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

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1. Forerunners a) Opera is a drama that combines soliloquy, dialogue, scenery, action, and continuous (or nearly continuous) music (1) Earliest works in this genre date from the very end of the 16th century (2) But the association of music with drama goes back to ancient times i) the choruses and some lyric speeches in the plays of Euripides and Sophocles were sung ii) medieval liturgical dramas were sung and music figures - if incidentally - in the religious mystery & miracle plays of the late middle ages b) Renaissance theater of the 16th century (1) Many tragedies & comedies imitated Greek models - the choruses were sometimes sung - at the opening or ending of an act i) Greek tragedy served as a distant model for the Renaissance theater - scholars of the time disagreed on how centrally music figured in Greek drama a- only choruses sung b- entire text was sung - including actors' parts as expressed by Girolamo Mei (1519-1594) (2) Intermedi: pastoral, allegorical, or mythological interludes- offering spectacular and elaborate musical productions, with choruses, soloists, and large instrumental ensembles - between acts of a comedy or tragedy (3) Madrical Cycles: the madrigal as a miniature drama - represented a series of scenes or moods or wove a simple comic plot in dialogue (4) The Pastoral: the pastoral poem - telling of idyllic love in loosely dramatic form - a predominant genre of Italian verse composition provided one model for early musical plays i) music seemed not only the natural mode of communication but the missing link to the poets' visions and longings ii) pastoral poetry was at once the last stage of the madrigal and the first stage of the opera libretto c) The Florentine Camerata (1) Girolamo Mei (1519-1594) a Florentine scholar who had edited a number of Greek tragedies and when in Rome had embarked on a thorough investigation of Greek Music - particularly its role in theater i) between 1562 & 1573 he read - in Greek - almost every ancient work on music that survived ii) reported his work in 4 books - "De Modis" (Concerning the Modes) - parts of which were communicated to his colleagues in Florence. a- the Greeks obtained powerful effects with their music because it consisted of a single melody - whether sung by a soloist with or without accompaniment or by a chorus b- this melody could move the listener through the natural expressiveness of vocal registers, rises and falls in pitch, and the changing rhythms and tempo (2) Giovanni Bardi (1534-1612) one of his most frequent correspondents - with Vincenzo Galilei (1520?-1591) - hosted and informal academy at his palace in Florence with discussions on literature, science, and the arts with musicians perfoming new music
(2) Giovanni Bardi (1534-1612) one of his most frequent correspondents - with Vincenzo Galilei (1520?-1591) - hosted and informal academy at his palace in Florence with discussions on literature, science, and the arts with musicians perfoming new music i) Galilei in his "Dialogo della musica antica et della moderna" used the doctrines of Mei to attack the theory and practice of vocal counterpoint - exemplified by the Italian Madrigal a- only a single line of melody - with pitches and rhythms appropriate to the text - could express a given line of poetry b- several voices simultaneously singing different melodies and words in different rhythms and registers could never deliver the emotional message of the text c- only a solo melody could enhance the natural speech inflections of a good orator or actor (3) Bardi's protègè the singer/composer Giulio Caccini (1551-1618) later referred to this gathering as the "Camerata of Bardi" 2. The Earliest Operas a) First productions (1) Poet Ottavio Rinuccini (1562-1621) & composer Jacopo Peri (1561-1633) became convinced that the ancient tragedies were sung in their entirety. i) first experiment was "Dafne" (1598) of which only fragments survive ii) "L'Euridice" was a second more ambitious poem (2) Emilio de' Cavaliere (1550?-1602) produced a sacred musical "Rappresentatione di Anima et di Corpo" the longest entire musical stage work at that time b) Techniques (1) Peri, Caccini, and Cavalieri had similar approaches to theatrical music - they all aimed for a kind of song that was halfway between spoken recitation and singing i) Caccini & Cavalieri wrote in a style based on the madrigal and on the airs that poets & singers improvised upon when singing or reciting poetry ii) Peri modeled his prologue on the air for singing poetry but for dialogue he invented a new idiom which was to be known as "stile recitativo" - recitative style iii) NB: this should not be confused with the term monody that embraces all the styles of solo singing practiced in the early years of the 17th century - including recitative, arias, and madrigals iv) Caccini developed a songful yet mainly syllabic style of solo writing a- aimed at clear and flexible declamation of the words b- but embellished the melodic line at appropriate places c- monody thus received a patina of vocal virtuosity d- published collection of his works titled "Le nuovo musiche" c) The Recitative Style (1) In Euridice, Peri realized a style that lies between speech & song - but he varied his approach according to the dramatic situation i) he wanted to find a kind of speech-song that was halfway between them - similar to the style scholars thought ancient Greeks used for reciting epic
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An Outline of The History of Wester
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Ancient Greece and Rome Through Ren
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(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 and 54: Baroque
Page 55 and 56: ii) Bach & Handel owed much to the
Page 57: ) typical texture of the Baroque pe
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
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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
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