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

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(4) Composers i) William Byrd (1543-1623) ii) John Bull (ca. 1562-1628) iii) Orlando Gibbons (1583-1625) iv) Thomas Tomkins (1572-1652) (5) Keyboard collections began with the Mulliner Book (ca. 1540-1585) - most comprehensive is the Fitzwilliam Virginal Book (1609-1619) (6) Use of the 6 notes of the hexachord (ut, re, me, fa, sol,la) for counterpoints D. Summary 1. Instrumental music evolved out of the vocal dominated oral tradition 2. Dance music dominated but by end of century many other independent instrumental genres could be distinguished by their function and procedures a) first identified with a particular instrument they spread to other instruments & to ensembles b) i.e. toccata, ricercare, prelude, fantasia, canzona, sonata, and sets of variations 3. Around 1600, English lute and keyboard composers took the lead in instrumental writing VIII. Church Music of the Late Renaissance and Reformation A. Music of the Reformation in Germany 1. The Lutheran Church retained much of the traditional Catholic liturgy a) When he nailed the 95 theses to door of Schlosskirche at Wittenberg in 1517 he had no intention of initiating a movement toward a Protestant church (1) Use of Latin in services (2) Catholic music - plainsong & polyphony i) original Latin text was retained ii) translated to German from Latin iii) new German texts fitted to old melodies b) Central position of music in the Lutheran Church reflected Martin Luther's own convictions (1) He was a singer, a composer of some skill and a great admirer of Franco- Flemish polyphony (2) Believed strongly in the educational and ethical power of music (3) Retained Latin in the service partly because he thought it was valuable for educating the young c) German Mass (1) In applying Luther's beliefs to their own local traditions congregations developed a number of different usages i) large churchs with trained choirs retained much of the Latin liturgy & polyphonic music ii) smaller congregations adopted a German Mass (Deudsche Mass) a- first published by Luther in 1526 b- followed main outlines of the Roman Mass c- Gloria omitted & recitation tones adapted to the natural cadences of the German language
d- German hymns replaced most to the Ordinary & parts of the Proper (2) Luther never intended either this German mass or any other formula to be uniformly adopted d) Music forms (1) The Lutheran Chorale i) Lutheran church music of the 16th & 17th centuries largely grew out out of the chorale a- long time shortage of suitable songs b- Luther himself wrote many chorale texts & some melodies c- many were newly composed d- more were derived from secular & sacred songs or Latin chants ii) Characteristics a- most distinctive and important musical innovation of the Lutheran church b- a strophic congregational hymn called a "Choral" or "Kirchenlied" (Church song) - in German and a "Chorale" in English c- consisted essentially of only two elements - a text and a tune i- most today know these in four part harmonized settings ii- probably sung with notes of fairly uniform length with modifications suggested by the natural flow of the words - with indefinite pause on the final note of each phrase iii- the chorale like plainsong lent itself to settings in harmony, counterpoint, & could be reworked into large musical forms iii) Contrafacta a- a class of chorales with extant melodies and new or spiritualized texts b- important class of chorales iv) Polyphonic Chorale Settings a- some used the older lied technique - plain chorale tune in the tenor with three or more free flowing parts b- some developed - in the manner of Franco-Flemish motet - each phrase of the chorale imitatively in all the voices c- cantional style - the tune in the highest voice, accompanied by block chords, with a minimum of contrapuntal figuration v) Performance Practice a- Choir - sometimes doubled by instruments - generally alternated with the congregation b- congregation sang in unison without accompaniement c- after 1600 it became customary for all the parts be played on the organ while congregation sang the tune vi) Publications a- Johann Walter (1496-1570) - Luther's principal collaborator - published a volume of 38 chorale settings b- Georg Rhau (1488-1548) - leading music publisher of Lutheran Germany c- Lucas Osiander (1534-1604) - published first collection in cantional style vii) Composers
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 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: a- essential step in this developme
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
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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
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
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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
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i- immediate background included Fr
Page 141 and 142:
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
Page 147 and 148:
) 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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