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

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- by example and precept he was the founder of modern orchestration c- device of having a theme recur in different movements - idée fixe - gave impetus to the development of the cyclical symphonic forms of the later 19th century iii- idée fixe - a recurring theme common to all the movements of a composition but varied in shape and treatment according to the fluctuating demands of the dramatic scheme iv- following Beethoven's Pastoral Symphony, Berlioz had license to shape the Classic form around a set of feelings or passions c) Felix Mendelssohn (1809-1847) 1: Beethoven influenced his symphonic writing less than did his study of Bach and Handel and the rigorous training in the Classic forms he received under Carl Friedrich Zelter (1758-1832) 2: Music i- in the Italian (No. 4, 1833) and the Scottish (No. 3, 1842) symphonies fit into the regular Classical forms ii- use of folk idioms reveals a nostalgia for faraway places and also illustrates the Romantic's interest in both native music and local color iii- Violin Concerto (1844) is one of he greatest of all violin concertos - displays unity through thematic content and links between movements iv- Midsummer Night's Dream Overture set the standard for all subsequent overtures of the period d) Robert Schumann (1810-1856) 1: Until 1840, he dedicated himself to mainly piano music and lieder completing his first symphony in 1841 & a second in 1842 2: Some critics & historians have maintained that his personality did not lend itself to Classic forms e) Franz Liszt (1811-1886) 1: Intro i- foremost composer of program music after Berlioz writing 12 "symphonic poems" (his own term) between 1848 - 1858 and a 13th in 1881 - 1882 ii- devised a method of unifying a composition by transforming a single motive to reflect the diverse moods needed to portray a programmatic subject iii- works that Liszt called symphonies are also programmatic iv- his bold chords and chromatic harmonies helped form Wagner's style after 1854 v- his play with cells for small sets of intervals and pitches enjoyed unexpected resonance in the 20th century 2: Symphonic Poem i- relatively short and not divided into separate movements ii- presents a continuous form with sections in contrasting character & tempo iii- a small number of themes are developed, repeated, varied, or transformed iv- are poems by anology to word poems - not drama, narrative, or prose exposition it is an imaginative structure free of these genres' conventions v- content and form may be suggested by a picture, statue, play, poem, scene, personality, etc., but the subject is converted into music without specific
v- content and form may be suggested by a picture, statue, play, poem, scene, personality, etc., but the subject is converted into music without specific reference to the details of the original vi- the title and usually a program (may or may not have been written by the composer) identify the subject vii- genre of symphonic poem was taken up buy others a- Bedrich Smetana (1823-1884) b- César Franck (1822-1890) c- Camielle Saint-Saëns (1835-1921) d- Piotr Il'yich Tchaidovsky (1840-1893) f) Johannes Brahms (1833-1897) 1: deliberately set out to carve a fresh path - in this search, he probably owed more to Schumann's 4th symphony than to Beethoven 2: through the age of 40, Brahms completed 4 orchestral pieces i- two serenades ii- piano concerto iii- Variations on a Theme of Haydn 3: later works i- Academic Festival Overture ii- Tragic Overture iii- a second Piano Concerto iv- the Violin Concerto v- the Double Concerto for violin & violoncello g) Anton Bruckner (1824-1896) 1: Into i- Bruckner looked to Beethoven's 9th as a model for procedure, purpose, grandiose proportions, and religious spirit ii- Unlike Beethoven, he exhibited no striking changes in style during his career iii- had the misfortune of living in Vienna in the shadow of Brahms whose 4 symphonies are approximately contemporaneous with his last 6 and of being continually attacked by critics as a disciple of Wagner 2: Influences i- his idol Wagner is particularly evident in large-scale structures, the great length of the symphonies, the lush harmonies, the sequential repetition of entire passeges, and the huge size of the orchestra ii- his experience as an organist is evident from his orchestrations - instruments and instrumental groups are handled like registers or manuals of an organ as well expanding thematic material in massive blocks of sound comparable to an organist's improvisation h) Piotr Il'yich Tchaikovsky (1840-1893) 1: scored his first success with the Romeo & Juliet Fantasy (1869), his best known symphonies are the last 3 (No. 4 (1877-78), No. 5 (1888), & No. 6, Pathétique (1893) 2: Other works are the symphonic poem Francesca da Rimini, the First Piano Concerto, the Violin Concerto, and the 1812 Overture
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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
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(1) texts were translated by Clème
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i) corresponds to the Latin motet i
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Baroque
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ii) Bach & Handel owed much to the
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) typical texture of the Baroque pe
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(2) Giovanni Bardi (1534-1612) one
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(2) in his Orfeo of 1647 the antiqu
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3. Formal articulation was achieved
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iii) Jocob Handl (1550-1591) active
Page 67 and 68: ii) passacaglia iii) chaconne iv) c
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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 and 100: iii- Domenico Cimarosa (1749-1801)
Page 101 and 102: c- A2 begins by restating the melod
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: a) some 19th century writers consid
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:
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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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