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

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vi- dialogue was set in rapidly delivered recitative that was accompanied by the keyboard only 3: Arias in comic opera i- made up of short tuneful phrases often repeated accompanied by simple harmonies and organized into tidy periods ii- Leonardo Vinci (1690-1730) - his "Le zite 'ngalera" (The Spinsters in the Gallery) with libretto in the Neapolitan dialect by Bernardo Saddumene of 1722 is one of the few early comic operas that survive complete b) Intermezzo 1: type of comic opera orginated in the custom of presenting short comic musical interludes between the acts of a serious opera or play i- contrasted sharply with the grand & heroic manners of the principal drama ii- plots were mostly situation comedies involving a few ordinary people who sang recitatives and arias 2: Giovanni Battista Pergolesi (1710-1736) was an early master of the Intermezzo i- one of the most important composers in the early Classic Style and wrote some important "opera seria ii- the performance of his "La serva padrona" in Paris in 1752 set off the "Querelle des bouffons" 3. Mature Comic Opera a) While opera seria maintained its character across national boundaries, comic opera took different forms in different countries 1: represented every day people in familiar situations 2: comic opera librettos were always written in the national tongue 3: the music tended to accentuate the national musical idiom b) Historical significance 1: responded to widespread demand for naturalness in the latter half of the 18th century 2: represented the earliest passage toward musical nationalism which would become prominent in the Romantic period c) Italy 1: Italian dramatist Carlo Goldoni (1707-1793) introduced refinements in the comic opera libretto i- serious, sentimental, or woeful plots began to appear along side the traditional comic ones ii- reflecting this change, the older designation opera buffa was replaced by dramma giocoso 2: Italian comic opera exploited the possibilities of the Bass voice 3: introduced the ensemble finale - unlike anything in opera seria i- all characters were brought on stage while the action continued ii- reaching a climax with all the singers taking part 4: composers i- Nicolò Piccinni (1728-1800) ii- Giovanni Paesiello (Paisiello) (1740-1816) iii- Domenico Cimarosa (1749-1801)
iii- Domenico Cimarosa (1749-1801) iv- Nicola Logroscini (1698?-1765) v- Baldassare Galuppi (1706-1785) d) France 1: French version of comic opera called operà comique beginning around 1710 as a lowly form of popular entertainment put on at parish fairs i- until middle of the century the music consisted almost entirely of popular tunes (vaudevilles) or simple melodies imitating such material ii- visit of an Italian comic opera troupe to Paris in 1752 stimulated the production of operà comique which introduced mixed Italian-French style original airs (called "ariettes") along with the old vaudevilles iii- by the end of the 1760's all the music was freshly composed 2: with its alteration of spoken dialogue and musical numbers it flourished throughout the Revolution and the Napoleonic era 3: Querelle des bouffons (1752-1752) i- sparked an opera performance of Omphale by Destouches which led to an invitation to Italian troupe who performed Pergolesi's intermezzo La serva padrona ii- a pamphlet war between partisans of Italian Opera and French Opera - with Jean-Jacques Rooussiau (1712-1778) as one of the Italian Faction leaders iii- basically over the suitability of the French language for song 4: Opèra Comique i- used spoken language instead of recitative ii- following the European trend in the second half of the century, it dealt boldly with the social issues that were agitating France during the pre-revolution years 5: Composers i- Christoph Willibald Gluck (1714-1783) ii- Jean-Jacques Rousseau (1712-1778) iii- François André Danican Philidor (1726-1795) iv- Pierre-Alexandre Monsigny (1729-1817) v- André Ernest Modeste Grètry (1741-1813) e) England 1: Ballad Opera i- popular after the extraordinary success of the Beggar's Opera in London in 1728 ii- consists of popular tunes - usually ballads - with a few numbers which parody familiar operatic airs 2: immense popularity of ballad operas in the 1730's in England signaled a general reaction in England against foreign opera 3: Composers - only notable composer of English opera in the 18th century was Thomas Augustine Arne (1710-1778) f) Germany 1: The success of the Ballad opera inspired a revival of Singspiel (popular since the 16th century)
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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
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(4) Vicentino, Rore, & Lasso (pupil
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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
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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 and 94: I. Sonata, Symphony, and Opera in t
Page 95 and 96: c) Baroque - J.S. Bach (1685-1750),
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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
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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
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Page 145 and 146: 3. also used "pointillism" a) spare
Page 147 and 148: ) 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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