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

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ii) in course of the 15th century became standard practice to set the Ordinary as a musically unified whole iii) composers developed cyclical forms (movements based on single melodic subject) to give the Mass settings a single thread (2) Plainsong Mass i) composed all 5 parts in same style a- strengthened when each movement used a separate chant (in ornamented form in the treble) as a starting point b- melody used called a "cantus firmus" - using secular or sacred material c- unity resided in the liturgical association rather than musical semblence d- Mass using Gregorian themes is called a "missa choralis" or "plainsong mass" (3) Motto Mass i) used same thematic material in all sections of the Mass ii) called "motto Mass" it the connection consisted only in beginning each movement with the same melodic motive (usually in the treble) (4) Cantus Firmus Mass i) constructing every movement around the same cantus firmus - placed in the tenor ii) called a "cantus firmus Mass" or "cyclical mass" iii) English composers utilized this first but became widely used on the Continent iv) customary practice by second half of 15th century 6. Musical Techniques a) Four voice parts became standard (1) Placing cantus firmus in tenor (following the medieval motet tradition) created problems i) sound ideal of 15th century needed the lowest voice to function as a harmonic foundation - particularly at cadences ii) having lowest voice as non alterable cantus firmus would limit composers ability to provide this harmonic foundation iii) solution was to add a voice below the tenor a- called at first contratenorbassus & later simply bassus b- parts high to low were superious (also called cantus or discantus), contraatenor altus later called altus, tenor, bassus b) cantus firmus in long notes and in an isorhythmic pattern (1) When plainchant, a rhythmic pattern was imposed on it and repeated if the melody was repeated (2) When a secular tune the original rhythm was retained - but faster or slower in relation to the other voices 7. Gilles Binchois (1400-1460) a) Stood at center of musical life in the Burgundian Court b) Master of the chanson - especially the rondeau
c) Continued the treble dominated style of the 14th century - avoided rhythmic complications D. Summary 1. Differentiate musical style of Renaissance from the Middle Ages a) Control of dissonance b) Predominately consonant sonorities (6th & 3rd) c) Equal importance of the voices d) Melodic & rhythmic identity of lines e) 4 part texture f) Occasional use of imitation 2. Rise of a "learned" musical style rising to dominance after the middle of the century VI. The Age of the Renaissance: Music of the Low Countries (1450-1600) A. General Characteristic 1. Because of the rapid changes that music underwent during this 150 yrs it is not possible to define a Rennaissance musical style - the Renaissance was more of a general cultural movement and state of mind than a specific set of musical techniques 2. Revival of ancient ideals with renewed interest in ancient Greek & Roman culture 3. Rise of Humanism a movement that revived ancient learning - particularly grammer, rhetoric, poetry, history, & moral philosophy a) Most characteristic intellectual movement of the Renaissance (1) A rededication to human as opposed to purely spiritual goals (2) Besides salvation after death, fulfillment in life was now a desirable goal - no longer considered evil to express the full range of human emotions & enjoy the pleasures of the senses (3) Artists and writers now turned to secular as well as religious subject matter and sought to make their works not only acceptable to God but understandable & delightful to people b) Rebirth in interest in music theory's Greek past (1) Gioseffo Zarlino 1517 - 1590 i) pointed with pride to contemporary technique - contrasting with current Greek revival ii) did agree with Bernardino Cirillo (who yearned for greatness of the past) that music had declined after the classical age iii) Le institutioni harmoniche (The Harmonic Foundations 1558) (2) Franchino Gaffurio 1451-1522 i) his treatises were most influential of the time ii) writing stimulated new thoughts on modes, consonance & dissonance, the tonal system, tuning, word-music relations, the harmony of music, the human body & mind, & the cosmos iii) Theorica musice (Theory of Music 1492), Practica musice (The Practice of Music 1496), De harmonia musicorum intrumentorum opus (A Work concerning the Harmony of Musical Instruments 1518) (3) Heinrich Glareanus 1488 - 1563 i) added 4 modes to the traditional 8
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: d) Prestige of the Burgundian Court
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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