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

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e) Canzona-sonata (1) 17th century conazona-sonata movements increased in length with the order of the movements becoming standardized by the end of the century (2) by late 17th century complete thematic independence of the various movements became the rule 3. Works for Larger Ensembles a) The instrumental ensemble sonata - especially the suite had a long life in Germany b) The German musical tradition had a familiar, direct quality and composers preferred relatively large ensembles - and liked the sound of wind instruments 4. Orchestral Music a) Background (1) Toward the end of the 17th century a generally recognized distinction arose between chamber and orchestral music i) chamber music - ensemble music with only one instrument to a part ii) orchestral music with multiple players per part (2) Prior to this composers did not express a preference and the choice depended on circumstances (3) Outside of the basso continuo and the predominance of string instruments no common standard regulated either the makeup of an ensemble or the number of instruments to a part (4) Opera houses maintained orchestras - and these were written specifically for orchestral performance b) Orchestral Suite (1) Lully's German disciples introduced French standards of playing along with the French musical style (2) Resulted in the new orchestral suite (flourishing in Germany from about 1690-1740) (3) Dances did not appear in any standard order but since always introduced by a pair of movements in the form of the French overture the term "overture" soon came to designate the suite itself c) Concerto (1) Soon became the most important type of Baroque orchestral music i) the practice of contrasting solo instruments against a full orchestra preceded the earliest instrumental concertos a- concerto like instrumentation animated canzonas and other instrumental works b- solo instruments and tutti tossed short phrases back and forth in orchestral suites, church cantatas, chamber sonatas, & sinfonias (2) Charateristics i) the large group was almost always a string orchestra usually divided into 1st & 2nd Violins, violas, cellos, and bass viols - with bass continuo - designated tutti or ripieno (full) ii) solo instruments were also usually strings - violin for the solo concerto, most often 2 violins w/continuo in the concerto grosso (other instruments might be added or substituted
ii) solo instruments were also usually strings - violin for the solo concerto, most often 2 violins w/continuo in the concerto grosso (other instruments might be added or substituted iii) Corelli's concerto are in effect church or chamber sonatas divided between soli & tutti a- German composers adopted the form and style of the sonata in their earliest concerti grosso b- many concertos continued to exhibit the fugal or quasi-fugal Allegro of the sonata iv) Torelli's concerto are in ordered movements of fast - slow - fast and this tempo contrast was adopted by later composers a- each of the Allegro movements begins with a ritornello that develops one or more motives in the full orchestra b- ritornello is derived from vocal music - where it meant refrain - in concerto all the ritornello's except 1st & last are in different keys c- this leads to a solo episode that presents entirely new material - after which the tutti recalls some part of the ritornello in a different key d- this alternation may occur several times before the movement is rounded off and brought to a close with a final tutti in the tonic - almost identical with the opening ritornello v) the concerto combines recurrence of familiar music with the variety and stability of key relationship (3) Afforded composers a chance to combine in one work several favorite traits i) the contrasts of the concerto medium ii) texture of a firm bass and florid treble iii) musical organization based on the major-minor key system iv) construction of a longer work out of separate and autonomous movements (4) Three types of orchestral concertos were being written around 1700 i) the orchestral concerto (also called concerto-sinfonia, concerto-ripieno, concerto a quattro) was a work in several movements that emphasized the first violin and the bass and usually avoided the more complex contrapuntal texture characteristics of the sonata and sinfonia ii) the concerto grosso set a small ensemble of solo instruments (the concertino) against a large ensemble (the concerto grosso) iii) the solo concerto a single instrument contrasted against the larger ensemble 5. Improvisation in Musical Performance a) Performers in Baroque were always expected to add to what the composer had written (1) Keyboard players realized figured basses by improvising chords, arpeggios, & counterpoints (2) Vocal & instrumental solo performers applied ornaments & embellishments b) Ornaments (1) ornaments to the baroque performer were not merely decorative but a means for moving the affections (2) also the more common ornaments added a spice of dissonance that the notated music lacked
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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
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c) Continued the treble dominated s
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(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 and 80: (3) Andreas Hammerschmidt (1611-167
Page 81 and 82: h- Jan Adam Reincken (1623-1722) i-
Page 83: iv) Chaconne - a stately movement i
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
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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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