instrumental music英美文化文艺复兴音乐

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were still writing suites during that time. But since the 19th century,
composers have frequently arranged ballets, operas and other works into suites for concert performance. Arrangement into a suite can make the music more accessible and available to a wider audience, and has greatly helped popularize the music itself, such as in Tchaikovsky's suite from The Nutcracker.
suggesting affinity with the dance-tunes of the suite. A trio sonata
had three notated parts:two higher voices above a basso continuo. The upper voices can be performed by two violins, or two flutes, or two oboes, or any combination of these instruments.
practice in which the instruments that accompanied voices only
doubled the voice parts. Concerto is characterized by the opposition between a soloist or soloists and an ensemble.
Sonata
The sonata, generally for one or more violins and bass, consisted normally of a slow introduction, a loosely fugued allegro, a cantabile slow movement, and a lively finale in some binary form
Instrumental music
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Instrumental music
sonata
concerto
suite
keyboard genres
Instrumental genres of the Baroque tend to be quite flexible in their terminology. The sonata, concerto, and suite were the most important genres of music for ensembles, the keyboard
which is sung". The term was used broadly until the end of 17th century when one distinctive type of sonata--the trio sonata--had acquired a relatively fixed form.
Keyboard Genres
Genres associated with keyboard instruments fall into four categories: free, vocal based, dance based, and variation.
Free genres
Free genres are based on no preexistent material and adhere to no particular pattern or structure.
Keyboard arrangements of vocal works, particularly chansons, were popular in the Baroque. By far the most important vocal-based genres of keyboard music in the Baroque era were those based on chorale melodies.
Concerto
The emergence of a genre that highlights the contrasts within its performing forces represents an important new development in the history of music. As with the sonata, several
subcategories of concerto had established themselves by the end of
the 17th century : the concerto grosso, the solo concerto, and the ripieno concerto.
Sonata
By the middle of 17th century, a distinction had emerged between two different types of trio sonata: sonata for the chamber and sonata for the church. Sonata for the chamber consists of a
Keyboard Genres
Genres associated with keyboard instruments fall into four categories: free, vocal based, dance based, and variation.
Vocal-based Genres
Keyboard Genres
Genres associated with keyboard instruments fall into four categories: free, vocal based, dance based, and variation.
Dance-based Genres
repertory encompassed sonatas, suites, and a variety of other
formal types.
Sonata
In Italy, the term sonata means "that which is sounded",
meaning played on instruments as opposed to cantata "that
Concerto
The main composers of concerto of the baroque were Tommaso Albinoni,
Antonio Vivaldi, and so on. The baroque
concerto was mainly for a string instrument (violin, viola 中提琴) or a wind instrument (oboe双簧管, flute长笛).
Suite
In Baroque era, the suite emerged as an even more extended series of dances or dance-inspired movements, usually in the same
key, but often varying between major and minor modes. The basic
A large percentage of keyboard music is based on the principles of dance. These dance movements were sometimes arranged in ordered sequences as a suit. The units could be played either individually or as a whole.
suite of dances. Sonata for the church
usually begins with a serious and majestic movement, suited to the dignity and sanctity of the church.
Concerto
The term "concerto" was initially used to denote works involving voices and instruments in which the instruments had independent parts—as opposed to the Renaissance common
Keyboard Genres
Genres associated with keyboard instruments fall into four
categories: free, vocal based, dance based, and variation.
Variations Variations on bass line pattern were extremely popular in both vocal and instrumental music of the Baroque. The use of a basso ostinato challenging composers to make constant repetition appealing through the use of an ever-changing countermelody above it.