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

More documents

Recommendations

Info

I. Music of the Early Baroque Period A. General Characteristics 1. Term Baroque (1600-1750) a) Used by Charles de Brosses around 1750 in describing the facade of the Pamphili Palace in Rome which was being made over in a kind of filigree ornamentation b) The term was embraced by art historians in the late 19th century to describe a whole period of art and architecture (1) term originally meant abnormal, bizarre, exaggerated, grotesque. or in bad tastes (2) art critics Jacob Burckhardt & Karl Baedeker in 19th century brought out the positive side of the term - describing the flamboyant, decorative, and expressionistic tendencies of 17th century painting & architecture. (3) adopted by music historians in the 1920's applying the term to music from late 16th century thru mid 18th century. i) music is to diverse to apply the baroque label to designate all music as baroque ii) rather, defines a period, evoking the artistic & literary culture of an entire period iii) Dates are approximations with characteristics appearing before 1600 with many declining by 1730 (4) Within the chronological limits of 1600-1750 composers accepted a set of conventions for organizing music and shared ideals of how it should sound - most important they believed that music's principal goal was to move the affections 2. Geographical & Cultural Backgound a) Italian attitudes dominated the musical thinking of this period - by the end of the Baroque era the music of Europe had become a single language with Italian roots (1) from mid 16th to mid 18th century Italy remained Europe's most influential musical region i) Florence with a brilliant period of musico-theatrical innovation at beginning of the 17th century ii) Rome exerting a steady influence on sacred music and for a time an important center of opera, cantata, & instrumental music iii) Venice & Naples becaming a centers of opera iv) Bologna & other northern cities witnessing important developments in instrumental music (2) France which developed and maintained its own distinctive national idiom could not escape the Italian influence i) particularly strong throughout the first half of the 17th century ii) Jean-Baptiste Lully whose works did most the establish the French style (emerging after 1630's) was ironically a Florentine brought to France at age 13 (3) Germany, the 30 Year's War overwhelmed an already weakened musical culture i) in the second half of 17th century music was rebuilt on the Italian style ii) Bach & Handel owed much to the Italian influence
ii) Bach & Handel owed much to the Italian influence (4) England - music faded from the glories of the Elizabethan & Jacobean ages with the period of the Civil War & the Commonwealth (1642-1660) revived toward the end of the century with a nearly complete surrender to the Italian Style b) Wealthy absolute governments ruled Europe in this period and their patronage helped cultivate new genres of music (1) the court of Louis XIV of France (reigned 1643-1715) was the most imposing (2) the church continued to support music but its role was less important in the Baroque era than it had been priviously (3) public concerts with paid subscriptions or admission were still rare, not becoming widespread until the later 1700's (4) other arts & sciences also benefited during the Baroque i) England - John Donne & Milton ii) Spain - Cervantes, Velàzqueze, & Murillo iii) France - Corneille, Racine, & Molière iv) Netherlands - Rubens, & rembrandt v) Italy - Bernini, & Borromini vi) Science & Philosophy - Bacon, Descartes, Leibniz, Galileo, Kepler, & Newton B. New Musical Idiom 1. General a) Music was profoundly influenced by the changes taking place in the intellectual and artistic realms (1) expanded the vocabulary to meet new expressive needs (2) poured more intense and more varied emotions into the musical genres inherited from the Renaissance (3) by the middle of the century, the new resources of harmony, color, and form coalesced into a common language with a firm vocabulary 2. Two Practices a) Composers and observers recognized that they had inherited a plurality of styles from the previous century b) Montiverdi in 1605 distinguished between a Prima Practica and a Secunda Practica (1) prima practica (or - stile antico/stylus gravis) i) the style of vocal polyphony codified by Zarlino ii) music dominated the verbal text (2) seconda practica (or - stile moderno/stylus luxurians) i) text dominated the music ii) dissonances used more freely to express the feelings evoked in the text c) By the middle of the century, theorists had proposed more complex and comprehensive systems of style classification (1) most widely accepted was a threefold division into church, chamber, and theater music - with a particular social function and certain technical traits (2) by the end of the century, these distinctions were glossed over and compositional vocabulary was the same for the three categories
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 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: Baroque
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

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?