An Outline of The History of Western Music Grout ... - The Reel Score

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1: The success of the Ballad opera inspired a revival of Singspiel (popular since the 16th century) i- Librettists adapted English ballad operas at first but soon turned to translating or arranging French comic operas - with German composers new music in a familiar vein ii- many compositions found their way into German song collections and have virtually become Folk songs over time 2: Was an important precursor of the German-language musical theater from Mozart to Weber 3: Composers i- Johann Adam Hiller (1728-1804) - principal composer of singspiel during this period ii- Carl Ditters von Dittersdorf (1739-1799) 4. Opera Seria a) treated serious subjects, purged of comic scenes and characters b) received its standard form from the Italian poet Pietro Metastasio (1698-1782) whose dramas were set to music hundreds of times by many 18th century composers 1: appointed in 1729 as court poet in Vienna 2: operas were intended to promote morality through entertainment and to present models of merciful and enlightened rulers c) structure 1: 3 acts which consist almost unvaryingly of alternating recitatives and arias with occasional duets, larger ensembles, a rare choruses 2: the orchestra serves mainly to accompany singers i- "recitativo simplice" - recitative accompanied only by the harpsichord and usually a sustaining bass instrument ii- "Obbligato" - orchestrally accompanied recitatives in which the voice and orchestra alternate freely are reserved for the most important dramatic situations 3: the musical interest of the Italian opera is centered in the arias d) The Aria 1: "da capo aria" i- a basic scheme which permitted enormous variation in detail - Metastasio's two stanza aria texts set the standard for the full blown da capo aria from the 1720's through the 1740's ii- form a- Opening Ritornello / A1 / Ritornello / A2 / Ritornello [Fine] / B / Da capo al Fine b- Opening Ritornello generally announces the melodic material of the A section with A1 presenting the main melodic material in the Tonic and modulates to the dominant or related key - the following ritornello is usually short, transposing (to the dominant) and contracting a passage from the Opening c- A2 begins by restating the melody of the A1 section in the dominant or related key and sometimes resets the text with a variation on the original melody
c- A2 begins by restating the melody of the A1 section in the dominant or related key and sometimes resets the text with a variation on the original melody d- B section which is heard only once is typically set quite syllabically with different tempo and meter stating the text a single time or with repetition of the last two lines e- usually a fermata just before the end of both A and B sections inviting the singer to execute a cadenza f- the da capo al Fine then repeats "from the beginning to the Fine - the ritornello after A2 iii- around the middle of the century composers explored ways to shorten the repetitious A sections with their full capo reiteration - with various schemes that abbreviated the return of the ritornello and primary section a- by altering the da capo to a dal segno of only a portion of the A section b- writing out an abridged return c- single movement arias - usually an expanded version of the da capo aria's A section iv- the scheme of regularly alternating recitatives and arias came to be too rigid and opened a path to abuse a- singers began to make arbitrary demands on composers and poets compelling them to alter, add, and substitute arias without regard for dramatic or musical appropriateness to highlight the singers virtuosity b- the cadenzas added by singers became nothing more than a display of virtuosity by the singers - again without regard for appropriateness v- the da capo aria continued to evolve a- while arias written in the first decades usually projected a single affection through the development of a single motive b- composers now started to express a succession of moods c- in this way vocal music began incorporating structural methods of instrumental music - the sonata & concerto throughout the 18th century i) vocal melody still dominated the music ii) the orchestra still provided harmonic support to the singer rather than adding an independent contrapuntal line iii) melodies usually made up 4 measure units - 2 measure antecedent and consequent phrases e) Composers in New Style 1: Handel (1685-1759) - employed this new idiom in his late operas 2: Pergolesi (1710-1736), Giovanni Bononcini (1670-1747), Carl Heinrich Graun (1704-1759), Domingo Terradellas (1713-1751), Nicola Porpora (1686-1768 3: Johann Adolf Hasse (1699-1783) i- acknowledged by his contemporaries as the great master of opera seria a- most successful opera composer in Europe around the middle of the century b- Married Faustina Bordoni (1700-1781) - the celebrated Italian soprano ii- great majority of his 80 operas use Metastasio librettos 5. Beginning of Opera Reform
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An Outline of The History of Wester
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Ancient Greece and Rome Through Ren
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(1) Cult of Apollo - lyre (2) Cult
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i) Current belief is that the churc
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) Performance Classification (1) An
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(2) When the melodies are melismas,
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i) They sang, played, and danced to
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1. Organum Purum a) The lower voice
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(9) Phrase endings of different voi
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2. Technical Achievements a) Codifi
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d) Polyphonic virelais, rondeaux, &
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(3) Characterized by graceful vocal
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c) Knowledge of 14th Century Englis
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d) Prestige of the Burgundian Court
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c) Continued the treble dominated s
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(1) Brought in the most talented co
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a) Pertrucci's 1st publication (1)
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iv) Bass took over the foundation o
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a- the most important genre of Ital
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g) Cipriano de Rore (1516-1565) - e
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(2) monophonic art of the Minnesing
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(4) Vicentino, Rore, & Lasso (pupil
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a- essential step in this developme
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d- German hymns replaced most to th
Page 49 and 50: (1) texts were translated by Clème
Page 51 and 52: i) corresponds to the Latin motet i
Page 53 and 54: Baroque
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Page 57 and 58: ) typical texture of the Baroque pe
Page 59 and 60: (2) Giovanni Bardi (1534-1612) one
Page 61 and 62: (2) in his Orfeo of 1647 the antiqu
Page 63 and 64: 3. Formal articulation was achieved
Page 65 and 66: iii) Jocob Handl (1550-1591) active
Page 67 and 68: ii) passacaglia iii) chaconne iv) c
Page 69 and 70: ii) melody would receive different
Page 71 and 72: a) Venitian (1) Pietro Francesco Ca
Page 73 and 74: (2) his librettist - playwright Jea
Page 75 and 76: c) Serenata - a semi dramatic piece
Page 77 and 78: ) Charles II particularly liked sol
Page 79 and 80: (3) Andreas Hammerschmidt (1611-167
Page 81 and 82: h- Jan Adam Reincken (1623-1722) i-
Page 83 and 84: iv) Chaconne - a stately movement i
Page 85 and 86: ii) solo instruments were also usua
Page 87 and 88: c) Francesco Germiniani (1687-1762)
Page 89 and 90: c) Leipzig (1723-1750) - as Cantor
Page 91 and 92: d) Oratorios (1) the Italian orator
Page 93 and 94: I. Sonata, Symphony, and Opera in t
Page 95 and 96: c) Baroque - J.S. Bach (1685-1750),
Page 97 and 98: 2. Musical Rhetoric a) first decade
Page 99: iii- Domenico Cimarosa (1749-1801)
Page 103 and 104: c) composers 1: early: J.J. Quantz
Page 105 and 106: ii) there may be a coda ii- this is
Page 107 and 108: 8. paved the way for the mature cla
Page 109 and 110: 6: symphonies of 1774-1788 show a s
Page 111 and 112: d) piano works - most important of
Page 113 and 114: I. Ludwig Van Beethoven (1770-1827)
Page 115 and 116: ) two works share the Revolutionary
Page 117 and 118: a) some 19th century writers consid
Page 119 and 120: v- content and form may be suggeste
Page 121 and 122: 1: a distinctive school of pianists
Page 123 and 124: 3: Liszt experimented with harmonie
Page 125 and 126: c) works for chorus & orchestra 1:
Page 127 and 128: 1: a continuous succession of orche
Page 129 and 130: 1: another new genre - not to be co
Page 131 and 132: ii- the words convey the outer aspe
Page 133 and 134: 20 th Century
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Page 137 and 138: a) Norway - Evard Hagerup Grieg (18
Page 139 and 140: i- immediate background included Fr
Page 141 and 142: c) in most of his music a primary t
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Page 145 and 146: 3. also used "pointillism" a) spare
Page 147 and 148: ) by mid 20th century, distinct pit
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