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

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c) Later in the 15th century when combining 5ths & 3rds, and 3rds & 6ths became common - began to compromise the tuning of 5th & 4ths - and utilized meantone temperment d) With both of these, playing in every key possible key or modulating through the entire cycle of 5ths risked unpleasant results - certain 5ths were very rough sounding 2. Equal temperment in which all semitones are equal and all intervals except the octave are less than true but acceptable offered a solution proposed as early the 16th century 3. Eventually the Equal Temperment solution was embraced by many composers, players, & organ builders of the Baroque era C. Forms 1. Keyboard a) Organ Music (1) the Baroque Organ i) Arp Schnitger (1648-1718) & Gottfried Silbermann (1683-1753) were notable builders ii) these organs provided a great variety of registration including principals or flue pipes - in which pitches representing the upper partials added brilliance to the fundamental - and reeds iii) the organs divided the pipes into a number of "werke" which functioned like separate organs each with its own set of pipes having a certain character and function (2) Organ music reached a golden age in Germany between 1650 & 1750 (3) in the Catholic countries, (southern Germany & Italy) shunned the austere mystic grandeur of the northern German toccatas & fugues i) preferred the ricercare, the variation canzona, pieces based on Catholic liturgical cantus firmi, & the early type of toccata that included incidental episodes of counterpoint ii) the organ music tended toward light & graceful iii) A French school of organ music produced attractive settings of popular airs and pieces resembling the overtures and expressive recitatives of French opera (4) Composers i) Catholic a- Juan Bautista José Cabanilles (1644-1712) ii) Lutheran a- Georg Böhm (1661-1733) b- Dietrich Buxtehude (ca. 1637-1707) c- Fredrich Wilhelm Zachow (1663-1712) d- Johann Kuhnau (1660-1722) e- Johann Pachelbel (1653-1706) f- Johann Christoph Bach (1642-1703) g- Matthias Weckmann (1619-1672) h- Jan Adam Reincken (1623-1722)
h- Jan Adam Reincken (1623-1722) i- Jan Pieterzoon Sweelinck (1562-1621) j- Samuel Scheidt (1587-1654) (5) The Toccata i) German toccata consists of a succession of fugal & non fugal sections (the latter simulate improvisation) ii) they began early to incorporate well-defined sections of imitative counterpoint - out of these sections emerged the fugue which was later conceived as a separate piece that followed the toccata proper iii) in 17th century, pieces with a long fugal section were also called prelude, preludium, preambulum - the simple coupling of a prelude in free or homophonic style and a fugue in contrapuntal style is found only in the 18th century (6) The Fugue i) written as independent pieces and as sections within preludes ii) by the end of the 17th century it had replaced almost entirely the ricercare iii) normally the subject is stated in the tonic and receives and answer in the dominant - the other voices then alternate subject and answer iv) short episodes - passages in which the subject does not appear - usually separate the first exposition from the subsequent full or partial expositons (7) Prelude & Fugues i) served an important function in the church service but also important as were useful for training students in composition and performance ii) J.K.F. Fischer (ca. 1665-1746) compiled a collection of keyboard preludes and fugues - Ariadne musica in 1715 written in 19 different major and minor keys to instruct (8) Chorale Compositions i) toccatas, preludes, & fugues remained independent of vocal music ii) organ compositions based on chorales used the melodies of the Lutheran hymns in four ways a- Organ Chorales - essentially harmonizations with contrapuntal activity in the accompanying parts with the congregation singing in unaccompanied unison alternating strophes with the organ b- Chorale variation (chorale partita) - chorale tune served as the subject for a set of variations emerging early in the 17th century in the works of Sweelinck & Scheidt c- Chorale Fantasia - the composer fragments the chorale melody and develops the resultant motives through virtuoso fingerwork, echoes, imitative counterpoint, & ornamentation d- Chorale Prelude i- term often applied to any chorale-based organ work but more specific when emerged in the mid 17th century ii- a short piece in which the entire melody is presented just once in readily recognizable form iii- in effect the chorale prelude is a single variation on a chorale which may be constructed in the following ways
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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
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c) Knowledge of 14th Century Englis
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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 and 76: c) Serenata - a semi dramatic piece
Page 77 and 78: ) Charles II particularly liked sol
Page 79: (3) Andreas Hammerschmidt (1611-167
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
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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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