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

More documents

Recommendations

Info

ii) two or more voices might proceed in canon while other voices moved in independent lines (3) Puzzle canons i) composers took a sly pleasure in concealed ingenuity - forcing performers into a guessing game ii) directions for deriving the second voice (or even for singing the written one) are sometimes only hinted at in an intentionally obscure or jocular fashion d) Motets (1) Could be written on a wide range of relatively unfamiliar texts - offering interesting new possibilities for word-music relationships (2) Masses on other hand left little room for experimentation due to liturgical formality, unvarying text, and established musical conventions 9. Text Setting a) In keeping with Humanist Ideals composers strove to make the music better communicate the meaning of the texts b) Word/Music relationship (1) Fitted musical stress to the articulation of the words - both Latin & vernacular (2) Wanted the words heard & understood i) meant that this could not be left to singers in performance ii) required that the text in the score be underlaid (positioned under the music) clearly & completely) (3) Highly florid lines of Ockeghem & Franco-Flemish influence gave way to more direct syllabic settings - in which a phrase of text could be grasped as an uninterrupted thought c) Musica Reservata (1) Term came to use shortly after the middle of the 16th century to denote the "new" style of music by composers who introduced chromaticism, modal variety, ornaments, and extreme contrasts of rhythm & texture to project the words more forcefully and graphically (2) Terms meaning remains clouded E. Summary 1. Style a) Around 1500 a prevailing style emerged out of the variety of compositional techniques practiced in England & on the Continent b) Charateristics (1) Style i) structure of the text now largely determined that of the music ii) composers wrote polyphonic parts that were singable and nearly equal in importance iii) parts began to be composed simultaneously as the layering method became impractical with current compostional goals a- quest for fullness of harmony b- vocality of melody c- motivic relationships
iv) Bass took over the foundation of the harmony v) cadences continued to close with perfect consonances but utilized full triadic sonority between them vi) favoring duple measures vii) while borrowed melodies were still used to unify a composition, they were distributed among voices rather than confined to tenor or superius (2) Genre i) Cyclical Mass & motet were the preferred sacred ii) Chanson was cast in new shapes pervaded by imitation - moving away from forme fixes iii) utilization of transparent forms a- overlapping fugal or imitative sections relieved by occasional homophonic textures (3) These trends gave composers greater flexibility than they had before and more opportunity to communicate with a larger audience VII. New Currents in the Sixteenth Century A. The Franco-Flemish Generation 1. Trends a) Between 1520 & 1550 the dominant Franco-Flemish style underwent a transformation - partly because northerners working in Italy & Germany assimilated the musical idioms of their adopted countries b) Instrumental music increased in both importance & production (1) affected by musicians' migrations (2) affected by the changing character of vocal music c) Church music changed more gradually (1) Some composers returned to the continual contrapuntal style of Ockeghem (2) But the canons and similar devices of the older school were almost completely abandoned (3) Imitation Mass gradually replaced the Cantus Firmus mass of the older school (4) Chant melodies were more freely treated and still served as subjects for Masses (5) Masses & motets were being written for 4, 5, or 6 voices rather than 4 2. Composers a) Nicolas Gombert (1) Exemplified the northern motet style of 1520-1550 (2) Thought to have been a student of Josquin b) Jocobus Clemens (ca. 1510-ca.1556) c) Adrian Willaert (ca. 1490-1562) (1) A pioneer in bringing text and music into closer rapport i) first to insist that syllables be printed under their notes ii) that scrupulous attention be paid t the stresses of Latin pronunciation (2) Experiments in chromaticism & rhythm were on the cutting edge of new developments
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 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: a) Pertrucci's 1st publication (1)
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
Page 91 and 92:
d) Oratorios (1) the Italian orator
Page 93 and 94:
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
Page 105 and 106:
ii) there may be a coda ii- this is
Page 107 and 108:
8. paved the way for the mature cla
Page 109 and 110:
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
Page 119 and 120:
v- content and form may be suggeste
Page 121 and 122:
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
Page 129 and 130:
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
Page 147 and 148:
) by mid 20th century, distinct pit
show all

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

Create successful ePaper yourself

Delete template?

Save as template?