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

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iv) He & his mentors saw music as an object of knowledge - a quest for understanding the nature of music II. The Early Middle Ages - 1100 C.E. A. Roman Chant 1. One of the great treasures of Western Civilization a) Memorial to religious faith in the Middle Ages b) Embody the sense of community and esthetic sensibility of the period c) Served as the source and inspiration for much of Western art music up to the 16th Century 2. Cannot be separated from their ceremonial contest and purpose a) Plainchant is musical prayer - heightened speech b) It is the text which gives form to the musical delivery c) The Liturgy - body of texts and rites that make up a sacred service - sets the type of chant according to the solemnity of the occasion (1) solemnity of the occasion (2) How text function within the ritual (3) Who is performing the chant - soloist, choir, congregation 3. Chant and Liturgy developed over many centuries originating in the Middle ages a) Originally through oral tradition b) Later written and codified (1) Pope Pius V in 1570 issued a Missal that fixed the texts & rites of the Mass to reflect the Council of Trent (Tridentine liturgy) held in force till Second Vatican Council (2) Chant melodies are preserved in hundreds of manuscripts i) Almost identical between documents of different eras and locations ii) Often attributed to the "one source" of St. Gregory iii) Probably due to oral tradition which followed precise formulas for recitation c) Usage of chant stopped with Second Vatican Council in 1962-65 4. Systematic notation of chant melodies coincided with a campaign by the Frankish monarchs to consolidate their kingdom a) Uniform Liturgy and body of music to bind their entire poputation of worshipers b) Notation ensured the chants would be sung uniformly throughout the kingdom c) Notation was both a result of striving for uniformity and a means of perpetuating that uniformity B. Chant Types, Forms, & Classes 1. Classes a) Text Classification (1) Biblical Texts i) prose texts ii) poetical texts (2) Non Biblical Texts i) prose texts ii) poetical texts
) Performance Classification (1) Antiphonal - alternating choirs (2) Responsorial - soloist alternating with a choir (3) Direct - without alternation c) Note - Syllable relation (1) Syllabic - each syllable has a single note (2) Melismatic - long melodic passage on a single syllable (3) These are not clear cut - chant may have passages alternating syllabic with melismatic parts 2. Recitation Formulas a) Tenor (1) single reciting note or "tenor (2) for reciting prayers and reading from the bible - on border line between speech and song b) Psalm Tones (1) One tone for each of eight church modes (2) Plus one extra tone called Tonus peregrinus (wandering tone) 3. Antiphons a) Originally intended to be sung by a group so majority are: syllabic, stepwise movement, limited range, and simple rhythmically b) Earliest were a verse or sentance with own melody and repeated after every verse of a psalm or canticle c) Later only the opening part of the antiphon was sung before the psalm with entire antiphon performed after the psalm 4. Responsory a) A short verse sung by the soloist, repeated by the choir before a prayer or a short sentence of scripture, and repeated again by the choir at the end of the reading b) Originally sung by the choir at the end of the verse (similar to the antiphon) 5. Antiphonal Psalmody a) Appears in the Introit and Communion of the Mass b) Originally the Introit was a complete psalm with its antiphon c) Introit was later shortened to the original antiphon and single psalm verse d) Communion is a short chant often of only one scriptural verse. 6. Proper Chants of the Mass (Variable portions of the Mass - change according to season, feast & commemoration dates) a) Tracts (1) Originally a solo song (2) Longest chants in the Liturgy i) longest texts ii) melody extended by melismatic figures b) Graduals (1) Responsorial (2) Melodies are more florid than Tracts
Page 1 and 2: An Outline of The History of Wester
Page 3 and 4: Ancient Greece and Rome Through Ren
Page 5 and 6: (1) Cult of Apollo - lyre (2) Cult
Page 7: i) Current belief is that the churc
Page 11 and 12: (2) When the melodies are melismas,
Page 13 and 14: i) They sang, played, and danced to
Page 15 and 16: 1. Organum Purum a) The lower voice
Page 17 and 18: (9) Phrase endings of different voi
Page 19 and 20: 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
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(2) Giovanni Bardi (1534-1612) one
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(2) in his Orfeo of 1647 the antiqu
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3. Formal articulation was achieved
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iii) Jocob Handl (1550-1591) active
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ii) passacaglia iii) chaconne iv) c
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ii) melody would receive different
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a) Venitian (1) Pietro Francesco Ca
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(2) his librettist - playwright Jea
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c) Serenata - a semi dramatic piece
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) Charles II particularly liked sol
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(3) Andreas Hammerschmidt (1611-167
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h- Jan Adam Reincken (1623-1722) i-
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iv) Chaconne - a stately movement i
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ii) solo instruments were also usua
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c) Francesco Germiniani (1687-1762)
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c) Leipzig (1723-1750) - as Cantor
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d) Oratorios (1) the Italian orator
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I. Sonata, Symphony, and Opera in t
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c) Baroque - J.S. Bach (1685-1750),
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2. Musical Rhetoric a) first decade
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iii- Domenico Cimarosa (1749-1801)
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c- A2 begins by restating the melod
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c) composers 1: early: J.J. Quantz
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ii) there may be a coda ii- this is
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8. paved the way for the mature cla
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6: symphonies of 1774-1788 show a s
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d) piano works - most important of
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I. Ludwig Van Beethoven (1770-1827)
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) two works share the Revolutionary
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a) some 19th century writers consid
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v- content and form may be suggeste
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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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