History of Music: 1600-1750 - 2nd semester


At the end of the CU, the student should be able to understand:
The concepts of Mannerism, Baroque and PostBaroque.
Rhethoric in the Baoruqe musical asthetics and the “Doctrines os Afections”. The transition from the gregorian modal system to modern tonality and temperament.
Musica in the liturgical context of the Tridentine Catholic Church and of the various Protestant denominations.
Music as a vehicle of symbolic representation of the King´s power and of legitimation of the Absolute State.
Music in the strategies of distinction of the aristocratic elite in Courtly society. Music and the new public and domestic performance spaces of urban sociability. Technological developments in Music printing and publishing and in the production and in instrument makings. The expansion of the professional market in Music and of the circuits of musical diffusion throughout Europe.

General characterization





Responsible teacher

Rui Vieira Nery


Weekly - 4

Total - Available soon

Teaching language





Buelow, G. J. (Ed.) (2004). The History of Baroque Music. Bloomington: Indiana University Press
Buelow, G. J. (Ed.) (1994). The Late Baroque Era: From the 1680 to 1740. Englewood Cliffs, NJ: Prentice-Hall.
Hill, J. W. (2005). An Anthology of Baroque Music. New York & London: Norton.
Hill, J. W. (2005). Baroque Music: Music in Western Europe 1580-1750. New York & London: Norton.
Taruskin, R. (2005). The Seventeenth and Eighteenth Centuries, The Oxford History of Western Music, vol. 2. Oxford: Oxford University Press.

Teaching method

Topics are presented by the teacher and discussed in class, with a strong emphasis on critical listening of recorded examples of the repertoire covered.

Evaluation method

Students are submitted to a midterm (40% of the final grade) and a final test (60%), both essay-based, with acces to their personal study notes.

Subject matter

1. From Mannerism to Early Baroque (polichorality, accompanied monody , epera, basso continuo).
2. Baroque music in Italy (Roman, Venetian and Neapolitan opera, fstrict and free liturgical forms, new
instrumental genres).
3. Music in French Absilutism (music productive system at Court, theatrical music genres, sacred music, vocal and instrumental chamber music).
4. Music in Germanspeaking countries (Catholic courts, Lutheran music liturgy, keyboard and other
instrumental repertoire).
5. English music from the Commonwealth to the Restoration (Anglican liturgiy, musical theatre and incidental music for the stage)
6. Iberian and LatinAmerican
music (lLatin liturgy, vilancico, musical theatre, organ repertoire, chamber music).
7. Transnacionais synthesis in Late Baroque (European dissemination of Italian models, Querelle Des Bouffons, “Italian invasion” in the Iberian Peninsula, Händel´s European tour, Bach´s fusion of national styles.


Programs where the course is taught: