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

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) "Tragedy" incorporates the noun "ode" - the art of singing 6. The doctrine of Ethos a) Music possessed moral qualities and could affect character & behavior b) Plato & Aristotle agreed that the "right" kind of person could be made through a system of public education that stressed (1) Gymnastics for discipline of body (2) Music for discipline of mind D. Music in Ancient Rome 1. Took their art music from Greece especially after 146 B.C.E. when it became a Roman Province 2. Cultivated people would be expected to know Greek and be educated in music E. Summary - the Ancient Heritage 1. Music consisted of essentially of pure, unencumbered melodic lines 2. Melody was intimately linked with the rhythm and meter of words 3. Musicians did not read from notation a) Memories b) Knowledge of traditional musical formulas c) Conventions 4. Philosophers conceived of music as an orderly system a) Interlocked with Nature b) a force in human thought and conduct 5. Scientifically founded acoustical theory developed 6. Scales were built up from tetrachords 7. Theorists developed a sophisticated musical terminology 8. #'s 5,6, & 7 are Greek others are common to ancient world F. The Early Christian Church 1. Rome's Decline a) Rome steady decline left the Catholic Church the sole unifying & stabilizing influence in Europe (till the 10th Century C.E. (1) Emperor Constantine made christianity the official religion of the the royal family in 312 C.E. (2) The Roman Empire was split into eastern (Byzantium) and western (Rome) parts in 395 C.E. (3) Western part (Rome) fell in 476 C.E. b) Early Musical Influences on Christianity (1) Must have absorbed from Greek and mixed Oriental/Hellenistic cultures in the eastern Mediterranean i) Rejected the idea of cultivating music purely for enjoyment ii) Rejected the forms and type associated with public spectacles iii) Rejected music of more intimate & convivial occasions iv) Wanted to wean converts away from everything associated with a pagan past - including for a short time instrumental music (2) The Judaic Heritage
i) Current belief is that the church and synagogue liturgies developed independently ii) Was influenced by the synagogue practice of readings specific to a calendar and public commentary upon them in a public meeting house (3) Other influences i) As the Church spread from Jerusalem it continued to pick up musical influences from diverse areas a- psalm singing from the monasteries and churches of Syria b- Byzantium with the classification of the chant repertory into 8 modes as well as the borrowing of the chants themselves (4) Between 9th & 16th Centuries a uniform practice was developed with authority emanating from Rome. i) Theory & practice ii) Roman chant supersede the local variants a- Gallican in France b- Celtic Chant in Ireland & parts of British Isles c- Beneventan in Southern Italy d- Old Roman in Rome e- Visigothic & Mozarabic in Spain f- Ambrosian in Milan c) Early Christian Musical Thought (1) Early writers like the Greeks believed the value of music was its power to inspire divine thought and influence for good or evil the character of its listeners (2) Did not deny that beautiful music was pleasurable but held to the Platonic principle that beautiful existed to remind us of the divine (3) Music was a servant of religion only music that opened the mind to Christian Teachings and disposed to holy thoughts was worthy of hearing in Church d) Early Music Theorists (1) Theory and philosophy of the ancient world was gathered, summarized, modified, and transmitted to the West during this era (2) Martianus Capella i) Produced a textbook on the 7 liberal arts - "The Marriage of Mercury and Philology" (early 5th Century) a- Verbal arts: grammar, dialectic, & rhetoric or the trivium b- Mathematical arts: geometry, arithmetic, astronomy, & harmonics or the quadrivium (by Boethius) ii) Disguised as speeches made by bridesmaids at the wedding of Mercury & Philology (3) Boethius (ca. 480 - 524/26) i) Most revered and influential authority on Music is the Middle Ages ii) Wrote "De institutione musica" ( The Fundamentals of Music) iii) Compiled from Greek sources
Page 1 and 2: An Outline of The History of Wester
Page 3 and 4: Ancient Greece and Rome Through Ren
Page 5: (1) Cult of Apollo - lyre (2) Cult
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
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) typical texture of the Baroque pe
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(2) Giovanni Bardi (1534-1612) one
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(2) in his Orfeo of 1647 the antiqu
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3. Formal articulation was achieved
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iii) Jocob Handl (1550-1591) active
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ii) passacaglia iii) chaconne iv) c
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ii) melody would receive different
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a) Venitian (1) Pietro Francesco Ca
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(2) his librettist - playwright Jea
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c) Serenata - a semi dramatic piece
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) Charles II particularly liked sol
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(3) Andreas Hammerschmidt (1611-167
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h- Jan Adam Reincken (1623-1722) i-
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iv) Chaconne - a stately movement i
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ii) solo instruments were also usua
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c) Francesco Germiniani (1687-1762)
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c) Leipzig (1723-1750) - as Cantor
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d) Oratorios (1) the Italian orator
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I. Sonata, Symphony, and Opera in t
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c) Baroque - J.S. Bach (1685-1750),
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2. Musical Rhetoric a) first decade
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iii- Domenico Cimarosa (1749-1801)
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c- A2 begins by restating the melod
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c) composers 1: early: J.J. Quantz
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ii) there may be a coda ii- this is
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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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An Outline of The History of Western Music Grout ... - The Reel Score

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