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

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D. The Lied 1. the German lied - toward end of the 18th century - admitted a new type of song the Ballad a) cultivated in Germany as a poetic genre in imitation of the popular ballads of England & Scotland b) composers seized on this genre so well suited to music 1: Rudolf Zumsteeg (1760-1802) was one of the first to excel in setting this type of poetry 2: later Carl Loewe (1796-1869) stood out as a prolific composer of these German ballads 2. Romantic ballads demanded a musical treatment quite different from the short, idyllic strophic lied of the 18th century a) greater length necessitated a greater variety of themes and textures b) which also required some means of unifying the whole c) the contrasts of mood and the movement of the story had to be captured and enhanced by the music d) the piano rose in status from the role of accompanist to equal partner 3. the ballad expanded the lied both in form and in range and in force of emotional content 4. Lied composers a) Franz Schubert (1797-1826) 1: his songs reveal his gift for creating beautiful melodies - he also possessed a feeling for harmonic color 2: many are in strophic form - in which the music repeats for each stanza either literally or with slight variation - others are built on recurring themes b) Robert Schumann (1810-1856) - first important successor to Schubert c) Clara Schumann (1819-1896) d) Johannes Brahms (1833-1897) - considered Schubert as his model in song writing E. Choral Music 1. must distinguish between works in which the chorus plays a subsidiary role and those which the choral writing is the principal focus of interest a) Mendelssohn & Brahms who best understood how to write idiomatically for chorus were also the most knowledgeable about earlier music b) 19th century composers found the chorus less congenial than the orchestra or solo voice for expressing intimate sentiments c) many treated the chorus primarily as a division of the orchestra - to supply picturesque touches and supplementary colors 2. three kinds of choral music in the 19th century a) part-songs or other short choral pieces 1: usually on secular texts, in homophonic style with the melody in the upper voice 2: sung either a cappella or with piano or organ accompaniement b) music on liturgical texts intended for home use or in church services c) works for chorus & orchestra
c) works for chorus & orchestra 1: often with one or more soloists 2: on texts of dramatic or narrative-dramatic character but intended for concert rather than stage performance 3. Part Songs & Cantatas a) part songs 1: composition of part songs - which had begun before the end of the 18th century - received impetus in the 19th century i- the rise of nationalism ii- awakening interest in folksong iii- the popular festivals in Revolutionary France iv- rapid growth of choral societies in France & Germany during the first half of the century 2: the part songs were to serve an immediate purpose and then were mostly forgotten b) cantatas 1: of more lasting interest than the part songs 2: Johannes Brahms (1833-1897) was the master of this genre 4. Church Music a) toward middle of the century, agitation for musical reform arose within the Catholic Church 1: Cecilian movement - named after St. Cecilia patron saint of music i- stimulated in part by interest in the music of the past ii- helped bring about both a rival of the 16th century a cappella style and the restoration of Gregorian chant 2: best Catholic church music in the early part of the century came from Cherubini (1760-1842) in Paris & Franz Schubert (1797-1828) in Vienna b) Protestant & Anglican were the psalms of Mendelssohn and the anthems of Samuel Sebastian Wesley (1810-1876) c) other composers 1: Dmitri Bortnyansky (1751-1825) in Russia 2: Charles Gounod (1818-1893) in Paris 5. Other Music on Liturgical Texts a) Composers 1: Hector Berlioz (1803-1869) - grandiose religious works intended for special occasions i.e. the Te Deum for the coronation of Napoleon III i- really dramatic symphonies for orchestra and voices using poetically inspiring texts that happen to be liturgical ii- belong not to an ecclesiastical but to a secular and patriotic tradition inspired by the massive music festivals of the French Revolution 2: Franz Liszt (1811-1886) - created for special occasions - the Festival Mass (1855) for the consecration of the cathedral at Gran, Hungary & the Mass for the coronation of the King of Hungary (1867) 3: Gioachino Rossini (1792-1868) & Giuseppe Verdi (1813-1901) made important contributions to church music
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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
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ii) passacaglia iii) chaconne iv) c
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ii) melody would receive different
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a) Venitian (1) Pietro Francesco Ca
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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
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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)
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Page 117 and 118: a) some 19th century writers consid
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Page 121 and 122: 1: a distinctive school of pianists
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Page 137 and 138: a) Norway - Evard Hagerup Grieg (18
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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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An Outline of The History of Western Music Grout ... - The Reel Score

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