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

More documents

Recommendations

Info

2: the first composer recognized by both Europeans & Russians as an authentic native voice was Mikhail Glinka (1804-1857) 3: carried on with Alexander Dargomïzhasky (1813-1869) & Tchaikovsky (1840 -1893) who chose Russian subject matter b) Mighty Five (Moguchaya Kuchka) 1: In the second half of the 19th century 5 leading Russian composers banded together in a group know as the Mighty Handful (Mighty Five) 2: Alexander Borodin (1833-1910), Modest Musorgosky (1839-1881), Mily Balakirev (1837-1910), César Cui (1835-1918), & Nikolay Rinsky-Korsakov (1844-1908) i- Admired Western music but felt alienated from the St. Petersburg Conservatory - founded in 1862 by Anton Rubinstein (1829-1894) ii- seeking a fresh approach, they utilized folksong, modal & exotic scales, and folk polyphony c) Modest Musorgorsky (1839-1881) 1: Greatest of the Mighty Handful - although quoting actual Russian folk tunes only occasionally they were rooted in his musical nature i- his melodies follow characteristic folk elements ii- his harmonic style was also modal - it was the Russians who introduced modality into the general musical language (an important influence on Western Music 2: Musaorgsky's harmony was highly original - revolutionary and along with his rhythms may have been culled from his memories of polyphonic folk singing d) Other Russian composers 1: Nikolay Rimsky-Korsakov (1844-1908) i- forms a link between the first generation of Russian composers - Glinka & the Mighty Handful - and those of the early 20th Century ii- pupils were Alexander Glazunov (1865-1936) & Igor Stravinsky (1882 -1970) 2: Sergei Rakhmaninov (1873-1943) - left Russia in 1917 and never returned 3: Alexander Skryabin (1872-1915) - influenced by the chromaticism of Liszt & Wagner 6. Central Europe a) Bedrich Smetana (1824-1884) & Antonin Dvorak (1841-1904) 1: Bohemia was an Austrian Crown land for centuries and so had been (unlike Russia) in the mainstream of European music 2: the musical language of these two composers was basically European - Smetana derived from Liszt, and Dvorak leaning towards Brahms b) Leos Janacek (1854-1928) 1: he anticipated Bartok in deliberately collecting and editing folk music 2: his own mature style grew out of the rhythms and inflections of Moravian peasant speech & song 7. Other Countries a) Norway - Evard Hagerup Grieg (1843-1907) - superimposed national characteristics on an orthodox style learned in his youthful studies at the Leipzig Conservatory
a) Norway - Evard Hagerup Grieg (1843-1907) - superimposed national characteristics on an orthodox style learned in his youthful studies at the Leipzig Conservatory b) Poland - Staislaw Moniuszko (1819-1872) creator of a Polish national opera with Halka (1848) c) Carl August Nielsen (1865-1931) d) Alfons Diepenbrock (1862-1921) - influenced first by Palestrina & Wagner, and later by Debussy e) Jean Sibelius (1865-1957) - greatest Finnish composer f) Edward Elgar (1857-1934) 1: the first English composer in more than 200 years to enjoy wide international recognition 2: this English renaissance signaled by Elgar took a nationalist turn in the 20th Century with the folk song collections of Cecil Sharp (1859-1924) & Ralph Vaughan Williams (1872-1958) - led to the use of these melodies by Williams and Gustav Holst (1874-1934) 3: Williams & Holst became leaders of the new English school g) Felipe Pedrell (1841-1922), Isaac Albeniz (1860-1909), & Manuel de Falla (1876 -1946) 1: Pedrell sparked a nationalist revival in Spain with his editions of 16th century Spanish composers 2: Albeniz used Spanish dance rhythms 3: Falla was the principal Spanish composer of the early 20th century imbuing his works with the melodic and rhythmic qualities of Spanish popular music D. New Currents in France 1. Background a) Recovery of it national musical heritage 1: National Society for French Music founded at the end of the Franco-Prussian War in 1871 i- its purpose to give performances of works by French composers ii- also sought to revive the great French music of the past through editions and performances of Rameau, Gluck, and 16th century French composers 2: Schola Cantorum founded in 1884 - introduced broad historical studies in music in contrast to the narrow technical training prevailing at the Conservatoire 3: these and similar activities allowed France to regain a leading position in music in the first half of the 20th century b) Three interdependent lines of development may be traced in French music from 1871-early 1900's 1: the cosmopolitan tradition transmitted through Cesar Franck and his pupils - especially Vincent d'Indy 2: the specifically French tradition transmitted through Camille Saint-Saens and his pupils especially Gagriel Faure 3: a later tradition rooted in the French one led by Debussy 2. The Cosmopolitan Tradition a) César Franck (1822-1890) - introduced some mildly chromatic innovations in harmony and systematically applied the cyclical method
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 and 12:
(2) When the melodies are melismas,
Page 13 and 14:
i) They sang, played, and danced to
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
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 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 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
Page 135: : more difficult to realize musical
Page 139 and 140: i- immediate background included Fr
Page 141 and 142: c) in most of his music a primary t
Page 143 and 144: 1: held to some recognizably famili
Page 145 and 146: 3. also used "pointillism" a) spare
Page 147 and 148: ) by mid 20th century, distinct pit
show all

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

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?