This period was about 1600 to 1750. This period
brought many changes in style . This included
estblishing the tonic-dominant or triadic tonality.
You might read about the works of Bach, and Handel.
Early Baroque composers were Caccini, Monteverdi, Frescobaldi, and Cartissimi.
That is all I know. However, music would
be very different without the two items I mentioned above.

Peter Shickele: writes satirical music in the Baroque style, pretending that it was composed by a member of the Bach family, named PDQ Bach.

Shostakovich: wrote a set of preludes and fugues in all 24 major and minor keys, based on the Well-Tempered Clavier.

Ernest Bloch: composed two concerti grossi, at least one of which has a fugal movement.

Stokowski: wrote full orchestra transcriptions of Bach compositions, claiming that his transcriptions were what Bach had in mind, but was unable to write because of the small orchestras of Bach’s day. Stokowski’s name is a naughty word among Bach purists.

Heitor Villa-Lobos: wrote a series of compositions, entitled “Bachianas Brasileiras,” speculating what Bach’s music would sound like if her were born in Brazil.

This inspired me to write a “Bachianas Americanas” for lower brass solo and piano:

In case you want to use it for anything, my real name is Thomas Robertson.

Hindemith: probably should be awarded first prize. He was a diligent student of the music of Bach, and in fact made recordings of some his compositions. Hindemith’s music, like Bach’s music, is highly contrapuntal. There is a fugue in Hindemith’s “Mathis der Mahler.”

A trumpet student at Interlochen once performed the first movement of a concerto which imitates Vivaldi, and that movement is marked “Allegro Vivaldi.” I can’t find that concerto in a Web search, however. See if you can find a trumpet player who knows.

There are a couple of chord progressions which made their first appearance in the Baroque Era. There is the descending minor tetrachord, or the “lamento bass,” which goes something like am, GM, FM, E7. This feature appears in the heroine’s last aria in Purcell’s “Dido and Aeneas.” It also appears in the Bach Saint Matthew Passion, in the aria about Peter weeping bitterly. We see this progression again in Liebesleid by Fritz Kriesler, as well as in pop songs, such as “A Bit of Honey” and “The Girl-Watcher’s Theme.”

There is also the chord progression in the Pachelbel canon. This progression appears in several pop songs, which a stand-up comedian summarizes on a Youtube video. Look up “Pachelbel rant.”

Also, don’t forget the popular use and abuse of Baroque compositions. Right here on this forum, there is hardly a day that goes by in which someone doesn’t ask about the Pachelbel canon (used in the movie “Ordinary People”), the prelude to the Bach G major suite (used in the movie “The Soloist”), or the Vivaldi Four Seasons (used almost everywhere you look.)