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

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) mostly violin but also for cello, flute, or bassoon 3. Concerto Form a) usual pattern of 3 movements - fast, slow, fast - with the slow movement in the same key or a closely related one, with the final Allegro shorter and slightly faster than the first b) first composer to make the slow movement as important as the two Allegros - the slow movements of the later concertos are especially forward looking c) exhibiting many features of the early classical period (1) balanced phrases (2) frequent half cadences clarifying the structure (3) trills, triplets, and cadences softened by appoggiaturas C. Jean-Philippe Rameau (1683-1764) 1. Foremost French musician of the 18th century 2. First attracted attention as a theorist and only afterward as a composer - most of the musical works for which he bacame famous were composed between his 50 & 56 year 3. Published his famous "Traité de l'harmonie" (Treatise on Harmony) in 1722 a) sought to derive the basic principles of harmony from the laws of acoustics b) he not only clarified the musical practice of his time but also influenced music theory for the next 200 years c) he established the tonic, dominant, and subdominant chords as the pillars of tonality - relating the other chords to these - formulating the hierarchies of functional harmony d) Rameau the composer constantly practiced the doctrine of Rameau the theorist - that all melody is rooted in harmony - his harmony achieving dramatic force in operatic monologues 4. in 1731 he was taken under the protection of Alexandre-Jean-Joseph Le Riche de la Pouplinière (1693-1762) - the leading patron of music in France a) maintained an orchestra of 14 players at his chateau in Passy near Paris b) Rameau was his organist, conductor, and composer in residence c) la Pouplinière helped Rameau make his name as an opera composer 5. Became embroiled in the "War of the Buffonists" - a quarrel between the French Opera supporters and the Italian Opera supporters (led by Jean-Jacques Rousseau (1712-1778) D. Johann Sebastian Bach (1685-1750) 1. Known as an organ virtuoso and writer of learned contrapuntal works in his own time - it was only in the 19th century that his Passions, cantatas, and instrumental music became known and greatly admired 2. He wrote primarily to fulfill the needs of the positions he held - his works can be grouped accordingly a) Arnstadt (1703-07), Mühlhausen (1707-08), Weimar (1708-17) employed to play the organ - most of his compositions were for the organ b) Cöthen (1717-23) - nothing to do with church music he composed mostly works for harpsichord, clavichord, instrumental ensembles c) Leipzig (1723-1750) - as Cantor of St. Thomas & Director of Music of Leipzig - most of his cantatas and other church music with some of his most important
c) Leipzig (1723-1750) - as Cantor of St. Thomas & Director of Music of Leipzig - most of his cantatas and other church music with some of his most important mature organ & keyboard works 3. Instrumental Music a) elements of the Italian concerto are evident in a number of the toccatas and fugues b) adapted the Italian trio sonata for a single performer c) as an organist & devout Lutheran cared deeply about the chorale - he did not differentiate between sacred & secular art - both being "to the glory of God" - and sometimes used the same music with sacred & secular works d) his harpsichord & clavichord music includes every current genre - preludes, fantasies, toccatas, fugues, dance suites, and variations (1) The Well Tempered Keyboard (1722 & ca. 1740) is undoubtedly the best known (2) the harpsichord susites show the influence of French, Italian, and German model (3) one of the first to write (or arrange) concertos for harpsichord 4. Vocal Music a) Church Cantatas (1) Neumeister Cantatas - Bach was deeply affected by Erdmann Neumeister's innovative idea to introduce opera like recitatives and arias into the cantata (2) Chorale Cantatas - typically basing the opening chorus on a chorale melody and ending the work with a simple or embellished statement of the same chorale (3) Secular Cantatas - customarily gave the descriptive "dramma per musica" for these i) he was not averse to reusing a secular cantata for church (and vice versa) ii) toyed with the new "galant style" - letting the vocal line dominate & writing balanced antecedent & consequent phrases b) Motets (1) In Bach's time the term "motet" signified a composition for chorus generally in a contrapuntal style - on a biblical or chorale text (2) Magnificat of 1723 (revised ca. 1728-31) more Italian in style than his other church works c) Passions (1) The two surviving (St. John & St. Matthew) follow the North German tradition of Passion settings in oratorio style (2) In St. Matthew, the chorale, concertato medium, recitative, arioso, and da capo aria are used to develop a central religious theme (3) While Bach never wrote an opera, these are are all characteristic of Late Baroque opera d) Masses (1) Mass in B minor (1747-49) was compiled mostly from music he had composed earlier (2) Bach usually reworked his earlier compositions for new situations because he was pressed for time 5. Summary
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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
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a) Pertrucci's 1st publication (1)
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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 and 84: iv) Chaconne - a stately movement i
Page 85 and 86: ii) solo instruments were also usua
Page 87: c) Francesco Germiniani (1687-1762)
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
Page 135 and 136: : more difficult to realize musical
Page 137 and 138: 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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