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

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v- imported French company mounted a regular season of 'opéra comique' - with French style ballets also popular vi- Italian opera was presented under the guise of 'opera buffa' after a failed attempt at Germanization 2: Composers i- Johann Adolph Hasse (1699-1783) a German ii- Christoph Willibald von Gluck (1714-1787) local to Vienna iii- Giuseppe Bonno born in Vienna, trained in Naples iv- Antonio Salieri (1750-1825) born in Italy, brought to Vienna at age 15 v- Florian Gassmann (1729-1774) born in Bohemia 3. An Age of Humanitarianism a) time of enlightened despots - patronized arts & letters and also promoted social reform b) spread of Freemasonary - built on humanitarian ideals and longing for universal brotherhood 4. Rise of a "General Public" a) pursuit of learning and love of art became widespread particularly among the expanding middle class 1: made new demands on writers and artists that affected both subject matter and manner of presentation 2: a "general public" needed to addressed that went beyond a select group of experts and connoisseurs b) as private patronage declined, a modern audience for music emerged 1: public concerts competed with the older-style private concerts and academies 2: after the middle of the century, magazines devoted to musical news, reviews, and criticism began to appear c) as in the past, music publishers continued to cater mainly to amateurs with much music issued in periodicals C. 18th Century Musical Taste 1. Elements a) the language of music should be universal - not limited by national boundaries 1: though intellectuals loved to debate the relative merits of various national musical styles 2: though national schools of opera sprouted which would later blossom in the Romantic era b) music should be noble AND entertaining c) music should be expressive within the bounds of decorum d) music should be natural - free of needless technical complications and capable of immediately pleasing any sensitive listener 2. Old styles yielded gradually to the new and both existed side by side a) New - Pergolesi, Sammartini, some sonatas of C.P.E. Bach b) Old - J.S. Bach, Handel c) Baroque - J.S. Bach (1685-1750), Handel (1685-1759) / Forward to the Classical - G. B. Sammartini (1698-1775) / Classical - Pergolesi (1710-1736), C.P.E. Bach (1714-1788)
c) Baroque - J.S. Bach (1685-1750), Handel (1685-1759) / Forward to the Classical - G. B. Sammartini (1698-1775) / Classical - Pergolesi (1710-1736), C.P.E. Bach (1714-1788) D. Terminology and Styles 1. Early Classic Period (beginning around 1730) a) has been applied most narrowly to the mature styles of Haydn & Mozart and more broadly for the period from about 1720's to 1800 b) qualities of noble simplicity, equilibrium, perfection of form, diversity within unity, seriousness, and freedom from excesses of ornamentation and frill c) qualities most evident in music of Gluck (1714-1787), Haydn (1732-1809), and Mozart (1719-1787) d) dates given as 1730-1815 / 1750-1815 / 1750-1830.... for classic period 2. Rococo a) used for some music of the early decades of this period b) again, an architectural term - a softening of the heavier, monumental, and more angular forms of the post-renaissance peiod c) Francois Couperin (1668-1733) - his character pieces are an example 3. Galant a) term widely used for the courtly manner in literature or titles suggesting courtly fashions (opera-ballet L'Europe galante of 1697 by Andre Campra (1660-1744) b) a catch word for everything that was considered modern, smart, chic, smooth, easy, and sophisticated c) a freer and more chordal musical style in comparison to the previous strict contrapuntal style 1: emphasis on melody made up of short often repeated motives 2: organized in 2, 3, or 4 bar phrases 3: phrases combined into larger periods 4: lightly accompanied with simple harmony 5: puctuated by frequent phrases d) composers 1: Leonardo Vinci (1696-1730), Leonardo Leo (1694-1744), Giovanni Battista Pergolesi (1710-1736), Johann Adolph Hasse (1699-1783) - early operatic arias 2: Baldassare Galuppi (1706-1785) - Keyboard music 3: Giovanni Battista Sammartini (1701-1775) - chamber music 4. Empfindsamkeit a) German term in origin and translates as "sentimentality" or "sensibility" b) quality associated with the refined passion and melancholy that typifies some slow movements and obbligato recitatives 1: surprising turns of harmony 2: chromaticism 3: nervous rhythmic figures 4: rhapsodically free speech like melody c) composers 1: Antonio Vivaldi (1676-1741) - late concertos
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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
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a- the most important genre of Ital
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g) Cipriano de Rore (1516-1565) - e
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(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 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: I. Sonata, Symphony, and Opera in t
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
Page 139 and 140: i- immediate background included Fr
Page 141 and 142: c) in most of his music a primary t
Page 143 and 144: 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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