The music of the Baroque period is often described as flamboyant, abstract, while some may even describe the music of this time as weird and absurd. No matter what word one may use to describe the music of this time, there is a mutual agreement that the Baroque period was an expressive time for composers, as well as artists, poets, and architects. Coming from the music of the Renaissance period, which contained a coherence of equal parts within the music, the music of the Baroque period is primarily built in ranks above a basso continuo. In this essay, I will be discussing works from three very influential composers, Strozzi, Carissimi, and Purcell, along with the elements within the pieces that carry substantial traits of music during the Baroque period. Barbara Strozzi was a very successful female composer and was one of the very few women who had musical compositions that were published. Strozzi’s piece, “Lagrime Mie” is a cantata structured with a female solo voice and continuo using the harpsichord. A common method used by musicians of this time were to improvise and to add embellishments that they felt would compliment the piece, which is strongly portrayed in this work. The beginning of “Lagrime Mie” begins with the harpsichord playing an open E minor chord while the opening vocal line begins on a high E descending all the way down to a D sharp. While the vocal line descends, the vocalist adds a tremble to her voice presenting an image of lament. In this descend, taking place from mm. 1-4, the vocalist is only singing the phrase “Lagrime Mie” in a melismatic form which strongly brings out, not only the emotion Strozzi wanted to capture, but the lyrics. The chord progression of the harpsichord is within the sharp system creating an audible representation of pain and sadness. The progression and vocal expression go in hand with the lyrics of the piece being, “Tears of mine, what holds you back”. The opening of the composition in the first four measures creates an image in the listener’s mind of tears falling and coinciding with the descending vocal line as well. Text expression along with dramatic expression, found in Strozzi’s “Lagrime Mie” composition, was very common during the Baroque period and can also be found in various compositions of this time. Giacomo Carissimi’s composition, “Historia de Jephte”, is an oratorio which was published in the year of 1648. The lyrics of this piece derive from a story in the bible where the story displays sacrifice of one’s own daughter to fulfill a convent with God. The piece begins with similar to Strozzi’s with a solo voice and continuo. Alongside the solo voice are two separate voices portraying an image of an echo. In mm. 296-300, the word “ululate”, translates to “wail”, is sung and also repeated by the echo. The progression of notes in the main vocal line rise from a B flat to a D and descend down to a G sharp and when looking at the definition of a wail, it is a high pitch cry of grief and pain which can be interpreted as corresponding with the progression of notes. There is often dissonance within the progression such as in measure 302 where an F# diminished chord tonicizes a G minor chord. Also, in the chorus section of Carissimi’s piece, the chords tend to remain within the sharp system which brings out the pain and sadness that is held within the story of Jephte and having to sacrifice his only daughter. The opera, “Dido and Aeneas”, was composed by English composer, Henry Purcell and is known as the only opera he has composed. The story line of this opera surrounds two characters, Dido, Queen of Carthage, who falls for Aeneas, a Trojan hero. The excerpt from this opera is Dido’s lament after realizing she can’t find it within her to live without Aeneas. The opening of of the piece, prior to any words being sung, there is a chromatic descent in the bass line which provides the listener with the idea that what they are about to hear will be filled with pain. It is in measure two where “darkness” is sung with a melisma of notes to heighten the image of Dido’s emotion of loss. In mm. 17-25 is when Dido sings “Remember me” syllabically at a high D throughout the phrase for the first time, but when she sings it again at measure 24-25, she sings from a high D and then jumps up to a G which changes the emotion portrayed as if the love she has for Aeneas is apocalyptic. In the chorus section of Purcell’s composition, an emotion of mourning is captured through consistent step wise emotion throughout this section but can primarily be heard towards the end in mm. 22-30 of the lyrics, “Keep here your watch, and never part”. One can sit and analyze every piece composed from the Baroque period but to capture the true essence of it, is to have lived through it and experience the culture. Expression was so significant during this time and music was one of the most effective ways to bring people to comprehend the message you are trying to get across. The Baroque period was extensively good at getting a message across primarily through text expression and the assistance of the flat and sharp system which supported the lyrics. I, personally, have found these pieces composed by Carissimi, Strozzi, and Purcell to be very admirable and favorable examples to represent this vibrant time in history.