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

More documents

Recommendations

Info

(3) ensemble canzona - a patchwork of short thematically unrelated sections that might be repeated literally or in varied form later in the work - Tarquinio Merula (1594-1665) i) usually written in four parts ii) usually could be played just as well without the continuo (4) in comparison to ricercare & fantasia a livelier, more marked rhythmic melodic material with emphasis on the division of the piece into sections (indicates origin from the French chanson) e) English Consort music (1) consort (ensemble) music for viols which flourished in England in the beginning of 17th century - Alfonso Ferrabosco the Younger (before 1578 -1628), John Coprario (aka Cooper, ca. 1570-1627) (2) John Jenkins (1592-1678) - leading composer of viol consort music in the mid 17th century f) Sonata (1) a vague term for instrumental pieces in the early 1600's gradually came to mean a compositon that resembled a canzona in form with special features i) scored for one or two melody instruments - usually violins w/basso continuo ii) often took advantage of the idiomatic possibilities offered by a particular instrument iii) somewhat free & expressive character (2) Biagio Marini (ca. 1587-1663) "Sonata per il violino per sonar con due corde", Op. 8 (1629) is an early example of instrumental monody (3) by the middle of the 17th century the canzona & sonata had thoroughly merged i) written for many different instrumental combinations ii) with two violins & continuo a common medium - usually called trio sonatas (4) sometimes name was qualified as sonata da chiesa since many pieces were written for use in church g) Variations (1) The theme & variations form (a favorite of late Renaissance keyboard composition) underwent further development (2) often variation did not appear in the title & the term partite was often used in the early 17th century for sets of variations - later called suites (3) Techniques i) Cantus Firmus Variation - melody repeated with little or no change though it might wander from voice to voice - Jan Pieterzoon Sweelinck (1562-1621), Samuel Scheidt (1587-1654), & English virginalists a- Scheidt (northern Germany) published a large collection of compostions for organ "Tabulatura nova" based on chorale melodies b- works of Scheidt and his influence as a teacher were the foundation of a remarkable development of North German organ music in the Baroque Era ii) melody would receive different embellishment in each variation - most often the top most voice with underlying harmony remaining essentially unchanged - Johann Adam reincken (1623-1722)
ii) melody would receive different embellishment in each variation - most often the top most voice with underlying harmony remaining essentially unchanged - Johann Adam reincken (1623-1722) iii) the bass or the harmonic structure, rather than the melody could supply the constant factor - Giroloamo Frescobaldi (1583-1643) "Aria di Ruggiero h) Dance Music (1) important not only for its own sake but also because its rhythms permeated vocal & instrumental - both secular & sacred (2) Suites i) a composition in several movements (rather than a mere succession of short pieces each in a certain mood & rhythm) a- a German phenomenon b- theme & variation technique was now extended to all the dances in a suite ii) exemplified by Johann Hermann Schein (1586-1630) "Banchetto musicale" (1617) a- contains 20 suites in five parts - each suite having a sequence b- ordered - paduana (pavan), gagliarda (galliard) courante, & allemande with a tripla (variation in triple meter of the allemande) iii) sometimes the suite included or was published separately an "intrada" - a piece usually of festive, march like character. As name suggests, it might serve as the opening movement of a suite i) French Lute & Keyboard Music (1) French lute style was the basis for important developments in keyboard music and, indeed, for the entire French style of composition in the late 1600's i) composers in France established the characteristic idiom for the individual dances through their arrangements of actual ballet music ii) written not for an ensemble, but for solo instrument - first he lute and later the clavin (harpsichord) or viola da gamba iii) lute music flourished in France - Ennemond Gaultier (1575-1651) a- Lute "style brisè" - since lute player usually one note at a time - sketched in melody, bass, & harmony - shifting registers - relying on the listener's imagination to supply the continuity of the various lines b- adapted by French composers to the harpsichord - basis for important developments in keyboard music & entire French style of composition in the late 16 & 1700's i- Denis Gaultier (1603-1672) "La Rhètorique des dieux" a published manuscript collection of his works - culminated the French lute music of early 17th century ii- Jaques Champion de Chambonnières (1601/02-1672) earliest important composer of the new keyboard idiom and one of first French clavecinists iii- clavecinists included Louis Couperin (1626-1661), Jean Henri d'Anglebert (1635-1691), Elisabeth-Claude Jacquet de La Guerre (1665-1729), & François Couperin (1668-1733)
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 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: ii) passacaglia iii) chaconne iv) c
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?