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

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c) 3rds & 6ths (imperfect consonances) were favored on strong as well as weak beats (1) Final consonances remained 5th, octave or unison (2) Parallel 3rds & 6ths appeared - parallel 5ths & octaves became rarer d) Musica ficta made cadential points more emphatic & melodic lines more flexible e) Range of voices extended upward f) Abstract structure of the 13th century motet gave way to the more melodicharmonic idiom of the cantilena texture g) Composers aimed for a more sensuously attractive sound h) In France, the motet continued to be a special genre of composition (1) Less liturgical & more political/ceremonial in function (2) More intricate in structure 2. New genres of composition emerged a) Some like the caccia & madrigal probably derived from popular musical practice b) More remote trace to popular models with the ballata & other songs with refrains c) The formes fixes that continued earlier traditions were literary forms as well as musical forms - the virelai, the ballade, & the rondeau 3. By 1400, the French & Italian musical styles (formerly distinct) began to merge - moving toward a pan-European style V. England & The Burgunian Lands in the 15th Century A. Trends 1. Music continued to move toward an international style 2. Composers from England, France, & Italy contributed to its formation 3. Secular genres still dominated 4. Treble dominated texture - affecting Mass & motet 5. Motet now a quasi-secular & ceremonial genre B. English Music 1. General Features a) Sacred & secular art music (as that of Northern Europe in general) kept close connection with folk style b) Composition style (1) Leaned toward major tonality as opposed to the modal system (2) Wrote homophony rather than independent lines with divergent texts (3) Preferred consonances to the dissonances of the French motet (4) Fuller sound than that of the continent (5) Freer use of 3rds & 6ths (6) Parallel 3rds & 6ths in written & improvisation were common in English 13th century practice 2. 14th & 15th Century comparison a) Chant repertory in 14th Century England was that of the Sarum rite (Cathedral of Salisbury) and differed from the Roman rite melodically b) Continued to use the Sarum rite in the 15th century - as many on the continent did for plainchant starting point for polyphonic compostition
c) Knowledge of 14th Century English music come from the Worcester Fragments - suggesting a school of composition centered at Wocester Cathedral (1) Consisting chiefly of motets, conductus, tropes of various sections of the Mass, & sections of the Proper (2) Fulget coelestis curia-O Petre flos-Roma gaudet i) Rodellus - an English type of motet reflects the folklike quality & harmonious blending of voices characteristic of time ii) the conductus & conductus like tropes of the Ordinary reveal a new stylistic feature - simultaneous 3rds & 6ths in parallel motion 3. Fauxbourdon (1420-1450) a) A continental technique - evident of the English influence of successive 3rds & 6ths b) Chiefly used for settings of the simpler Office chants (hymns & antiphons) & palms c) Characteristics (1) Consists of a chant accompanied by a lower voice in parallel 6ths (2) Each phrase ending in an octave (3) A third voice is improvised a 4th below the treble d) Importance of the device was as a new way of writing for three parts - around the 1450's (1) Upper voice still has the principal melodic line as in 14th century (2) Top voice & tenor are coupled (eventually with the contratenor as well) and are more nearly equal in importance, melodic quality, and in rhythm (3) Strongly influenced all types of composition and helped acceptance for conspicuous 3rds & 6ths in harmonic vocabulary 4. The Old Hall Manuscript a) The chief collection of early 15th Century English music b) Characteristics of collected works (1) Most Mass settings show greater melodic activity in the top voice (2) Many incorporate plainchant melodies in one of the inner voices - usually next to the lowest i) allows composer greater harmonic freedom ii) foreshadows the use of plainsong tenors in the Masses of late 15th & early 15th century c) Not the vehicle for influence on the continent though - this was through works copied into Continental manuscripts 5. John Dunstable (1390-1453) a) Worked on continent till English driven out in the battle of Agincourt in 1415 b) Explains why his works are preserved mainly in Continental manuscripts & his style had such an influence on European music c) Most numerous and historically important works are his 3 part sacred pieces (1) Voices are similar in character (2) Nearly equal in importance (3) Move mostly homorhythmically (4) Pronounce the same syllables together
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: (3) Characterized by graceful vocal
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
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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
Page 103 and 104:
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
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
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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
Page 125 and 126:
c) works for chorus & orchestra 1:
Page 127 and 128:
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
Page 137 and 138:
a) Norway - Evard Hagerup Grieg (18
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
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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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