- Page 1: An Outline of The History of Wester
- 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 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
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Baroque
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ii) Bach & Handel owed much to the
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) typical texture of the Baroque pe
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(2) Giovanni Bardi (1534-1612) one
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(2) in his Orfeo of 1647 the antiqu
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3. Formal articulation was achieved
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iii) Jocob Handl (1550-1591) active
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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),
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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