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Can Baroque music really be considered a continuation of earlier music? Explore the historical context behind it!
The category of early music usually includes medieval music (500–1400) and Renaissance music (1400–1600), but some scholars also include Baroque music (1600–1750). This definition comes from different perspectives on the development of music, and whether the music of the Baroque period should be regarded as a continuation of early music has become a hot topic in the music academic circle.
Interpretations of the historical category of "early music" often vary.
The Academy of Ancient Music, originally founded in 1726, considers "ancient" music to refer to works composed before the end of the 16th century. Johannes Brahms and his contemporaries also understood early music as a synthesis of High Renaissance and Baroque music, while some scholars advocate that early music should cover the music of ancient Greece and Rome from 500 BC.
Music critic Michael Kennedy delineated the scope of early music as "from the earliest times to Renaissance music", while music scholar Thomas Forrest Kelly pointed out that the essence of early music lies in "forgotten" music The concept of the revival of a work is closely linked to the re-emergence of ancient performance practices.
Today's understanding of early music includes any music that requires the reconstruction of a historically appropriate performance style based on surviving genealogies, treatises, instruments, and other contemporary evidence.
In the late 20th century, there was another wave of craze for the performance of medieval and Renaissance music, and many instrumental ensembles and choirs focusing on early music were established one after another. Groups such as the Tallis Scholars, the Early Music Ensemble and the Taverna Ensemble have successfully brought early music back to modern audiences through their brilliant performances and widespread recordings.
As early music emerged, an academic approach to performance developed. Performers diligently study musical treatises and historical evidence to faithfully recreate the performance style of the work at the time. Along the way, the use of original or recreated historical instruments became increasingly common, such as in the revivals of harpsicord and viol.
However, this "historical knowledge performance" approach still relies on stylistic speculation.
According to Margaret Bent, Renaissance music notation was not as clearly defined as modern music notation, "The notation of Renaissance music does not appear to be binding enough by our standards; when it When translated into modern forms, too many restrictions will be added, subverting its original openness." This point of view shows that the performance of early music does not solely depend on the notation, but also depends on the performer's understanding and interpretation. .
In addition to the revival of early music, celebrations of this historical musical period are also gaining traction. Various early music festivals and symposiums flourish around the world and serve as a hotbed for exchanges between scholars and performers, further promoting awareness and appreciation of this musical genre.
Today, in the field of early music, there are still new research and discoveries. This allows us to re-examine the music of this historical period and its cultural context. This music is not only an echo of the past but is part of the development of contemporary music.
Considering the connection and mutual influence between early music and Baroque music, it can be said that the music of the Baroque period is actually one of the continuations of early music; however, the birth of Baroque music also marked a change in music style. This forces us to think, will the uniqueness of Baroque music obscure the essence of early music?
