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

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a) the strict contrapuntal style found continued life throughout the Baroque Era in the music of the Roman Catholic Church - with others in modern style, and a mingling of the tow (1) Palestrina style counterpoint, imitation masses, cantus firmi masses - for unaccompanied voices or instruments merely doubling the vocal parts (2) use of the new musical resources of solo singing, basso continuo, concertato medium of multiple choirs, groups of solo voices, and instruments - the sacred works of Claudio Monteverdi (1567-1643), Giacomo Carissimi (1605 -1674), & Heinrich Schütz (1585-1672) furnishing models for the new approaches b) Italy (1) Bologna and its basilica of San Petronio was thriving center of church music in both the older and new contemporary styles (2) Sentimental style - fragile texture, balanced phrasing, lyrical sentimental tone, & plaintive chromaticism was adopted by Italian religious composers in the 18th century c) South Germany (1) a mixture of the old and new styles was also common in the Catholic centers of southern Germany - Munich, Salzburg, & Vienna i) modern church music here united Italian and German characteristics ii) the four emperors who reigned here from 1637 to 1740 not only financially supported msuic but encouraged it by their interest and actual participation as composers (2) Oratorio i) still performed in churches, they were also presented in secular venues (courts, academies, etc) as a substitue for opera during Lent or at other seasons when the theaters were closed ii) since the oratorio had a verse lebretto (regardless of secular or biblical subject) it followed the conventions of opera rather than those of liturgical music (3) Oratorio Volgare - used the vernacular (Italian) even in the Catholic centers of southern Germany - the Latin oratorio gave way after Giacomo Carissimi's time (1605-1674) d) France (1) Like opera, church music in France took its own path (2) Motets on biblical texts were principally cultivated in the royal chapel of Louis XIV i) grands motets a- elaborate motets for soloists, double choruses, and full orchestra b- multi sectional pieces made up of preludes, vocal solos (rècits), ensembles, and choruses, with frequent changes of tempo and meter ii) petit motet - French version of the sacred concerto for a few voices 2. Anglican England a) Anthems & Services remained the principal genres of Anglican church music after the Restoration b) Charles II particularly liked solo singing with orchestral accompaniment and so influenced the production of many anthems of the verse type
) Charles II particularly liked solo singing with orchestral accompaniment and so influenced the production of many anthems of the verse type c) Coronation ceremonies inspired especially elaborate works - with less pretensious occasions producing "full" or "cathedral" anthems for chorus (without soloists) 3. Lutheran Germany a) Lutheran music enjoyed a golden age between 1650 & 1750 b) affected by two conflicting tendencies (1) Orthodox Party - holding to established dogma & public institutional forms of worship favored using all available resources of choral & instrumental music in the services (2) Pietism - emphasized the freedom of the individual believer & distrusted formality and high art in worship, preferring music of simpler character that expressed feelings of devotion c) Concerted Church Music (1) Sacred Concerto - developed in the Orthodox centers i) with several musical & textural components of diverse origin a- the backbone was the concerted chorus on a biblical text (established by Schein, Scheidt, Schütz of the early/mid 17th century) b- of more recent vintage was the solo aria on a strophic, non-biblical text c- the choral was the most characteristic and traditional element ii) developed into three types of Sacred Concerto a- arias only or arias and choruses in the concertato medium b- chorales only in the concertato medium c- both arias & chorales with the chorales either in simple harmonic settings or in the concertato medium iii) now referred to as Contatas - can properly be called Sacred Concertos as composers of the time did iv) toward the end of the century, a somewhat standardized pattern of concerted church music developed - motetlike opening chorus on a bible verse, a solo movement (or movements) either aria or arioso, and a choral setting of a chorale verse (2) Lutheran Church Cantata i) in 1700 Erdmann Neumeister (1671-1756) introduced a new kind of sacred poetry intended for musical settings which he called "cantata" a- intended these texts to be set as ariosos or arias - the arias usually in da capo form & often including an introductory recitative b- texts were were set "madrigal style" - lines of unequal length with irregularly placed rhymes c- Neumeister & later composers often wrote texts in cylcles intended to fit each slot in the church calendar ii) the widespread acceptance of this new type of cantata brought together the Orthodox & Pietistic tendencies a- poetry blended objective & subjective, formal & emotional elements b- musical scheme brought together all the great traditions of the past (chorale, solo song, concertated medium
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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
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d) Polyphonic virelais, rondeaux, &
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(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 and 72: a) Venitian (1) Pietro Francesco Ca
Page 73 and 74: (2) his librettist - playwright Jea
Page 75: c) Serenata - a semi dramatic piece
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:
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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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