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

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3. Solmization a) 11th Century Monk - Guido of Arezzo proposed a set of syllables to teach sight singing b) Guidonian Hand was a visual aid to the system 4. Notation a) Sometime before the middle of the 9th Century, signs called nuemes were placed above the words (1) "/" an ascending melodic line (2) "\" a descending line (3) "/\" ascending & descending b) By the 11th Century Guido of Arezzo was describing a staff then in use (1) Letters indicated the lines for f, c', and sometimes g (2) These eventually became our modern Clef signs c) Enabled scribes to notate relative pitches precisely d) Freed music from its dependence on oral transmission e) Crucial for the history of Western Music as the invention of writing was for the history of language E. Non-liturgical and Secular Monody 1. Early Secular Genres a) Oldest written specimens of secular music are songs with Latin text (1) The Goliard songs from 11th & 12th Centuries i) named after a (probably) mythical patron - Bishop Golias ii) were students or free clerics who migrated from one school to another in days before the great universities were founded iii) their vagabond way of life was celebrated in song and were gathered together numerous manuscript collections (2) Conductus from the 11th & 12th Centuries i) straddle a vague dividing line between secular & sacred music ii) by end of 12th Century the term applied to any serious non liturgical Latin song with a metrical text on any sacred or secular subject iii) Important feature is - as a rule - its melody was newly composed, not borrowed or adapted from plainchant (3) Songs with Vernacular Text i) secular spirit of the Middle Ages comes through clearly ii) chanson de geste (song of deeds) is earliest type - an epic poem, recounting deeds of national heros, sung to simple melodic formulas 2. Early Music Performers a) Jongleurs (1) Sang the chanson de geste and other secular songs i) A class of professional musicians ii) First appeared about the 10th Century (2) In the 11th Century, they organized into brotherhoods which later developed into guilds of musicians
i) They sang, played, and danced to songs composed by others or taken from the popular repertory of the period ii) Their professional traditions & skills played an important role in the development secular music in western Europe - spreading the music of the troubadours & trouveres b) Troubadours & Trouveres (1) Were poet-composers in what is now the south of France and spoke Provencal - the Trouveres were their equivalent in northern France and spoke langue d'oil the medieval French dialect that became modern French. (2) Neither were a well defined group (3) Flourished in aristocratic circles - but artists of lower birth could accepted into a higher social class on grounds of their talent (4) Songs are preserved in collections called chansonniers c) Minnesinger (1) German school of knightly poet-musicians flourishing between the 12th & 14th Century (2) Used the troubadours as a model d) Meistersinger (1) Succeeded the Minnesinger - but tradesmen and artisans of German Cities (2) The Meistersinger guild had a long life finally dissolving in the 19th Century F. Medieval Instrumental Music 1. Dances in the Middle Ages were accompanied both by songs & instrumental music 2. Estampies a) Earliest known examples of an instrumental repertory b) Reaches back far beyond the 13th Century 3. Probably all the instrumental music of the early Middle Ages was associated with singing or dancing G. Medieval Musical Instruments 1. Harp - oldest characteristically medieval instrument 2. Vielle - prototype of the Renaissance viol and modern violin 3. Organistrum - "three stringed viele" sounded by a revolving wheel with strings stopped by rods not player fingers 4. Psaltery - type of zither played by plucking or more often striking the strings 5. Lute - Brought to Spain by Arab conquerors but did not become common elsewhere much before the Renaissance 6. Wind Instruments a) Flutes both recorder and transverse types b) Shawms - double reed instruments c) Trumpets d) Bagpipes - which were the universal folk instrument 7. Organs a) Portative - worn with strap, one hand to pump, one to work keys b) Positive - could be carried but had to set on table to be played, required one person to work the pump
Page 1 and 2: An Outline of The History of Wester
Page 3 and 4: Ancient Greece and Rome Through Ren
Page 5 and 6: (1) Cult of Apollo - lyre (2) Cult
Page 7 and 8: i) Current belief is that the churc
Page 9 and 10: ) Performance Classification (1) An
Page 11: (2) When the melodies are melismas,
Page 15 and 16: 1. Organum Purum a) The lower voice
Page 17 and 18: (9) Phrase endings of different voi
Page 19 and 20: 2. Technical Achievements a) Codifi
Page 21 and 22: d) Polyphonic virelais, rondeaux, &
Page 23 and 24: (3) Characterized by graceful vocal
Page 25 and 26: c) Knowledge of 14th Century Englis
Page 27 and 28: d) Prestige of the Burgundian Court
Page 29 and 30: c) Continued the treble dominated s
Page 31 and 32: (1) Brought in the most talented co
Page 33 and 34: a) Pertrucci's 1st publication (1)
Page 35 and 36: iv) Bass took over the foundation o
Page 37 and 38: a- the most important genre of Ital
Page 39 and 40: g) Cipriano de Rore (1516-1565) - e
Page 41 and 42: (2) monophonic art of the Minnesing
Page 43 and 44: (4) Vicentino, Rore, & Lasso (pupil
Page 45 and 46: a- essential step in this developme
Page 47 and 48: 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
Page 55 and 56: ii) Bach & Handel owed much to the
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
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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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(2) his librettist - playwright Jea
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c) Serenata - a semi dramatic piece
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) Charles II particularly liked sol
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(3) Andreas Hammerschmidt (1611-167
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h- Jan Adam Reincken (1623-1722) i-
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iv) Chaconne - a stately movement i
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ii) solo instruments were also usua
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c) Francesco Germiniani (1687-1762)
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c) Leipzig (1723-1750) - as Cantor
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d) Oratorios (1) the Italian orator
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I. Sonata, Symphony, and Opera in t
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c) Baroque - J.S. Bach (1685-1750),
Page 97 and 98:
2. Musical Rhetoric a) first decade
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iii- Domenico Cimarosa (1749-1801)
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c- A2 begins by restating the melod
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c) composers 1: early: J.J. Quantz
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ii) there may be a coda ii- this is
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8. paved the way for the mature cla
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6: symphonies of 1774-1788 show a s
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d) piano works - most important of
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I. Ludwig Van Beethoven (1770-1827)
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) two works share the Revolutionary
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a) some 19th century writers consid
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v- content and form may be suggeste
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1: a distinctive school of pianists
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3: Liszt experimented with harmonie
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c) works for chorus & orchestra 1:
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1: a continuous succession of orche
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1: another new genre - not to be co
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ii- the words convey the outer aspe
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20 th Century
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: more difficult to realize musical
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a) Norway - Evard Hagerup Grieg (18
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i- immediate background included Fr
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c) in most of his music a primary t
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1: held to some recognizably famili
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3. also used "pointillism" a) spare
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) 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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