History of Baroque Music

George J. Buelow, Professor Emeritus of Musicology at Indiana University, is former President of the American Bach Society. His research and publications, including several articles in The New Grove Dictionary of Music and Musicians, focus on the music of the Baroque and the history of opera.

• PrefaceAcknowledgementsIntroduction: "Baroque" as an historical conceptPart I: The Baroque in the Seventeenth CenturyChapter 1: The Renaissance in Transition-Origins of New Musical conceptsChapter 2: Baroque Innovations in Italy to circa 1640Chapter 3: Claudio Monteverdi (1567=1643)Chapter 4: The Baroque in Italy from c1640 to c1700Chapter 5: Arcangelo Corelli (1653-1713 and Alessandro Scarlatti (1660-1725)George J. BuelowChapter 6: The Baroque in FranceChapter 7: Sacred Music in Northern and Southern Europe and Austria in the Seventeenth CenturyChapter 8: Secular Music in Northern and Southern Europe and Austria in the Seventeenth CenturyChapter 9: Heinrich Schütz (1585-1672)Chapter 10: English Music during the Stuart Reign, the Commonwealth and the RestorationChapter 11: Henry Purcell (1659-1695)Chapter 12: Music in Spain, Portugal, and Latin America By Rui Vieira NeryChapter 13: Music in Eastern Europeby Ennio Stipcevic, Metoda Kokole, and Claudia JensenPart II: The Baroque in TransitionChapter 14: Music in ItalyChapter 15: Opera at Hamburg, Dresden, and ViennaChapter 16: George Frideric Handel (1685-1759)Chapter 17: Johann Sebastian Bach (1685-1750)Chapter 18: Georg Philipp Telemann (1681-1767) BibliographyIndexList of Contributors

"Given the availability of numerous sophisticated surveys on Baroque music history, this reviewer was astonished that this tome exceeded expectations regarding scope and focus. In an effort to offer a discussion that goes beyond the standard canon of thought, Buelow (emer., Indiana Univ.) explores the works of Iberian, Eastern European, Latin American, and indeed even Caribbean composers. The book is replete with extensive score excerpts and analysis, and the chapters are subdivided into sections treating genre, composer, and technical development—an arrangement that makes this sizeable volume painless to navigate. Some of the most complex issues confronting the author are the paradigm shifts away from the knotty theoretical and philosophical concerns of the Renaissance establishment. Buelow excels in handling this, offering a chapter about this transition that even the uninitiated will be able to comprehend. His portrayal of the cross—cultural ramifications resulting from the contemporary political condition brings with it needed context for tracing musical developments as they occur across the Continent. Though the seemingly obligatory Bach and Handel chapters are somewhat overextended, this is a solid addition to the literature. Summing Up: Essential. Upper—division undergraduates through faculty and professionals. —J. Rubin, University of Minnesot"—Duluth, 2005jun CHOICE