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

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a) The principal Italian center remained Venice - with the singers and arias attracting the cosmopolitan public b) The operatic diva was inaugurated by Anna Renzi with composers writing parts for her special talents (1) librettist Giulio Strozzi published a book glorifying her talents (2) singers such as Signora Girolama & Giulia Mascotti earned six times as much for an opera's run as Cavalli the best paid composer received for writing it 5. Naples a) developing from the late 17th century trend - principally in Napes, an operatic style developed that was more concerned with musical elegance and intrinsic effect than with dramatic force and truth - with the beauty of the music redeeming the new approach b) it would dominate 18th century opera 6. France a) Opera did not catch on in France by 1700 - but under the patronage of Louis XIV (reigned 1643-1715) the French achieved a distinctive kind of opera in the 1670's b) Origins (1) the sumptuous and colorful ballet flourishing at the royal court from 1581(with the "Ballet comique de la reine") i) was a substantial musical work - some of which was danced ii) at the beginning of each act non dancers sang solo "rècits" in a style similar to the air du cour - there were polyphonic choruses as well - costumed and masked dancers appeared at the "entrèes" (music that reinforced the dancers' charaterizations iii) evening ended with a "grand ballet" in which leading nobility and the king himself took part (2) the classical French tragedy - represented best by the works of Pierre Corneille (1606-1684) & Jean Racine (1639-1699) (3) France's literary & theatrical culture demanded that poetry and drama be given priority on stage (4) After tentative experiments by Robert Cambert (ca. 1627-1677), Jean- Baptiste Lully (1632-1687) succeeded in reconciling the demands of drama, music, and ballet in a new genre of theatrical work - the "tragèdie en musique" later named "tragèdie lyrique" c) Louis XIV (1) fully participated in the art form he patronized - the ballet - eventually earning a reputation as one of the most brilliant dancers of his time (2) created the Royal Academy of Dance (1661), Academy of Science (1669), and the Academy of Music (1671) d) Jean-Babtiste Lully (1632-1687) (1) became virtual musical dictator of France when a royal privilege of 1672 gave his Acadèmie Royale de Musique a monopoly in the medium of sung drama (2) his librettist - playwright Jean-Philippe Quinault provided texts that combined serious mythological plots with frequent long interludes (divertissements) of dancing and choral singing
(2) his librettist - playwright Jean-Philippe Quinault provided texts that combined serious mythological plots with frequent long interludes (divertissements) of dancing and choral singing (3) Lully adopted the style of Italian recitative to the French language & poetry - no simple task given the rhythms and accents of the French language compared to Italian i) rècitatif simple - Lully in the dialogue of the characters shifted the meter, or grouping of note values, between duple and triple ii) rècitatif mesurè - a more song like, uniformly measured style with a more deliberate motion in the accompaniment - frequently interrupts the rècitatif simple a- often marked as "air" in the score b- but they lack the closed form or the rhyme schemes of the the true air which most often has the meter 7 form of a dance iii) the Ouverture a- even before his opera, Lully established a two-part form of the "French Overture" (Ouverture) for ballets i- first section is homophonic, slow, & majestic marked by persistant dotted rhythms and figures rushing toward the downbeats ii- second section begins with a semblance of fugal imitation and is comparatively fast moving without sacrificing a certain grave and serious character iii- the slow section or one like it returns at the end b- throughout the remainder of the Baroque era, ouvertures were used to introduce ballets, operas, oratorios, and instrumental works such as suites, sonatas, and concertos - also appearing as independent pieces c- originally intended to create a festive atmosphere for the ballet or opera (getting the audience's attention for the music to follow) that followed and also functioned to welcome the king to a dance or performance i- Venetian overtures of the early 17th century served the same purpose ii- by end of the century they introduced a different type called sinfonie iv) Lully's influence extended to the orchestra - with the core being the "vingtquatre violins du roy" (the king's 24 violins) v) Lully's followers in France continued to write in operatic style he founded a- introducing an occasional aria in Italian style, the da capo aria (called ariette in France), expanding the scenes of divertisement b- opèra-ballet - an outgrowth of this expansion was a mixed form initiated by Andrè Campra (1660-1744) with "L'Europe galante in 1697 7. England a) Opera in England (or what was known as opera) had a short life the in the second half of the 17th century (1) the "masque" (similar aristocratic entertainment to the French ballet i) flourished for many years ii) Milton's "Comus" in 1634 with music by Henry Lawes (1596-1662) is the best known
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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,
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i) They sang, played, and danced to
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1. Organum Purum a) The lower voice
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(9) Phrase endings of different voi
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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 and 68: ii) passacaglia iii) chaconne iv) c
Page 69 and 70: ii) melody would receive different
Page 71: a) Venitian (1) Pietro Francesco Ca
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
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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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