-romanticism" title="Post-romanticism">Post-romanticism</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Neue_Musik" title="Neue Musik">New music</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Modernism_(music)" title="Modernism (music)">Modernism</a></li> <li><a href="/wiki/Contemporary_classical_music" title="Contemporary classical music">Contemporary</a></li> <li><a href="/wiki/20th-century_classical_music" title="20th-century classical music">20th-century</a></li> <li><a href="/wiki/21st-century_classical_music" title="21st-century classical music">21st-century</a></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">By country</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Classical_music_in_Australia" class="mw-redirect" title="Classical music in Australia">Australia</a></li> <li><a href="/wiki/Music_of_Brazil#Art_music" title="Music of Brazil">Brazil</a> <ul><li><a href="/wiki/History_of_classical_music_in_Porto_Alegre" title="History of classical music in Porto Alegre">Porto Alegre</a></li></ul></li> <li><a href="/wiki/Canadian_classical_music" title="Canadian classical music">Canada</a></li> <li><a href="/wiki/French_classical_music" title="French classical music">France</a></li> <li><a href="/wiki/Music_of_Germany#Classical_music" title="Music of Germany">Germany</a></li> <li><a href="/wiki/Classical_music_in_Ireland" class="mw-redirect" title="Classical music in Ireland">Ireland</a></li> <li><a href="/wiki/Italian_classical_music" title="Italian classical music">Italy</a></li> <li><a href="/wiki/Classical_music_in_Kosovo" title="Classical music in Kosovo">Kosovo</a></li> <li><a href="/wiki/Russian_classical_music" title="Russian classical music">Russia</a></li> <li><a href="/wiki/Classical_music_of_the_United_Kingdom" title="Classical music of the United Kingdom">United Kingdom</a> <ul><li><a href="/wiki/Classical_music_of_Birmingham" title="Classical music of Birmingham">Birmingham</a></li></ul></li> <li><a href="/wiki/Classical_music_of_the_United_States" title="Classical music of the United States">United States</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Students by teacher</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/List_of_music_students_by_teacher:_A_to_B" title="List of music students by teacher: A to B">A to B</a></li> <li><a href="/wiki/List_of_music_students_by_teacher:_C_to_F" title="List of music students by teacher: C to F">C to F</a></li> <li><a href="/wiki/List_of_music_students_by_teacher:_G_to_J" title="List of music students by teacher: G to J">G to J</a></li> <li><a href="/wiki/List_of_music_students_by_teacher:_K_to_M" title="List of music students by teacher: K to M">K to M</a></li> <li><a href="/wiki/List_of_music_students_by_teacher:_N_to_Q" title="List of music students by teacher: N to Q">N to G</a></li> <li><a href="/wiki/List_of_music_students_by_teacher:_R_to_S" title="List of music students by teacher: R to S">R to S</a></li> <li><a href="/wiki/List_of_music_students_by_teacher:_T_to_Z" title="List of music students by teacher: T to Z">T to Z</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Performance</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Concert" title="Concert">Concert</a> <ul><li><a href="/wiki/List_of_classical_music_concerts_with_an_unruly_audience_response" title="List of classical music concerts with an unruly audience response">Unruly audience response</a></li></ul></li> <li><a href="/wiki/Conducting" title="Conducting">Conducting</a></li> <li><a href="/wiki/Musical_ensemble" title="Musical ensemble">Musical ensemble</a></li> <li><a href="/wiki/Orchestra" title="Orchestra">Orchestra</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Related</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Avant-garde_music" title="Avant-garde music">Avant-garde</a></li> <li><a href="/wiki/Baroque_pop" title="Baroque pop">Baroque pop</a></li> <li><a href="/wiki/Classical_music_blog" title="Classical music blog">Classical music blog</a></li> <li><a href="/wiki/Experimental_music" title="Experimental music">Experimental</a></li> <li><a href="/wiki/Light_music" title="Light music">Light music</a></li> <li><a href="/wiki/New-age_music" title="New-age music">New-age music</a></li> <li><a href="/wiki/Progressive_music" title="Progressive music">Progressive music</a></li> <li><a href="/wiki/Soundtrack" title="Soundtrack">Soundtrack</a> <ul><li><a href="/wiki/Film_score" title="Film score">Film score</a></li> <li><a href="/wiki/Video_game_music" title="Video game music">Video game music</a></li></ul></li> <li><a href="/wiki/Third_stream" title="Third stream">Third stream</a></li> <li><a href="/wiki/List_of_classical_and_art_music_traditions" title="List of classical and art music traditions">Worldwide traditions</a></li></ul> </div></td></tr><tr><td class="navbox-abovebelow" colspan="2"><div> <ul><li><a href="/wiki/Classical_music_lists" title="Classical music lists">Lists</a></li> <li><a href="/wiki/List_of_classical_music_genres" 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