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

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2. Characteristics a) Two or more voices sing the text in essentially the same rhythm b) Text is metrical Latin poems (1) Rarely liturgical but often on sacred themes (2) When secular text deals seriously with current or historical events and moral & ecclesiastical issues (3) Text is set syllabically - creating a homorhythmic texture c) In Notre Dame era written for two, three, or four voices d) Vocal range is narrow and voice cross & recross with voice interchange fairly frequent e) Basic sonorities are octaves, fourths, & fifths with 3rds prominent in some f) Tenor - instead of being taken from plainchant or other pre-existing source is newly composed 3. Both organum and conductus gradually dropped out of favor after 1250, leaving the polyphonic field to the motet F. The Motet 1. Clausulae, cut loose from the larger organa and with Latin or French words add to the upper voice and were called a motet 2. Orgins a) Roots (1) Léonin introduced clausulae in discant style into his organa (2) Pérotin & others produced hundreds designed as alternates or substitutes for those of Léonin (3) Latin or French text added b) These earliest types of Motets were soon modified (1) Original upper voices were dicarded and one or more new melodies were composed to go with the existing Tenor (2) The existing Tenor lost connection with a specific function in the service and was now raw material for composition (3) Composers wrote motets to be sung outside the church service with vernacular texts in the upper voices (4) Tenor now probably played by instruments as no point in singing the original cantus firmus text (5) By 1250 customary to use different but topically related texts in the two upper voices i) Latin or French ii) Rarely both combined (6) Prior to 1200 - 1250 nearly all Tenors were taken from the Magnus liber (7) By 1250 and particularly after 1275 motet tenors were taken from other sources than Magnus Liber i) Kyries, hymns, and antiphons ii) secular songs iii) instrumental estampies (8) Application of Rhythmic modes became more flexible
(9) Phrase endings of different voices were placed in different places to provide greater continuity 3. Motet Texts a) Rich in alliteration, stereotyped images and expressions, schemes of rhyme & stanza b) Best motets represent highly complex intertextual creations 4. The Franconian Motet a) Origins (1) New type of motet named after Franco of Cologne (2) Earlier motets all upper parts were written in one melodic style, later composers sought to distinguish the upper voices from one another as well as the tenor b) Characteristics (1) Definitions i) Triplum: second part in early polyphony set against a Tenor and Duplum ii) Duplum: voice part in early polyphony set against a Tenor iii) Tenor: the plainchant tenor provided material for composing early homophony, early polyphonic parts, later became long and extended notes iv) Motetus: Duplum or Triplum voice part in early polyphony to which words are set (2) Triplum had a longer text than the motetus with a fast moving melody with many short notes, in short phrases with a narrow range (3) Motetus sang a comparatively broad, long breathed, lyrical melody 5. Petronian motet a) Late 13th Century motet emerged named after Petrus de Cruce (1270-1300) b) Characteristics (1) Triplum had a lively, free, speech like rhythm (2) Motetus proceeded more slowly (3) Only plainchant tenor had a uniform rhythmic pattern 6. Harmonic Vocabulary a) Less change in the harmonic vocabulary than the rhythmic structure (1) Fifth & Octave expected on strong beats (2) Fourth treated more & more as a dissonance (3) Thirds favored over other Dissonant intervals b) Changes of consonance followed the rhythm of the tenor part - each new tenor note brought a new set of consonances above it c) Between consonances above tenor note the parts were free to make dissonances 7. Tempo a) Slow, when the breve in the triplum was subdivided into many shorter notes b) Moderate for those that had no more than tree semibreves to breve c) Fast for hockets 8. Hockets
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: 1. Organum Purum a) The lower voice
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
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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
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) 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-
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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
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
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c) composers 1: early: J.J. Quantz
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ii) there may be a coda ii- this is
Page 107 and 108:
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)
Page 115 and 116:
) two works share the Revolutionary
Page 117 and 118:
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
Page 123 and 124:
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
Page 131 and 132:
ii- the words convey the outer aspe
Page 133 and 134:
20 th Century
Page 135 and 136:
: more difficult to realize musical
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a) Norway - Evard Hagerup Grieg (18
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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
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An Outline of The History of Western Music Grout ... - The Reel Score

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