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

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(5) Unfettered by isorhythmic scheme or cantus firmus freely determined the form of the music guided only by the text 6. The 15th Century Motet a) Background (1) Originally a composition on liturgical text for use in church (2) By the 13th century term was also applied to works with secular texts - even those with a secular melody as a cantus firmus (3) By 1450 had become an anachronism and disappeared (4) 1st half of the 15th century term applied to settings of liturgical or even secular texts in the newer msuical style of the time i) this application is still in use today ii) defined as almost any polyphonic composition on a Latin text other than the Ordinary of the Mass a- including antiphons, responsories, and other texts from the Proper and the Office b- since the 16th Century also applied to sacred compositions in languages other than Latin 7. The Carol a) Origins (1) Originally a monophonic dance song with alternating solo & choral portions (2) By 15th century had become a stylized two or three part setting of a religious poem in popular style b) Characteristics (1) Number of stanzas all sung to same music (2) A "burden" or refrain with own musical phrase sung at the beginning and repeated after each stanza (3) Not folk songs but angular melodies and lively triple rhythms give distinctly popular style and unmistakable English quality C. Music in the Burgundian Lands 1. Background a) Dukes of Burgundy while feudal vassals of the King of France virtually equaled him in power b) Ruled over Holland, Belgium, northeastern France, Luxemburg, & Lorraine c) Ruled a virtually independent sovereigns until 1477 d) They maintained a chapel with a corps of composers, singers, & instrumentalists who furnished music for church services e) In addition, Philip the Good maintained a band of minstrels 2. Influence the production of a common musical style a) Music training centers - in cathedrals, chapels, choir schools - developed (1) In Antwerp, Bruges, Cambrai, Paris, Lyons (2) Later Rome, Venice, & other Italian cities b) Visits of foreign musicians to the courts c) Members of the chapels continually moved from one court to another in response to better opportunities
d) Prestige of the Burgundian Court was such that the music cultivated there influenced other European musical centers 3. Guillaume Du Fay (1397-1474) a) His and contemporaries works are preserved in two manuscripts - one at the Bodleian Library at Oxford & the Trent Codices b) While associated with the Burgundian Court, he was not a regular member of the ducal chapel 4. Music Overview a) The Burgundian musical style cast such a spell that it lingered in Europe long after the duchy had ceased to exist as an independent political power in 1477 b) General Characteristics (1) Period produced four principal types of composition - Masses, Magnificats, motets, and secular chansons with French texts (2) The discantus line flows in expressive phrases breaking into melismas when approaching important cadences (3) Cadence formula still major 6th expanding to an octave - often with the Landini embellishment (passage from major 6th to the octave is ornamented by a lower neighbor leaping up a 3rd in the upper part) (4) Rhythm is some form of triple meter with frequent cross rhythms produced by hemiola i) Duple meter was used mainly in subdivisions of longer works to provide contrast ii) definition-hemiola a- three beats against two in an equivalent amount of time b- whether between voices or successive measures (measure of 3/2 against two measures of 3/4) 5. Musical Forms a) The Burgundian Chanson (1) In the 15th Century the term chanson stood for any polyphonic setting of a French secular poem (2) Burgundian Chanson were in effect instrumentally accompanied solo songs b) Burgundian Motets (1) At first, no distinctive sacred style emerged - both motets & Masses were written in the manner of the chanson (2) The treble might be newly composed but in many cases it was an embellished version of a chant (3) Now, the Gregorian melody begged to be recognized as an expressive musical line (4) Isorythmic motets were still written for ceremonial & state occasions c) Masses (1) it was for the Mass that Burgundian composers developed a particularly sacred style i) until about 1420 the various sections of the Ordinary were nearly always composed as separate pieces
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: c) Knowledge of 14th Century Englis
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-
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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
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
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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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