Middle Baroque music (1654–1707)

The rise of the centralized court is one of the economic and political features of what is often labelled the Age of Absolutism, personified by Louis XIV of France. The style of palace, and the court system of manners and arts which he fostered, became the model for the rest of Europe. 

The realities of rising church and state patronage created the demand for organized public music, as the increasing availability of instruments created the demand for chamber music. This included the availability of keyboard instruments.

The middle baroque is separated from the early baroque by the coming of systematic thinking to the new style, and a gradual institutionalization of the forms and norms, particularly in opera. 

As with literature, the printing press and trade created an expanded international audience for works, and greater cross-pollenation between national centers of musical activity.

The middle baroque, in music theory, is identified by the increasingly harmonic focus of musical practice, and the creation of formal systems of teaching. 

Music was an art, and it came to be seen as one that should be taught in an orderly manner. This would culminate in the later work of Fux in systematizing counterpoint.

Musically, he explored contrast between stately and fully orchestrated sections, and simple recitatives and airs. In no small part, it was his skill in assembling and practicing musicians into an orchestra which was essential to his success and influence. Observers noted the precision and intonation, this in an age where there was no standard for tuning instruments. One essential element was the increased focus on the inner voices of the harmony, and the relationship to the soloist. He also established the string-dominated norm for orchestras.

Arcangelo Corelli (1653–1713), is remembered as influential for his achievements on the other side of musical technique - as a violinist who organized violin technique and pedagogy - and in purely instrumental music, particularly his advocacy and development of the concerto grosso. Whereas Lully was ensconced at court, Corelli was one of the first composers to publish widely and have his music performed all over Europe. As with Lully's stylization and organization of the opera, the Concerto Grosso is built on strong contrasts; sections alternate between those played by the full orchestra, and those played by a smaller group. Dynamics were "terraced", that is with a sharp transition from loud to soft and back again. Fast sections and slow sections were juxtaposed against each other. Numbered among his students is Antonio Vivaldi, who would later compose hundreds of works based on the principles in Corelli's trio sonatas and concerti.