Baroco

Specifically, it has the first proposition universal and affirmative, but the second and third particular and negative, and the middle term the attribute in the two first.

The French philosopher Michel de Montaigne associated the term 'baroco' with "Bizarre and uselessly complicated.

In an anonymous satirical review of the première of Jean-Philippe Rameau's Hippolyte et Aricie in October 1733, which was printed in the Mercure de France in May 1734, the critic wrote that the novelty in this opera was "du barocque", complaining that the music lacked coherent melody, was unsparing with dissonances, constantly changed key and meter, and speedily ran through every compositional device.

[3] In 1762, Le Dictionnaire de l'Académie française wrote that the term could be used figuratively to describe something "irregular, bizarre or unequal.

"[4] Jean-Jacques Rousseau, who was a musician and composer as well as philosopher, wrote in 1768 in the Encyclopédie: "Baroque music is that in which the harmony is confused, and loaded with modulations and dissonances.