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

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) the Roman Catholic Church never completely abandoned polyphony - indeed, Palestrina's style (stile antico) became the supreme model for church music (1) composers coexisted with stile antico & stile moderno sometimes both in the same piece (2) in the course of time, the old style was modernized - a basso continuo was often added, rhythms became more regular, and the older modes gave way to the major-minor system c) Johann Joseph Fux (1660-1741) codified this quasi-Palestrinian counterpoint in his famous treatise Gradus ad Parnassum - which remained the most influential textbood on the subject for the next two centuries 2. Venice a) next to Rome, the most important city of the Italian penensula - reached its summit of power in the 15th century - but the community that was the outgrowth of past prosperity continued without obvious abatement in the 16th century b) Church of Saint Marks (1) the heart and center of Venetian musical culture (2) independent, it was responsible more directly to the reigning doge than to any outside ecclesiastical authority i) most of the civic ceremonies took place in the church or its vast piazza ii) music at the church was supervised by officials of the state - who spared no expense c) Music (1) Venetian music was characteristically full and rich in texture, homophonic rather than contrapuntal, varied and colorful in sonority - with massive chordal harmonies replacing the intricate polyphonic lines of the Franco- Flemish composers (2) Venetian Polychoral Motets i) from before the time of Willaert (ca. 1480-1562) had often written for double chorus ii) divided choirs (cori spezzati) did not originate in Venice but found a congenial home there a- encouraged homophonic choral writing b- broad rhythmic organization (3) Giovanni Gabrieli (1557-1612) i) the polychoral performances grew to unheard of proportions under him ii) his motet "In ecclesiis" explored explored these new resources d) The Venetian Influence (1) Venetian choirmasters and composers through their teaching, writing, and composing exercised broad influence in the late 16th & early 17th centuries (2) Gabrieli's students and admirers spread his style though out Northern Italy, Germany, Austria, and Scandinavia (3) Composers i) Heinrich Schütz (1585-1672) a German was the most famous pupil ii) Hieronymus Praetorius (1560-1629) in northern Germany iii) Jocob Handl (1550-1591) active in Olmütz & Prague
iii) Jocob Handl (1550-1591) active in Olmütz & Prague iv) Hans Leo Hassler (1564-1612) another German pupil of Gabrieli v) Mikolaj Zielenski (ca. 1550-ca. 1615) J. Genres of Catholic Church Music 1. Monody, the concertato medium, and even the apparatus of the theater were all turned to sacred uses - Emilio de'Cavaliere (ca. 1550-1602) even before the first surviving opera produced a morality play with music on a stage in Rome 2. The Grand Concerto a) Roman counterpoint played a lesser role than the medium of the grand concerto in the 17th century b) sacred works for huge aggregations of singers and players - sometimes reaching colossal proportions c) Orazio Benevoli (1605-1672) major figure writing in Rome for St. Peter's 3. Concerto for Few Voices a) one, two, or three solo voices sang to the accompaniment of an organ continuo was much more familiar to the average parishioner b) Lodovico Viadana (1560-1627) - one of the first composers to exploit this new medium 4. where resources permitted, the grand concerto was combined with the concerto for few voices a) Monteverdi's Vespers of 1610 pioneered the medium b) Alessandro Grandi (ca. 1575/80-1630) was particularly noted for his sacred compositions in the new style 5. Oratorio a) middle of 17th century was a sacred dialogue, which combined elements of narrative, dialogue, and meditation or exhortation but not usually intended for stage performance with a libretto in Latin or Italian (1) called oratorio because they were most often performed in the oratory - the part of the church where lay societies met to hear sermons and sing devotional songs (2) Giacomo Carissimi (1605-1674) - his "Jephte" exemplifies a mid-century oratorio b) both oratorios & operas used recitative, arias, duets, and instrumental preludes and ritornellos but the oratorio differed in numerous ways (1) subject matter was sacred (2) narration was included (3) chorus was used for dramatic, narrative, and meditative purposes (4) seldom - if ever - staged with action described or suggested, not played out K. Lutheran Church Music 1. Sacred music in Austria, and the Catholic southern cities of Germany remained wholelly under Italian influence - with Italian composers particularly in Munich, Slazburg, Prague, and Vienna 2. Composers in the Lutheran central and northern regions began to exploit the new medium early in the 17th century a) along with the new media, the continued to write polyphonic chorale motets as well as biblical motets
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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
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i) Current belief is that the churc
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) Performance Classification (1) An
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(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 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: 3. Formal articulation was achieved
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)
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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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