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

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a) Rests interrupt the flow of melody in such a way that another voice supplies the notes that would have been sung by the resting voice b) Pieces in which hocketing was used extensively were called hockets (1) Vocal or Instrumental (2) Always fast - particularly those for instruments G. Notation in the 13th Century 1. Once composers started setting prose texts syllabically and wanted greater rhythmic variety, a new system had to be devised a) Ligatures continued to serve for the textless tenors in modal rhythm b) Upper parts required that the time values of each note be fixed precisely 2. Franco of Cologne codified a usable system of notation in his "Ars cantus mensurabilis" - The art of Measurable Music (1280) H. Summary 1. Polyphonic Forms a) By 1250 two types of Polyphonic composition (1) Organum (2) Conductus b) Late 13th Century the motet was the dominant polyphonic medium for both secular & sacred music c) Evolutionary Process (1) Arose from the process of elaborating on existing pieces (2) Composers continued to trope plainchant by furnishing texts for melismas or adding new text & music to the traditional liturgy (3) Now process of elaboraion took new turn i) New voice added to portions sung by formally alone by the cantor a- initially this was note against note - called organum b- later 2nd voice became florid runs between consonant meetings with the chant voice - called organum purum c- or 2nd voice tended to bond with first voice note against note (or nearly so) - called discant ii) Discant sections enjoyed further elaborations a- rhythmic modes were applied to both parts so two voices performed combinations of long & short notes in equal units of time b- extended sections of such discant were called clausulae c- when French or Latin texts were added to the clausulae the new composite was called the motet iii) Motets were then written on the chant melismas independently of the clausulae a- a third voice was often added with different text and own modal rhythm b- Similar compositions based on an orginal tenor and having a single nonliturgical Latin text for all parts were called conductus iv) Organal sections were also subjected to the rhythmic modes a- allowed more complex relationships between parts b- as many as three parts were layered against chant
2. Technical Achievements a) Codification of the rhythmic modal system b) Invention of a new kind of notation for measured rhythm 3. Secular/sacred Orientation a) No clear distinction between sacred & secular styles had yet developed b) Beginning of 13th Century nearly all polyphonic music was sacred c) By end of century both secular and sacred texts were receiving polyphonic setting 4. Trends at end of 13th Century a) Structure of Motet was beginning to expand b) Authority of the rhythmic modes gradually weakened c) Chant Tenor was relegated to a purely formal function d) Elevation of the triplum to the status of solo voice against the accompanying lower parts 5. Road was open to a new musical style & a new way of composing which would look upon latter half of 13th Century as the antique & outdated way a) Music of Lèonin & Pèrotin as "ars antiqua" b) Forthcoming music of de Vitry in the 14th century would be "ars nova" IV. French & Italian Music in the 14th Century A. General Background 1. A period of change and disruption a) The authority of the Catholic Church and the supremacy of the Pope was widely questioned (1) The engineered election of Clement V as Pope by King Philip IV of France (2) Rival claimants to the Papacy (3) Corrupt and often scandalous life of the higher clergy (4) Writings sharply critical of church affairs appeared (5) Rise of divisive & heretical movements that foreshadowed the Protestant Revolution b) Separation of between Church & State emerged as doctrines that are held today 2. Social Conditions a) Growth of cities brought increased political power to the middle class b) Black Death & Hundred Years' War led to urban & peasant discontent c) The medieval ideal of European political unity gave way to the reality of separate, independent powers d) Literature, education, and the arts all turned from the relatively stable, unified, religiously centered viewpoint of the 13th Century toward worldly human concerns 3. Change came as a gradual shift in emphasis, not a sudden reversal of values 4. Music a) Musicians consciously struck out in new directions (1) "Ars nova" - the French musical style during the first half of the 14th Century (2) Opponents & supporters recognized the change b) Old and New Arts disagreed on two points
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: (9) Phrase endings of different voi
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
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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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