Music History Final

Antiphon

a chant sung before and after the psalm

Gesamtkunstwerk

absolute oneness of drama and music -vision of new union, music, and dramatic text core of drama is music associated with Wagner

Range

span of notes of a melody in a mode

Thomas Morley

wrote English madrigals Ex: my bonny lass she smileth -borrowed aspects of Gastoldi balletto -sections begin homophonically -contrapuntal "fa-la-la" refrain Wrote a treatise (easy introduction to music) topics - singing from notation, adding a descant, composing three or more voices, aimed at broader public Triumphes of Oriana -collection of 25 madrigals by 23 composers -each madrigal ends with "Long live fair Oriana" referring to Queen Elizabeth

Haydn's Vocal Works

wrote about 15 operas, mostly comic Ex: Il mondo della luna -masses were festive works using four solo vocalists, chorus and full orchestra with trumpets and timpani Ex: Lord Nelson Mass, Mass in Time of War -masses have traditional elements of contrapuntal writing and chordal fugues -Admired Handel and wrote two oratorios The Creation -Depiction of Chaos - constant harmonies The Seasons -Oratorios published in English and German Hobboken cataloguer for Haydn

Martianus Capella

wrote treatise described the seven liberal arts: grammar, dialectic, rhetoric, geometry, arithmetic, astronomy and harmonic (music) -The first three (verbal arts) are called the trivium -the last four (mathematical disciplines) are the quadrivium

J.C. Bach

youngest son of J.S. Bach "London Bach" first to compose keyboard concertos -mostly galant style -major influence on Mozart 3 movements: fast slow fast first movement: elements of ritornello and sonata form -3 solo sections structured like sonata form -four orchestral ritornellos Ex: Concerto for Harpsichord or Piano and Strings in E-flat Major -framed by ritornellos -first ritornello presents principal themes in tonic key -three episodes function as exposition, development, recap -improvised candenza

Contenance angloise

"English guise" or quality characteristic quality of early 15th century English music, marked by pervasive consonance with frequent use of harmonic thirds and sixths, often in parallel motion French poet Martin Le Franc. In his poem Le champion des dames, France praised the music of Du Fay and Binchois and linked them to English composers

Schumann Chamber Music (and Clara)

"chamber music year" 3 string quartets piano quintet piano quartet influenced by Bach - polyphonic approach to chamber music Clara Piano trio in G minor 1st and last mvt traits from Baroque, Classic and Romantic models memorable songlike themes rich polyphonic treatment development through motivic fragmentation

Tracts

"drawn out" longest chants in the liturgy, with several psalm verses set in very florid style derived from responsorial or direct psalmody

stile concitato

"excited style" characterized by rapid reiteration on a single note, whether on quickly spoken syllalbes or in a measured string tremolo used in Monteverdi's later dramatic works

Ars Nova in France

"new art" Denotes the new French musical style inagurated by Vitry in the 1310s and continued through the 1370s -Vitry was a French composer, poet and church administrator

Renaissance

"rebirth" 1400-1600 period following Middle Ages Scholars and artists with to restore the values of ancient Greece and Rome saw birth of imitative counterpoint and homophony Humanism -study of the humanities, things pertaining to human knowledge -greek classics were translated into Latin

Giovanni Pierluigi da Palestrina

"the prince of music" leading Italian composer of church music in 16th century after Council of Trent, commissioned to revise official chant books his style became model for later centuries of music and counterpoint in strict style

ricercare (16th cent)

"to seek" early 16th century - prelude in style of an improvisation

Stadtpfeifer

"town pipers" had exclusive right to provide music in the city jack of all trades, proficient at numerous wind and string instruments -encouraged whole families to make their trade, among them the Bach family

Ludwig van Beethoven

(1770-1827) 3 periods 1. 1770-1802 Early (1802 hearing crisis) 2. 1803-1814 Middle "Heroic" 3. 1815-end Late Pieces for each period 1. Early - aimed at amateurs Bonn-Vienna (Haydn encouraged) Pathetique Piano Sonata (C minor) slow intro- unusual for piano sonatas, put it on the symphonic scale stormy, passionate character evocative titles 2. Middle -still aimed at amateurs but pushing it Eroica Symphony -style of heroic greatness story of challenge, struggle, final victory within enlarged sonata form slow movement: funeral march finale: invocation of Prometheus Fidelio - Beethoven's only opera libretto: French Revolutionary opera original version called Leonore - failed 3. Late Period - aimed at connoisseurs -Beethoven dealing with issues blending of traditional style + form with innovations -sudden dynamic shifts -use of octaves -high degree of contrast -variation technique imitation and fugue Missa Solemnis - too long to be liturgical -unified five-movement symphony Symphony No. 9 - long! - incorporates chorus/soloists in finale Schiller's Ode to Joy Piano Sonata Op. 109 (late sonatas) -last 5 piano sonatas: unique succession of movement, often linked without pause

Scolia enchiriadis

(Comments on the Handbook) both of these were directed at students who aspired to enter clerical orders

Kurt Wiell

(New Objectivity/Germany) collaborated with Bertolt Brecht on the allegorical Rise and Fall of the City of Mahagonny In the opera, fugitives from justice build a town dedicated to pleasure, free of legal or moral taboos - find they have created a hell rather than a paradise -incorporates jazz and makes witty references to a variety of styles The Threepenny Opera -based on Gay Beggar's Opera -jazz orchestration

John Zorn

(b. 1953) avant-garde, experimental music at core of approach Filmworks, series of albums of film scores draws on klezmer, other traditional Jewish styles several collaborations with jazz artists

Characteristics of Baroque

(characteristics of a period) Texture -prominent bass and treble lines -basso continuo, thoroughbass -realization of figured bass -consonant sounds as chord -greater variety of dissonances allowed -chromaticism used to express intense emotions -emphasis on bass -counterpoint driven by harmony -music centered on performer and performance -ornamentation means for moving affections -alterations: singers added cadenzas -church organ works shortened to fit service

Neumes

(gesture) were placed above the words to indicate the melodic gesture for each syllable, including the number of notes, whether the melody ascended, descended or repeated a pitch, and perhaps rhythm or manner of performance (were problematic for those not familiar with the melody)

Musica enchiriadis

(music handbook) describes 8 modes provides exercises for locating semitones in chant explains the consonances and how they are used to sing polyphony

Lute songs

(or air) early 1600s English genre of solo song with lute accompaniment composers: John Dowland and Thomas Campion -less word painting -lute subordinate to vocal line -personal genre, more serious texts -lute parts written in tablature

Tibia

(roman version of aulos) played an important role in religious rites, military music, and theatrical performances, which included musical preludes and interludes, songs and dances

Versus

(singular and plural) one type of Latin song, normally sacred and sometimes attached to the liturgy -poetry was rhymed and usually followed a regular pattern of accents Monophonic versus were composed form 11th-13th centureis, particularly in Aquitain and they influenced two other repertores from the same regions, troubadour songs and Aquitanian polyphony -set to newly composed melodies not based on chant -for performance outside religious contexts

court chapels

- groups of salaried musicians and clerics that were associated with a rule rather than a particular building, sprang up all over Europe in the late 14th and early 15th century -first chapels were established by King Louis IX/King Edward I -Medici family - strong supporters of the arts

Binchois and the Burgundian Chanson

-Binchois (Gilles de Bins)was esteemed for his chansons Chanson - 15th century encompassed any polyphonic setting of a French secular poem -Chansons were often set stylized love poems in the courtly tradition of fine amour and most followed the form of the rondeau -Ballades were written for ceremonial occasions but gradually went out of fashion. preferred cadence was still a major sixth expanding to an octave between cantus and tenor, often decorated in the cantus with a Landini cadence Hemiola-metrical effect in which three duple units substitute for two triple ones, such as three successive quarter notes wtihin a measure of 6/8 or three two beat groupings in two measures of triple meter Chanson De plus en plus exemplifies his style and the Burgundian chanson

Organ Mass

-all sections of the mass for which the organ would play, including organ verses and other pieces Fiori musicali -include shorter toccatas; just as sectional -published in full score played by Frecobaldi

Responsorial Psalmody in the Office and Mass

-became more melismatic through oral traditions -Office responsories take several forms, but all include a respond, a verse and a full or partial repetition of the respond -Graduals are considerably more melismatic than responsories Alleluia - include a respond on the work "alleluia," a psalm verse, and a repetition of the respond. The final syllable of "alleluia" is extended by an effusive melisma called jubilus Offertories are as melismatic as Graduals but include the respond only Tracts- longest chants in the liturgy, with several psalm verses set in very florid style

Chopin

-cultivated genres from the etude and prelude, associated with teaching and types suitable for amateurs, such as dances and nocturnes, to longer, more challenging works, including ballades, scherzos and sonatas -virtuosity blended with elegant lyricism -originality in melody, harmony and pianism Wrote 27 etudes -intended to develop specific technique -each addresses specific skill and develops single feature Ex: parallel/diatonic 3rds parallel sixths vs. chromatic octaves -inaugurated genre of concert etude Preludes Op. 28 cover all major and minor keys (like Bach) -brief mood pictures -less challenging than Etudes Dances Waltzes. mazurkas, polonaises -stylized dances -often composed for his students -evoke ballroom of Vienna (waltzes) -mazurkas/polonaises = spirit of Poland -polonaise - courtly aristocratic dance in 3/4 mazurka - Polish folk dance 3/4 frequent accents on second or third beats often dotted figure on first beat simple accompaniment 4-measure phrases Nocturnes short mood pieces beautiful embellished melodies above sonorous accompaniment draws on bel canto style of Bellini opera airas Ex: D-flat Major Op.27 No. 2 expansive accompaniment angular melody virtuoso elements parallel thirds + sixths (characteristic of vocal nocturne) Ballades and Scherzos longer and more demanding 1 of the first (w/ Clara) to use name ballade for instrumental piece -charm and fire of Polish narrative ballads combined with fresh turns in harmony and form Scherzos not joking or playful as name implies but serious and passionate but tricky and quirky particularly in rhythm and thematic material Sonatas 3 all 4 movt: sonata form, minuet or scherzo, slow, and finale Ex: No. 2 B-flat minor 3rd mvt funeral march -orchestrated and played at his funeral

The Affections

-emotions such as sadness, joy, anger, love, fear, excitement or wonder Goal of the arts of this period to move the emotions and conjure the passions, or affections in the soul

Mozart Operas

-first opera buffa - Finta Semplice -First singspiel - Bastien und Bastienne -Idomeneo - his best opera seria - shows reformist tendenceis of Gluck and influence of French opera Abudction from the Seraglio - established his fame -Singspiel -Turk Jannesary music -used in overture -shrill winds, drums and cymbals Da Ponte operas: Cosi, Nozze, Giovanni -lifted conventions of opera buffa - greater depth to characters, intensifying the social tensions between classes, and introducing moral issues Mezzo carattere - characters who occupy a middle ground between serious and comic Finales - characters clash, combining realism with ongoing dramatic action -Mozart's orchestration, particularly his use of winds, plays and important role in defining characters and situations The Marriage of Figaro -libretto by da Ponte -comic opera with serious characters; middle ground characters (mezzo carattere) -risque by moral standars -encores had been forbidden except solo arias Don Giovanni - comedy but serious elements Opening trio: Leporello, Don G and Donna Anna (3 levels of characters displayed in music) Act I Finale - 3 onstage dances: Minuet, contredanse and rustic waltz Ah fuggi - out of style, Handel/Scarlatti Magic Flute, first great German opera interweaves threads of many 18th century musical styles and traditions -vocal opulence of Italian opera seria -folk humor of German singspiel -solo aria -buffo ensemble -new kind of accompanied recit applicable to German words -solemn choral scenes -revival of Baroque chorale-prelude technique, with contrapuntal accompaniment -reconciliation of older and newer styles is summed up in overture - combines sonata form with fugue

Lutheran German Music

-german speaking regions adopted new monodic and concertato techniques -sacred music in Austria and Catholic southern Germany remained under strong Italian influence -Italian composers particularly active in Munich, Salzburg, Prague, and Vienna -Lutheran composers continued to write polyphonic chorale motets and motets on biblical texts without chorale melodies -more emphasis on counterpoint -clarity of text over virtuosity

Lines, clefs and staffs

-grew out of lines drawn by scribes which corresponded to a particular note and oriented the neumes around that line. Line was sometimes labeled with a letter for the note it represented, most often F or C staff notation with neumes conveyed pitch but not duration; however chant was supposed to be free

Epitaph of Seikilos

-inscribed in tombstone alphabetical signs for notes and above those are marks indicating when the basic rhythmic unit should be doubled or tripled -diatonic melody -Phyrigian octave Text balances extremes, counseling us to be lighthearted even while acknowledging death. Consistent with Iastian tonos, which suggests moderation. -melody moderated in ethos, balancing rising fifth and thirds that begin most lines of the poem with falling gestures at the end of each line

concerto

-instrumental version of concertato medium -florid melody over firm bass -based on tonality -multiple, contrasting movements -closely related to sonatas; same roles -could substitute portions of the Mass 3 types: orchestral concerto, concerto grosso, solo concerto

Application of Greek Ideas (Renaissance)

-ladies and gentlemen were expected to read music, sing for entertainment, and play well enough to join the music Chromatiscism - idea inspired by Greek practice - the use of two or more successive semitones moving the same direction Music was -servant o the words and conveyor fo feelings -social accomplishment every genteel person should have -expressive power of modes -use of chromaticism

Development of Notation

-melodies were learned through oral transmission -short chants were used often and singers were required to memorize hundreds of them -Tracts were usually performed by soloists -oral traditions proved problematic and thus notation (a way to write down music) was developed to stabilize chants

Opera bouffe

-opera bouffe could satirize French society more freely founder: Jacques Offenbach serious theaters controlled by government Offenbach's work influenced comic opera in England, Vienna, US, etc charm of Offenbach's music - owed to appealing melody and rhythm deceptively naive quality of opera bouffe rapier wit, satirizing operatic as well as social conventions popular music music theaters chat noir -night clubs serious or comic sketches, dances, songs, poetry cafe-concert joined food and beverage with musical entertainment Folies-Bergere, Moulin Rouge, large music halls

Elisabeth-Claude Jacquet de la Guerre

-original child prodigy in music -best known for harpsichord collections -small output, wide variety of genres -series of dances grouped into suites Ex: Suite No. 3 in A minor -all stylized dances -associations of dances known to listeners

Oratorio

-prayer hall where lay societies met -new genre of religious dramatic music, combined narrative, dialogue and commentary. Differed from opera: -religious subject matter -seldom ever staged -action described or suggested rather than played out -often a narrator -Chorus -libretti - in Latin or Italian Leading composer: Carrissimi wrote Jepthe -exemplifies midcentury Latin oratorio -biblical text, paraphrased and added material various style: recitative, stile concitato, solo arias, duets, ensembles

Genres of polyphonic compositions in Burgundy

-secular chansons with Fr. texts -motets -magnificats -settings of the Mass ordinary all included range expansion in the voices

Arcangelo Corelli

-studied violin and composition in Bologna leading violinist and composer in Rome led first orchestras in Italy -established foundation for violin playing works: trio sonata, solo violin sonatas, concerti grossi style: -each movement based on single subject: continuous expansion tonal, with sense of direction -musical language basis for Rameau's rules of functional tonaltiy -chains of suspensions and sequences, forward harmonic motion -almost completely diatonic -all movements in same key (slow movements are minor in major key sonatas)

Harmonia

-the unification of parts in an orderly whole -musical sounds and rhythms were ordered by numbers -Greek writers conceived of music as a reflection of the order of the universe -flexible concept, which could encompass mathematical proportions, philosophical ideas, or the structure of society as well as a particular musical interval, scale type, or style of melody -through the notion of harmonia, music was closely connected to astronomy -Claudius Ptolemy - the leading astronomer of antiquity

Renaissance compositional Methods and Textures

-vocal range grew as did the numbers of voices. 4 voice texture became the norm -since its inception polyphony was conceived as the addition of voices to an existing melody: in organum, adding an organal voice below or above the chant; 13th century motets - adding 1 or more voices above the tenor; 14th century chansons - composing a tenor to fit with the cantus then adding a 3rd and sometimes 4th voices around this two voice framework Imitative counterpoint - voices imitate or echo a motive or phrase in a another voice, usually at a different pitch level, such as a fifth, fourth or octave away Homophony - all voices move together in essentially the same rhythm and lower parts accompanying the cantus with consonant sonorities

Christoph Willibald Gluck

-winning sinthesis of French, Italian and German operatic styles -strongly affected by reform movement Ex: Orfeo ed Euridice - libretto by Calzabigi -Resolved to remove the abused that had a deformed Italian opera and to confine music to what the reformers considered its proper function - to serve the poetry and advance the plot -he aimed to accomplish this without the da capo aria or ornamentation -aimed to make the overture an integral part of the opera -adapt the orchestra to the dramatic requirements -lessen the contrast between aria and recit Iphigenie en Aulide - climax of career in Paris

polychoral motets

-works for two or more choirs (16th century) -divided choirs, cori spezzati written by Giovanni Gabrieli -2, 3, 4, or 5 choruses -mingles with instruments of diverse timbres -antiphonal, separated spatially

Guido of Arezzo

11th century monk suggested an arrangement of lines and spaces. Scheme was widely adopted and neumes were reshaped to fit the arrangement this new system allowed any singer to learn the melody as long as he could sing the correct intervals. did away with oral transmission

Italian Trecento Music

1300 century musical style -music was not written down -church music improvised -polyphonic songs do survive 14th century madrigal -song for two or mroe voices without instrumental accompaniment -voices sing same text, usually an idyllic, pastoral, satirical, or love poem Two or more three line stanzas, each set to the same music, followed by a closing pair of lines, called the ritornello -it's set to different music with a different meter Jacopo de Bologna: non al suo amante, madrigal The Caccia parallels to French cahse, in which popular style melody is set in strict canon to lively, graphically descriptive words -in fashion from 1345-1370 -features 2 voices in canon -free untexted tenor in slower motion below Means hunt - one voice after another Gheradello da Firenze: Toso, che l'alba, caccia Ballata a song to accompany dancing monophonic dance songs with choral refrains

sackbut

early form of trombone (rise of instrumental music )

Baroque

1600-1750 meaning abnormal, bizarre, exaggerated, in bad taste -from Portuguese barroco, misshapen pearl began in art - appreciate the ornate music centered in opera new intensity, convey emotions, suggest dramatic action concept of "the public"

Variation form

16th century invention -form that presents an uniterrupted series of variants on a theme -allowed to show mastery of improve Form: a. theme, uninterrupted series of variants on that theme b. variety, embellishing of basic idea c. entertained; demonstrated skill of performer and composer first written variation on pavane tunes, lute tablatures improvised variations on ostinatos, short bass lines repeated over and over

classic period

1730-1815 all embracing to include galant, empfindsam, and "the Haydn idiom" to identify different styles or trends current at the time

Franz Schubert Lieder

1797-1827 wrote over 600 Lieder 59 poems by Goethe finest lieder - 2 song cycles by Wilhelm Muller - strove to make music equal of words not merely their frame -sought to embody person speaking or characters described, etc. -forms to match meaning -poems with single image strophic - same music each stanza -most lieder of that time were strophic and unadorned -sometimes deviated for expressive purposed (modified strophic form) longer narrative songs - thru-composed (Erl-King) or combine declamatory and arioso as in an operatic scene -variety in accompaniment reflects image of poem especially image of movement Gretchen am Spinnrade (Spinning Wheel) fondness for modulation by third rather than by fifth (also trait of Schubert's instrumental music) Winterreise (Muller's poems - 24) modified strophic form 1st strophe = remembering summer-love (major) 2nd changes mode to minor (chill of winter) 3rd heralds the cold wind - declamatory melody 4th - returns to major mode

sacred concertos

17th century composition on a sacred text for one or more singers and instrumental accompaniment For Catholic composers, means of setting religious texts and incorporated basso continuo concertato medium, monody and operatic styles from recit to aria to convey the church's message church did not abandon polyphony and trained new composers in: stile antico - older contrapuntal style stile moderno - newer techniques

masques

17th century English entertainment involving poetry, music, dance, costumes, choruses and elaborate sets, akin to French court ballet favorite court entertainment since Henry VIII -shared aspects with opera -long collaborative spectacles, not unified drama -shorter masques produced by aristocrats, theaters, public schools

Programatic Romaticism: Hector Berlioz

1803-1869 shaped his symphonies around a series of emotions that tell a story Symphonie fantastique Based on the story of his infatuation with Harriet Smithson Idee fixe - a melody that he used in each movement to represent the obsessive image of the hero's beloved, transforming it to suit the mood and situations at each point in the story (never fragmented) to ensure listeners would understand - subtitled "Episode in the Life of an Artist" musical drama - words to be read silently Outlines of traditional symphony still there movts that resemble slow intro dance in minuet and trio form slow quasi rondo form fast finale 2nd Symphony Harold en Italie Lord Byron's poem features solo viola (less prominently then in a concerto) Paganini commissioned the work as showpiece for viola (refused to play it) recurring theme in each mvt Later Symphonies Romeo and Juliette dramatic symphony combined orchestra, soloists and chorus unstaged concert drama

Robert Schumann Lieder

1810-1856 Schubert's 1st important successor in Lieder renowned for piano music, symphonies and chamber music "Lieder year" 1840 Dichterliebe (A Poet's Love) inspired by impending marriage to Clara voice + piano = equal long preludes/interludes/postludes for piano -avoidance of cadence

Music at Court

3 divisions 1. Music of the Royal Chapel: religious services -singers, organists, other instrumentalists 2. Music of the Chamber: indoor entertainment -string, lute, harpsichord, flute 3. Music of the Great Stable: military and outdoor ceremonies -wind, brass, timpani string orchestras - created first large ensembles of violin family -model for modern orchestras 24 violins of the king established by Louis XIII, small ensemble established by Louis XIV -term "orchestra" used

Ad organum faciendum

on making organum rules for improvising or composing in the new style

Liszt (New German School)

1848 retired career as virtuoso and became court music director at Weimar Symphonic poems - one movement programmatic work with sections of contrasting character and tempo, presenting a few themes that are developed, repeated, varied, or transformed -content and form often suggested by a picture, statue, play, scene, personality or something else Ex: Prometheus -myth to a poem by Herder Programmatic Symphonies: Faust Symphony and Dante Symphony each is a 1 mvt programmatic work with sections of contrasting character and tempo, presenting a few themes that are developed, repeated, varied or transformed -symphonic sounding Thematic Transformation method devised by Liszt of providing unity, variety and narrative-like logiv to a composition by transforming the thematic material to reflect the diverse moods needed to portray a programmatic subject -also used thematic transformation in works without an overt program -Four movements of Piano Concerto No. 1 are played without pauses and linked by themes that are transformed within and between movements Choral Music most important: 2 oratorios Christus - on life of Christ both derive much of their thematic material from melodies on plainchant related to their subjects, paraphrased, and treated in style of modern times

neoclassicism

1910s to 1950s, pre-Romantic music revived, imiated, evoked originated in France, rejectin of German Romanticism Ex: Le tombeau de Couperin, Ravel -blends styles reminiscent of Couperin -fugue, toccata

Franz Liszt

1911-1886 child prodigy in Hungary/Vienna moved to Paris age 12 -given 7 octave grand piano with new double-escapement action that allowed quick repetition -large hands 1st pianist to give solo recitals in large halls -wide range of music -played form memory Influences -Hungary (Hungarian Rhapsodies) -Chopin - adopted lyricism, rubato, rhythmic license and harmonic innovations Biggest = Paganini (violinist) - pushed instruments technique to its limits in playing and compositions 3 concert Etudes un sospiro addresses problem of how to project slower moving melody outside or within rapid broken chord figurations -pedal can sustain harmonies while hand braves treacherous leaps notation - looks like three hands required harmony chromatic movement from one chord to the next (already seen in chopin) -elaborate and harmonic decoration of a dissonant sonority - became typical feature of Romantic harmony -also marked by interest in 3rd relationships, equal divisions of the octaves nondiatonic scales un sospiro modulates around major thirds instead of T-D-T, a harmonic technique pioneered by Schubert -often used aug. triads and dim. 7th chords which divide the octave equally -whole tone/octatonic scales Sonata B minor (modeled on Schubert Wanderer Fantasy) 4 main themes one extended sonata form movement subdivided into 3 large sections double function form 2 types of arrangements: operatic paraphrases (Mozart, Bellini, Donizetti, Verdi), and transcriptions (Schubert, Berlioz, Beethoven)

disco

1970s New York Clubs catered to African Americans, Latinos, gay men; became international craze -relentless beat, lush orchestrations, slick production Saturday Night Fever

The Beatles

2 creating singer-songwriters -John Lennon and Paul McCartney -Guitarist and songwriter George Harrison Drummer Ringo Star Sgt. Pepper's Lonely Hearts Club Band -embraced wide variety of musical styles from British music hall sons to Indian sitar music -emphasis on electric guitar gave rise to Jimi Hendrix and Eric Clapton

Reciting Tone

2nd most important note in a mode, after the final. Most frequent or prominent note in the chant

Puccini

3rd opera: Manon lescaut catapulted him to fame -continual search for dramatic conceptions that evoke "spirit behind the words" -interested in realism, embodied by diverse characters, lifelike stage action and engaging visual effects -chose plots in place/time that inspired him -For Puccini exoticism of America, Japan or China was just another form of realism with added appeal of unfamiliar and far away Style highly individual personal style by blending Verdi's focus on vocal melody with Wagner's approach - use of recurring motives and leitmotives -musical ideas grow out of dramatic action Madama Butterfly -music moves seamlessly b/w dialogue and brief aria-like moments -many most important melodies in orchestra Pinkerton speaks in Romantic tones of Puccini's usual style but Butterfly moves among several different styles to present different personas - conforming to Western expectations of exotic charm -balances exoticism with very human portrait of Butterfly

Berlioz Les troyens

5 act opera drew on grand opera but also older French traditions of Lully, Rameau and Gluck text by Berlioz himself based on 2nd and 4th books of Virgil's Aeneid condensed narrative in a series of powerful scenes and used appropriated occasions to introduce ballets, processions and other musical numbers "epic opera" a work in which a nation competes with the passions and emotions of individual character

European Society 800-1300

9th century thee principal successors emerged to the Roman Empire Byzantine - preserved Greek and Roman science, architecture, and culture Arab - strongest and most vibrant fostered trade and industry, contributed to medicine Western Europe - the weakest and poorest. Charlemagne promoted learning and artistic achievement Society divided into 3 broad classes Nobility and Knights - controlled the land and fought wars Priests/monks/nuns - prayed Peasants - majority of population, worked the land and served the nobles -growth provided resources for the arts -Universities were established

Hugo Wolf

Adapted Wagner's methods to German Lied 5 collections, each devoted to a single poet -Moricke -Eichendorff -Goethe -German translations of Spanish and Italian poems Lebe wolh! from Morike -vocal line adapts Wagner's arioso style, presenting a speechlike rhythm and pitch contour -dissonances resolve to other dissonances -Chromatic saturation - the appearance of all 12 pitch-classes within a segment of music

Tropes, Sequences and Liturgical dramas

Additions to the Authorized chants Tropes expanded an existing chant into one of three ways -new rods and music before the chant and often between phrases (most common) -melody only, extending melismas or adding new ones -text only (usually called prosula) set to existing melismas They flrouished especially in monasteries during the 10th and 11th centuries and then declined again in the 12th century after the Council of Trent - interest in simplifying the liturgy Sequence genre popular from the late 9th-12th centuries sequences are set syllabically to a text that is mostly in couplets and are sung after the Alleluia at Mass ex: Victimae paschali laudes Notker Balbulus: Frankish monk, most famous early writer of sequence texts Liturgical Drama Dialogue on a sacred subject, set to music and usually performed with action, and linked to the liturgy -Christmas and Easter plays were most common Tropes on Puer natus: Quem queritis in presepe

Serialism in US

Adolph Weiss introduced Schoenberg's methods in the US studied with Schoenberg in Vienna, Berlin -prominent twelve-tone composers fled Europe during Nazi era -postwar German composers embraced music Nazis condemned extensions of serialism -principals of tone rows applied to parameters other than pitch, total serialism -total serialism is never total -only some nonpitch elements treated serially Leading composers: Milton Babbitt, US, Pierre Boulez, Paris, Stockhausen, Cologne

Jazz (Early Jazz)

African American roots; evolved into a diverse tradition encompassing many styles, genres and social roles but seems to have begun as a mixture of ragtime and dance music with elements of the blues New Orleans "cradle of jazz" dance bands were typically smaller with 2 or 3 instruments, such as trumpet, clarinet and trombone, a bass instrument such as tuba; snare and bass drums -New Orleans Jazz Band -Original Dixieland Jazz Band -differed from ragtime in its performance. Instead of playing the music "straight" observing the rhythms and textures of a fully notated piece, players extemporized arrangements that distinguished one notated piece

hip hop, rap

African American urban youth culture, South Bronx looped percussive break passages; breakdancing rappers improvised lyrics gansta rap - celebrates lawlessness political hip hop or conscious rap - voices woes of inequality, racism became popular music of white suburban teenagers

Spanish Composers

Albeniz, Granads, and Falla -sought to reclaim national tradition Isaac Albenis, Enrique Granados -best known for piano music Iberia, 12 piano pieces by Albeniz -spanish melodic traits, dance rhythms -virtuosos style drew on Liszt, Debussy Goyescas, by Granados -inspired by sketches of Francisco Goya -theatrical styles, flamenco guitar Manuel de Falla -collected, arranged national folk songs mature works: national elements, neoclassical approach

Virgil Thomson

American studied with Boulanger influenced by Satie collaborated with Gertrude Stein on Four Saints in Three Acts The Mother of Us All Like Copland wrote film music, used American folk elements from cowboy songs to spirituals

Milton Babbit

American Composer Three Compositions for Piano -first piece to apply serial principles to duration -combinatorial pitch rows, four number durational row -organized duration through number rows -"all-partition" arrays -interrelated rows, all possible ways of segmenting row into groups of various lengths "time point" approach to duration -each measure divided into 12 equal units of time -notes begin at particular points on time grid using number rows -pitch row converted into number row by number of semitones -pitch row determines rhythm

William Grant Still

American Composer drew on diverse background studied composition with Chadwick and Varese -nicknamed "Dean of Afro-American Composers" Broke numerous racial barriers -first African American to conduct major symphony orchestra in US -first to have opera produced by major company -first to have an opera televised over national network Afro-American Symphony -first symphonic work by African American composer performed by major American orchestra -encompasses African American musical elements -traditional 4 mvts

John Corigliano

American composer Ghosts of Versailles, opera ghosts rendered with modern serial music, timbral effects play set in style based on Mozart operas immense range of styles and influences Symphony No. 1 memorial to friends who died of Aids incorporates quotations from their favorite pieces The Red Violin Academy Award Winning film score leitmotive for violin

Ruth Crawford Seeger

American composer first woman to win Guggenheim Fellowship in music studied with composer, Charles Seeger experimented with serial techniques -edited American folk songs from field recordings Ex: String Quartet

Barber

American composer, remained committed to tonality Adagio for Strings Renowned for his vocal music -Dover Beach, Hermit Songs, Knoxville

Elliott Carter

American composer, wrote for virtuoso performers -complex, nonserious style; innovations in rhythm and form Cello Sonata, developed metric modulation -precise proportional change in value of durational unit String Quartet No. 2 -each instrumental part has distinct personality -instruments differentiated by their most prominent intervals -first violin effects the metric modulation catenaires, solo piano enduring presence of postwar modernism, serialism Catenaires unusual for Carter -single melodic lines of 16th notes, played as fast as possible -evokes perpetual motion in Chopin's Piano Sonata in B-flat minor

Varese

American composers influenced by Schoenberg, notably the use of strong dissonance and chromatic saturation and by Stravinsky, including the association of a musical idea with instrumental color, the avoidance of linear development and the juxtaposition of disparate elements through layering and interruption Ex: Offrandes, Hyperprism, Octandre, Integrales -aimed to liberate composition from conventional melody, harmony, meter, regular pulse, recurrent beat and traditional orchestration Spatial music - pertaining to the conception of music as sounds moving through musical space, rather than as the presentation and variation of themes or motives sound masses - coined by Varese for a body of sounds characterized by a particular timbre, register, rhythm or melodic gesture which may remain stable or may be transformed as it recurs -typically his pieces are organized as series of sections, each centered around a few masses, some of which may carry over to later sections later works depended on electronic recordings of sounds

Frank Zappa

American guitarist, composer exemplifies convergence of traditions, blurring of the lines -avant-garde rock broke down distinctions between rock, jazz and classical music 200 motels, for rock band and orchestra

American Musical Theater and Popular Song

American popular music grew between 2 world wars publishers and songwriters turned to recordings to popularize their music -Hollywood musical was born Musical Theater Revues were most popular -Ziegfeld follies Operettas replaced musical -bigger push to create more integrated musicals where the numbers are closely related to the story Ex: Kern's Showboat -brings together traditions such as opera, operetta, musical comedy, revues and vaudeville -musical styles such as ragtime, spirituals, sentimental ballads and marches

Substitute Clausulae

Anonymous IV writes that Perotin edited the Magnus liber and made many better clausulae clausula - self-contained section of an organum, setting a word or syllable from the chant and closing with a candence Substitute clausulae - new sections of the organum that could be interchanged or replaced Clausulae on Dominus from Viderunt omnes

Piazzolla

Argentine composer combined Argentine tradition with jazz, classical music new style, neuvo tango: incorporated improvisation, elements of classical traditions -baroque procedures -modernist chromaticism, dissonance -ideas of extended forms -student of Ginastera, Boulanger Libertango La Camorra Five Tango Sensations

Greek Music Theory

Aristoxenus' Rhythmic elements -rhythm in music was closely aligned with poetic rhythm -Diastematic (intervallic) movement: voices move between sustained pitches separated by discrete intervals Melodies constructed of a series of notes, each on a single pitch; an interval is formed between two notes of different pitch; and a scale is a series of three or more pitches in ascending or descending order

Isorhythm

Ars Nova equal rhythm in which the tenor is laid out in segments of identical rhythm -patterns are longer and more complex, and the tenor moves so slowly in comparison to the upper voices used in de Vitry motets Talea - repeating rhythmic pattern repeated 1 or 3 more times usually in the tenor Color - recurring segment of melody usually in the tenor Talea and color are the same length, always beginning and ending together, but most often the color extended over two, three or more taleae Phillipe de Vitry: In arboris/Tuba sacre fideli

Ars Nova Rhythm

Ars Nova - set of innovations in notation rhythm that underlie our modern system of whole, half, quarter and 8th notes and rests -rethinking of musical time units of time could be grouped in either twos or threes at several different levels of duration, allowing a much wider variety of rhythms to be written The long, breve, and semibreve could be divided into either 2 or 3 notes of the next smaller value division of the long called mode (modus) that of breve (tempus) and semibreve, prolation (prolatio) division was perfect or major (freater) if triple and imperfect or minor (lesser) if duple The terms mode tempus perfect and imperfect are all derived from Notre Dame and Franconian notation and applied herer to new but closely related uses. new noteform: mini meaning "least" in Latin

Ars Nova Notation

Ars Nova provided 2 innovations for notation -allowed duple (imperfect) divisions of note values along with traditional triple (perfect) division -division of the semibreve, formerly the smallest possible note value, into minims -new system allowed greater rhythmic flexibility, including syncopation Mensuration signs - symbols that are the ancestors of modern time signatures Flemish theorist Jacques de Liege as against the new system - defended the "ancient art" (ars antiqua) of the late 13th century against the new innovations.

Radical simplification

Arvo Part, Estonian composer instantly recognizable style, using simplest materials studied Gregorian chant, early polyphony tintinnabuli term derived from bell-like sonorities No. 6 O Konig aller Volker from Seven Magnificat Antiphons exemplifies tintinnabuli, choral style texture alternates between consonance and diatonic dissonance variety, dramatic climaxes stripped-down, pitch-centered style

Minstrels and Professional Musicians

Bard, Jongleurs, Minstrel Bards - poet sings in Celtic lands, sang epics at banquets and other occasions, accompanying themselves on harp or fiddle Jongleurs -"jugglers" lower class itinerant musicians who traveled alone or in groups, earning a precarious living by performing tricks, telling stories and singing or playing instruments Minstrel - "servant" term used for more specialized musicians, many whom were employed by the court, also traveled

Passacaglia

Baroque genre of variations over a repeated bassline or harmonic progression in triple meter

Dance music (16th century)

Basse dance, Pavane, Galliard improvisatory - ornamenting a given melodic line or by adding one or more contrapuntal parts to a given melody or base line Basse dance - low dance, stately couple dance marked by gracefully raising and lowering the body. Music in triple or duple meter, six or four measure phrases Pavane - originated in Italy. 16th century dance in slow duple meter with three repeated sections (AABBCC) passamezzo: slow duple meter; saltarello: fast triple meter Galliard - originated in Italy, 16th cent dance in fast triple meter, often paired with the pavane in the same form

Responsories

Bible readings with musical responses

Composers of New Chanson (16th cent)

Claudin de Sermisy and Clement Janequin principal composers in Attaingnant's early chanson collections

French Exoticism

Bizet's Carmen set in Spain originally classified as opera comique because it contained spoken dialogue but it was a stark, realistic drama ending with a murder spoken dialogue was later turned into recit Spanish flavor embodied in Carmen Carmen = Romani (gypsy) -suggestive costume and behavior, provocative sexuality and language and Bizet's music characterize her as outside normal society making her dangerous and enticing Bizet borrowed 3 authentic Spanish melodies: habanera (most important) -blend of Romani and modern French style -augmented seconds considered trademark of gypsy music Seduces Don Jose by singing a seguidilla - type of Spanish song in fast triple time accompaniment imitates strumming of guitar plot provoked outrage at premiere -but opera still was a success

Dvorak

Bohemian (Czech) 12 operas plost on Czech village life, fairy tales, and slavic history most important: Dmitrij, historical opear Rusalka, lyric fairy tale -adopted korsakov's dichotomy b/w diatonic world of humanity and fantastic style for nature spirits Viennese symphonic tradition: Symphony No. 6 Czech traditional elements: Slavonic dances for Piano four hands and orchestra Best Known Symphony : No 9 in E minor "New World Symphony" written during extended sojourn in US elements of Native African American musical idioms: pentatonic melodies, syncopated rhythms, drones and plagal cadences

Heitor Villa-Lobos

Brazilian composer drew together traditional Brazilian elements with modernist techniques studied in Paris Bachianas Brasileiras -pay tribute to Bach and thus to the neoclassical trend of the times -each suite of two to four movements combining elements of Baroque harmony, counterpoint, genres, and styles with Brazilian folk elements and long, lyrical melodic lines

Hexachord system

Built on Guido's six note pattern only three semitones occur in chant 3 types - origins of accidentals Natural - beginning on C Hard - beginning on G Soft - beginning on F Mutation - changing hexachords whereby a note that was shared by both hexachords was begun as if in one hexachord and left as if in another (pivoting) Guidonian hand -pedagogical aid intervals were taught as the teacher pointed with the index finger of the right hand to the different joints of the open left hand. Each joint stood for one of the 20 notes in the system

Late 13th century motet

By 1250, 3 voice motets were the rule, 2 texts on related topics in Latin or French -after mid century, tenor melodies were taken from other chants and secular music -tenor became the cantus firmus - an existing melody, usually a plainchant, on which a new polyphonic work is based Franconian notation - developed by Franco of Cologne, relative notations were signified by note shapes -Four sings for single notes: Double long, long, breve, semibreve -Three tempora constitue a perfection, akin to a measure of three beats Franconian motet - each upper voice has a distinctive rhythmic shape Petrus de Cruce - expansion of rhythmic variety from the Franconian motet Adam de la Halle: De ma dame vient/Dieus, comment porroie/Omnes motet

Anglican Music

Byrd composed all forms of this music absorbed Continental imitative techniques ex: Sing joyfully unto God, full anthem Latin Masses and Motets -Byrd's best known works -wrote for Catholics celebrating Mass in secret

Arias (before opera)

Caccini's name of his solo songs could mean any setting of strophic poetry at this time

Cantus Firmus/imitation mass

Cantus Firmus/imitation mass -polyphonic mass in which each movement is based on the same polyphonic mode, normally a chanson or motet, and all voices of the model are used in the mass, but none is used as a cantus firmus Ex: Missa L'homme arme -four voice texture, adding a voice below the tenor, allowed composers more freedom and eventually became the standard not just in cantus-firmus masses Bass - also known as contratenor bass, bassus Tenor Alto - contratenor altus, altus Sophrano - discant, superius Ex: missa se la face ay pale (Du Fay) Why cantus firmus? Allowed composers to unify five movements of the mass into an integrated whole mass became a proving ground for composers' abilities - much like the symphony with French composes in the first half of the 19th century

Mexico

Carloz Chavez- conductor of Mexico's first professional orchestra and director of national conservatory Sinfonia india -indian melodies in a modernist, primitivism idiom Silvestre Revueltas - assistant conductor under Chavez -does not use folk songs but combines melodies modeled on Mexican folk and popular music with a modernist idiom Ex: Sensemaya -symphonic poem Spanish government began to support bringing the arts to a wide public and promoted a new nationalism that drew on native American cultures, especially from before the Spanish Conquest

Dance Music

Carole - a circle dance that was usually accompanied by a song sung by one or more of the dancers Most popular social dance in France from the 12-14th centuries Estampie - (surviving medieval instrumental dance) several sections, each played twice with two different endings: First: Open - incomplete cadence Second, Closed - full cadence Ex: la quarte estampie royal, le manuscrit du roi (The Manuscript of the King) includes 8 royal estampies All French estampies are in triple meter and consist of relatively short sections Italian relative (estampita)

Bruckner

Catholic schooled in counterpoint served as organist of cathedrals (Linz/court/Vienna) Symphonies 9 numbered symphonies 2 unnumered ones frequently revised them - often in response to criticism -most exist in 2 or 3 versions All conventional 4 mvts none explicitly programmatic although 4th had descriptive tags at some point Influences: Beethoven 9 - model for procedure, purpose, grandiose proportions and religious spirit - hymns chorale-like themes - modes for his finales Symphony No. 4 begins like Beethoven 9 - with vague agitation in strings out of which a theme gradually condenses and then builds up in a crescendo - conveying sense of coming into being 3 key exposition (like those of Schubert) Religious choral works blend modern elements with influences from the Cecilian movement, which promoted a revival of the 16th century a cappella style

Polyphonic music

Chant built foundation for..

Cantillation

Chanting of sacred texts based on melodic formulas that reflected phrase divisions of the text. Certain readings were assigned to particular days or festivals

Thomas Weelkes

Composer of English madrigal As Vesta was -most famous from Morley's collection (The Triumphes of Oriana) -composer wrote his own poem "Long live fair Oriana" set to motive that enters almost 50 times -written primarily for unaccompanied solo voices collections printed "apt for voices and viols" -ideal for informal gatherings, suited for amateurs -ability to read a vocal or instrumental part, expected of educated people

Sonata in D Major, Op. 3 No. 2

Corelli's trio sonatas emphasized lyricism over virtuosity -two violins treated exactly alike -suspensions, forward motion This example: -walking bass, free imitation in violins above -chain of suspensions in violins, descending sequence in bass -dialogue between violins, progressively higher peaks Most are 4 movements (church sonata) often in pairs slow-fast-slow-fast Chamber sonatas begin with prelude, two or three dances may follow as in French suite Bass is accompaniment in chamber solo sonatas -divided as church or chamber In Allegro movements - violin employs double/triple stops -movements are thematically independent from each other -wrote tonally

(Czech Nationalism) Janacek

Czech composer collected folk music, studied rhythms and inflections of peasant speech and song and devised a highly personal idiom based on them opera Jenufa - gained wider popularity

First Operas

Dafne - Peri's setting of Rinuccini's pastoral poem. L'Euridice -1600 setting of Rinuccini's pastoral drama by Peri

French lute and keyboard music

Denis Gaultier published collections teaching amateurs to play Clavecin - "harpsichord" displaced lute as main solo instrument Clavicenists - important harpsichord composers included Francois Couperin -proper use of agreements was a sign of refined taste Style lute/style brise - broken style - - arpeggiated texture in keyboard and lute music. Originated in lute and transferred to harpsichord

Motown

Detroit based record company founded and owned by Berry Gordy -The Supremes, The temptations, Stieve Wonder, Michael Jackson

Concertato chorale - Wachet auf

Dietrich Buxtehude accompanying instruments, strings bassoon and continuo begin with a sinfonia on motives from the chorale

Doctrine of Imitation

Doctrine outlined in Aristotle's politics described how music affected behavior: music that imitated a certain ethos aroused the ethos in the listener -imitation of an ethos was accomplished partly through the choice of harmonia, in the sense of a scale type or style of melody

Machaut's Virelais

Douce dame joie illustrates Machaut's blend of trouvere tradition in poetry with up to date musical style. -demonstrates poet's virtuosity bu using only two rhymes repeated throughout all stanzas -emphasis on poetic rhythms with musical ones, short motives whose frequent repetition and variation make the melody memorable -playful, catchy melody that reflects Machaut's notion of the virelai as a chanson baladee, or "danced song"

Role of imitation

Du Fay a. brief moments of imitation b. short, seldom involve all voices c. incidental to fixed forms Busnoys and Ockeghem a. more extensive imitation, involves all voices b. longer phrases Obrecht a. frequent points of imitation in all voices b. series strung together interspersed with other textures c. common way to organize pieces

Fauxbourdon

Du Fay and other continental composer of second quarter of 15th century became fascinated with succession of thirds and sixths through hearing music imported from England technique called fauxbourdon - inspired by English faburden although procedure is differente only the cantus and tenor are written out, moving mostly in parallel sixths and ending each phrase on an octave a third voice, unwritten, sang in exact parallel a fourth below the cantus, producing a stream of 6/3 sonorities ending on an open fifth and octave, as in faburden used for settngs of the simpler Office chants: hymns, antiphons, psalms, and canticles Du Fay's setting of the hymn Christe, redemptor ominum uses fauxbourdon, paraphrasing the chant in the cantus. Only the even-numbered stanzas were sung polyphonically, alternating with the others in plainchant

Catholic Church music

During Reformation the Church maintained its stance on previous practices Catholic music changed very little Flemish Composers remained prominent best known: Adrian Willaert, Nicolas Gombert, and Jacobus Clemens shared characteristics with catholic composers -careful treatment of dissonance -equality of voices clearly defined modes -mostly duple meter -imitative polypony -imitation mass most common

United States (between the wars composers)

Edgard Varese, Henry Collell, Ruth Crawford Seeger, George Gershwin, Aaron Copland, William Grant Still new currents among American composers ultramodernist: focused on new musical resources Americanist: incorporated nationalism into European genres -both asserted independence from Europe -American composers formed own organizations: International Composers Guild, League of Composers

John Taverner

English composer of sacred music composed masses and motets English style: long melismas, full textures, cantus-firmus structures

consort song

English genre for voice accompanied by a consort of viols (string ensemble) master of this genre: William Byrd

Accessible Modernism

Ellen Taaffe Zwilich joins continuous variation with older formal devices of recurrence and contrast basic idea is usually simple, textures clear Symphony No. 1 first Pulitzer Prize in Music awarded to a woman

English virginalists

English keyboard composers named after their instrument composers: William Byrd, John Bull, Orlando Gibbons -dances or familiar tunes used as themes; interest in melodic variation -short, simple, regular phrasing -each variation uses one type of figuration Ex: Byrd's variation on John come kiss me now

Ballad opera

England -dialogue interspersed with songs, new words to borrowed tunes -fashion peaked in 1730s -over time, more original music; development parallel to opera comique Ex: The Beggar's Opera, libretto by John Gay -satirized London society -modern urban thieves and prostitues and their crimes -poetry and music sometimes spoofed opera

Henry Purcell

England's leading composer Dido and Aeneas 4 roles, 3 acts (hour long) combines English masque with French and Italian opera -Overture, homophonic choruses, and dance (France) Several arias (Italy) Dido's lament - Italian tradition - setting laments over descending tetrachords -captures essence of English language in recits Dramatic opera or semiopera - spoken play with an overture and four or more masques or substantial musical episodes including the Fairy Queen

Faburden and Cantilenas

English Music Faburden: plainchant in the middle voice was joined by an upper voice a P4 above it and a lower voice singing mostly in parallel thirds below it Polyphony on latin texts Cantilenas - like their apparent ancestor the conductus, were freely composed, mostly homorythmic settings of Latin texts, not based on existing chant melodies -motets - later isorhythmic motets prevailed

John Dowland

English composer of lute songs Example: Flow my tears -form of a pavane, aabbCC -minimal depiction of individual words; music matches dark mood of poetry

ballad operas

English versions of foreign-language operas typically replaced recitative with spoken dialogue and simplified ensembles and arias John Gay's The Beggar's Opera US -opera in the original was slow going but existed Theatre d'Orleans - French and italian works Academy of Music - in New York Jenny Lind toured extensively with Italian arias American Opera William Henry Fry -believed English and American traditions of mixing spoken dialogue with arias and ensembles was a corruption of operatic ideal -Leonora -first such opera by an American-born composer to be staged. Written in Bellini's style

Canada

Ernest MacMillan -head of Toronto Conservatory and head of Toronto Symphony Orchestra -wrote music that drew from French Canadian folk songs Claude Champagne -first composer to achieve an international reputation in Canada -deeply influenced by Mussorgsky and Scriabin -used French-Canadian folk music and polyphonic French chansons with the symphonic tradition

Church Calendar

Every year the church commemorated each event or saint with a feast day in a cycle known as the church calendar most important feasts are Christmas, marking Jesus' birth and Easter, celebrating his resurrection and observed on the Sunday after the full moon of spring. Both are preceded by period of preparation and penitence: Advent begins four Sundays before Christmas and Lent starts on Ash Wednesday, 46 days before Easter

Du Fay Polyphonic Mass

Example: Missa se la face ay pale -pairing of movements such as Gloria and Credo -Polyphonic mass cycle - including all five main items of the Ordinary: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei Musical links in Mass Cycles -plainsong mass: mass in which each movement is based on a chant to the same text -motto mass: polyphonic mass in which the movements are linked primarily by sharing the same opening motive or phrase Cantus Firmus Mass -cantus firmus/tenor mass: use of a head-motive combined with another way of linking movements: constructing each other around the same cantus firmus normally placed in the tenor Cantus Firmus/imitation mass -polyphonic mass in which each movement is based on the same polyphonic mode, normally a chanson or motet, and all voices of the model are used in the mass, but none is used as a cantus firmus Ex: Missa L'homme arme -four voice texture, adding a voice below the tenor, allowed composers more freedom and eventually became the standard not just in cantus-firmus masses Bass - also known as contratenor bass, bassus Tenor Alto - contratenor altus, altus Sophrano - discant, superius Ex: missa se la face ay pale (Du Fay) Why cantus firmus? Allowed composers to unify five movements of the mass into an integrated whole mass became a proving ground for composers' abilities - much like the symphony with French composes in the first half of the 19th century

Notre Dame Polyphony

First polyphony to be read from music Rhythmic modes -musicians at Notre Dame developed the first notation since Ancient Greece to indicate duration -developed by Garlandia Ligature - combining of note groups longs - long notes breves - short notes Rhythmic modes - System of 6 durational patterns used in polyphony of the late 12th and 13th centuries, used as the basis of the rhythmic notation of the Notre Dame composers Tempus - basic time unit, transcirbed as an 8th notes, was always grouped in 3s Notes could be broken into shorter units

Johannes Tinctoris

Flemish composer who settled in Napeles wrote a dozen treatises on musical topics. He was an enthusiastic supporter of the northern composers from his own generation and the previous one, and he observed a sharp break between their music and that of previous eras

Opera Comique (19th century)

French comic opera still in fashion in 19th century technical difference: opera comique used spoken dialogue instead of recitative less pretentious than grand opera fewer singers/ players plots: straight forward comedy or semi-serious drama instead of historical pageantry 2 kinds of opera comique in early part of 17th century 1. romantic 2. comic (many works characterized both)

Allemande

French for "German" moderately fast 4/4 beginning with an upbeat

Gigue

French for "jig" originated in British Isles as fast solo dance with rapid footwork In France it became stylized as a movement i fast compound meter such as 6/4 or 12/8, with wide melodic leaps and continuous lively triplets sections often begin with fugal or quasi-fugal imitations

Courante

French for "running" also begins with an upbeat but is in a moderate triple or compound meter, or shifts between the two

Hocket

French for hiccup two voices alternate in rapid succession, each resting while the other sings Passages in hocket appear in some 13th century isorhythmic works in coordination with recurrences of the talea. Pieces that use hocket extensively were themselves called hockets. Most were untexted and could be performed either by voices or by instruments French Ars Nova Philippe de Vitry

harpsichord suite

French harpsichord style brought to Germany by Froberger -allemande, courante, sarabande, gigue: standard dances many composers wrote suites including Buxtehude, J.S. Bach and Handel

French Modernism

French musicians sought greater independence from German music -revival of 16-18th century French music -profound emotions through simple, direct means dance, music central to tradition Gregorian chant, French Renaissance, models of modal music

Ballet

French opera since 17th century included ballet late 18th century dance troupes began to present independent ballets new style: romantic ballet introduced by Marie Taglioni ballerinas became preeminent moving with new lightness, grace and freedom exemplified by sheer translucent skirts shoes that allowed point composers typically wrote music after dance was already choreographed so music had to fit timing Romantic ballet: Giselle music by Adolphe Adam

Machaut's Monophonic Songs

French songs that continued trouvere tradition, most on subject of love composed in outdated forms: chant roial, complainte, and the lai (12th century form similar to the sequence) most popular genre: virelai (one of three formes fixes) used by Machaut

Johann Jacob Froberger

Frescobaldi's student, organist at imperial court in Vienna (toccatas and organ masses) -improvisatory passages alternate with imitative counterpoint -model for later merging of toccata and fugue

Chants of the Mass Ordinary

From 9th century on, church musicians composed many new more ornate melodies (chants) for the Ordinary Credo-set in syllabic style because it has the longest text Gloria - also long texts but more settings are neumatic Both in Gloria/Credo the priest intones the opening words and the choir completes the chant Sanctus/Agnus Dei - melodies are neumatic Kyrie - repeats Kyrie eleison and Christe eleison -Kyrie is usually performed antiphonaly, with half choirs alternating statements Cycles of Ordinary Chants - grouping of chants by scribes in the 13th century, with one setting of each text except the Credo

Willaert

From the generation 1520-1550 Flemish composer long career in Italy, most affected by humanist movement accentuation, rhetoric and punctuation to fit text -never allowed a rest to interrupt a word within a vocal line -strong cadences -insisted syllables be printed precisely under their notes

Felix Mendelssohn

German Romantic Composer blended: Bach, Handel, Mozart and Beethoven preferred older style of technique over new bravura display - found it to be a kind of acrobatics without substance -founded Leipzig conservatory best known piano works: Songs Without Words - 48 short pieces in 8 books 3 staves pianist problems - technique, balance touch music can express feelings words cannot, idealist romantic philosophy

Lied

German Song -strophic, lyric poems, simple and expressive syllabic settings, melody easy to sing -simple accompaniment subordinate to vocal line composers: Telemann, C.P.E. Bach virtues of song -lack of affectation -spare accompaniment -little word-painting -direct expression of feelings -simple melodies

Georg Philipp Telemann

German composer -helped establish characteristic Germany style, preference for relative simplicity over 3,000 works in every genre Ex: Paris Quartets -viola da gamba part independent of continuo, role of soloist Ex: Concerto Primo (First Concerto) -mixture of French and Italian forms -German counterpoint

Singspiel

German for "singing play" spoken dialogue, musical numbers and usually a comic plot Johann Adam Hiller - most famous composer in 1760s and 1770s Singspiel tunes published in German song collections -important precursor of German-language musical theater

Jephte

Giacomo Carissimi exemplifies midcentury Latin oratorio libretto: biblical text, paraphrased and added material various style: narrator in recitative, stile concitato, solo arias, duets, ensembles

Discant-style movements of the Ordinary

Gloria and Credo, with much longer texts, are set in the style of discant or conductus: essentially syllabic and largely homorhythmic, rapidly declaiming the words in all voices Gloria is based on a monophonic chant Gloria that is paraphrased at times in different voices, most often in tenor and contratenor Credo is apparently not based on chant - both movements end with elaborate passages on the word Amen marked by hocket and syncopation in the Gloria and isorhythm in the Credo (Machaut)

Hildegard of Bingen

Great success as a prioress and abbess of her own convent and as a write and composer more surviving chants by Bingen than any other composer from entire Middle Ages most works composed for the Office and vary from syllabic hymns to highly melismatic responsories Most of her songs praise the Virgin Mar, the Trinity, or local Saints Her vocal lines exceed the range of an octave by a fourth or fifth Ex: Ordo virtutum sacred musical drama in verse with 92 songs Mortality play Characters: Prophets, the Virtues, the Happy Soul, the Unhappy SOul and the Penitent Soul all sing in plainchant except the Devil who can only speak absence of music symbolizes his separation from God

Micrologus

Guido of Arezzo -practical guide of singers that covers notes, intervals, scales, the modes, melodic compositions, and improvised polyphony commissioned by the bishop of Arezzo

Oratorios and other large works (19th cent)

Handel and Haydn oratorios core of rep (Other composers: Mendelssohn, Berlioz) Mendelssohn conducted Berlin Sigzkademie in 1st perfromance of J.S. Bach's St. Matthew Passion began revival of Bach's vocal music -converted for larger ensembles Mendelssohn's Oratorios St. Paul Elijah both treated biblical subjects and received great acclaim in Europe and North America Elijah wide variety of styles and textures for chorus evoked style of chorales unified motives and links between mvts to integrate the work into a cohesive whole (rooted in Baroque tradition) final chorus -Handelian spirit powerful homorhythmic opening, rigourous fugue, culminating statement of fugue theme on chordal harmony and contrapuntal Amen -major/minor, touches of chromaticism draw on more recent styles Berlioz the Requiem (Grande Messes des morts) Te Deum huge dimensions not only in length and number of performers but also grandeur of conception Requiem - orchestra of 140 4 brass choirs around performace space ten pairs of cymbals 4 tamtams 16 kettledrums all to achieve brilliant musical effect - represent thunder

New Objectivity

Happening in Germany Neue Sachlichkeit also called New Realism opposed complexity and promoted the use of familiar elements, borrowing from popular music and jaz from Classical and Baroque procedures -rejected music as being autonomous -it should be widely accessible, communicate clearly and draw connections to the events and concerns of the time Krenek's Jonny spielt auf embodied these ideals -opera set in present time

Father of the Symphony

Haydn Typical Haydn sonata has: 4 movements -fast sonata form, often with slow intro -slow movement -minuet and trio (sometimes like scherzo) -fast finale, usually in sonata or rondo form -all are in the same key except the slow movement, which is in a closely related key such as dominant/subdominant Early Symphonies written for Count Morzin -scored for 2 oboes, 2 horns, and strings -3 movement fast-slow-fast First years at Esterhazy -about 30 symphonies ensemble grew Symphonies of 1768-1772 -longer, more rhythmically complex, more contrapuntal, more challenging -dynamic extremes -six in minor keys Symphonies of 1773-1781 -broader emotional range -Sturm and Drang Paris Symphonies -grandest to date one called La Reine - liked by marie Antoinette -bigger orchestration Symphonies 88-92 -combination of popular and learned styles, deep expression with masterful technique London Symphonies 12 total daring harmonic conceptions, intensified rhythmic drive, more memorable thematic inventions -orchestra grows: trumpets and timpani now standard, clarinets -woodwinds and string bass used more independently -solo string at times -use of folk music in last 2 symphonies Ex: Surprise Symphony (No. 94) sudden fortissimo in slow movement

Father of the String Quartet

Haydn mainly written for amateurs dialogue among instruments Early quartets -10 -resemble divertimentos Ex:: Op, 9, 17, and 20 -etablished 4-movement pattern -sturm und drang -minor keys Op. 33 - six quartets lighthearted, witty and tuneful -minuets titles scherzo "joke" or "trick" Later years (Op. 76, six quartets) -34 quartets -concerts and private music making -expanded harmonic vocabulary, foreshadows Romantic harmony -juxtaposition of serious and jocular, artful and folklike

Orchestra

Haydn's orchestra -25 players -flute, two oboes, two bassoons, two horns, 12-16 strings, harpsichord -trumpets and timpani occasionally added Viennese orchestra -fewer than 35 players -often included 2 clarinets -basso continuo gradually abandoned -leader of the violins directed the group mid 18th century orchestration -essential music to the strings -wind and horns for doubling, reinforcing, filling in harmonies

Claudio Monteverdi

His first opera: L'Orfeo -Librettist: Alessandro Striggio used several kinds of monody strophic variation: arias are strophic, strophes varied to reflect text (early 17th century vocal genre, a setting of a strophic poem in which the melody of the first stanza i varied but the harmonic plan remains the same, duration of harmonies may change) later dramatic works concitato genere/stile concitato - "excited style" characterized by rapid reiteration on a single note L'incoronaztione di Poppea recitative arioso/arisos - passages that lie somewhere between recitative and aria style

concertate quartets

all parts have equal importance goes with string quartets: two violins, viola cello intended for enjoyment of the performers, social activity

toccata (16th cent)

chief form improvisatory keyboard music, second half of 16th cent -resembled improv that may include imitative sections or may serve as a prelude to an independent fugue -toccatas by Claudio Merulo

Wolfgang Amadeus Mozart

child prodigy father Leopold - violinist and deputy Kappellmeister - wrote violin treatise -toured extensively with his sister Paris -Mozart became interested in Schobert's music which simulated orchestra effects through rapid figuration and thick chordal textures - a technique he later imitated London -met J.C. Bach who had lasting influence -Bach's features of Italian opera: songful themes, tasteful appoggiaturas, and triples all became permanent marks of Mozart's writing. Also the contrasting themes in concerto and sonata-form movements Italy and Vienna -Sammartini's influence emerges in Mozart's symphonies written between 1770 and 1773 -visit to Vienna acquainted him with current styles there, especially in the serenade, string quartet and symphony Kochel - catalogues Mozart's works Freelancing -3rd concertmaster at Archbishop Colloredos court in Salzburg -while he traveled seeking other positions - mother dies, falls in love with Alosyia Weber -received invitation from Munich for Idomeneo - left his post in Salzburg -Spent 10 years in Vienna freelnacing -success of Abduction -performed in concerts -became chamber music composer of the emperor Ex: Die Entfuhrung aus dem Serail was successful Mature years in Vienna -music enriched by new influences from three of the century's greatest composers: J.S. Bach, Haydn and Handel -Bach's influence felt in Mozart's contrapuntal works Piano Music -piano virtuoso Sonata in F Major -themes and combinations of heterogeneous styles -Mozart's themes tend to be songlike -phrases usually balanced between antecedent and consequent, but often the second phrase is extended Topics - term for the different and contrasting styles in Classic-era music that serve as subjects for musical discourse Chamber Music Wrote Quartets Haydn Quartets -show mature capacity to absorb the essence of Haydn's achievement without becoming a mere imitator String Quintets -2 violins, 2 violas, cello Serenades and Divertimentos -intended for background music Eine kline Nachtmusik -serenade, 4 movements Piano Concertos wrote 17 in Vienna -written as vehicles for his own concert and intended them to please entire range of listeners -followed traditional 3 movement pattern in the fast-slow-fast -first movement blended elements of ritornello and sonata form as do the concertos of J.C. Bach, Mozart's primary model for piano concertos Ex: Piano Concerto in A major, K. 488 -solo sections resemble exposition, development and recap of sonata form - soloist accompanied by and sometimes in dialogue with orchestra -opening orch ritornello introduces the movement's first theme, transition, second theme, and closing theme, but remains in tonic -ritornello returns, greatly abbreviated, to mark the end of the first solo and end of the movement Like Bach - cadenza for soloist but his usually interrupts the final ritornello -punctuates the long solo sections with passages for full orchestra that serve as further ritornellos -second movement resembles lyrical aria -final movement typically a rondo or sonata rondo on themes with popular character -grow in length

Opera (Germany and Austria)

first public German opera house in Hamburg many operas concerned biblical subjects adopted Italian recit but arias were their own Reinhard Keiser

Cesti's Orontea

Italian Opera at midcentury Innsbruck epitomizes changes opera had undergone in half a century -librettist interwove romantic and comic scenes and high and low characters, seeking entertainment -action unfold in recit Recitative - many repeated notes, mostly choral tones, modulating harmonies with frequent secondary dominant, -longer arias new features of Italian opera -concentration on solo singing rather than ensemble/instrumental -separation of recit and arias -use of varied styles

Chacona

Italian ciaccona, vivacious dance-song imported from Latin America into Spain and then Italy Wildy popular refrain followed a simple repeating pattern of chords played on the guitar, which had become the popular plucked or strummed instrument in Spain and Spanish colonies Ex: Zefiro torna, madrigal by Monteverdi

Opera Buffa

Italian comic opera -plots centered on ordinary people instead of myth or history -aimed at middle class audience -poked fun at aristocracy -Characters resemble those of commedia dell'arte - improvised comedy popular in Italy since 16th cent -there were also serious characters -dialogue was set in rapidly delivered recit accompanied by continuo, often keyboard alone Arias are typically in galant style Ex: Leonardo Vinci (pioneer of the style)The Lovers of the Gallery

Antonio Vivaldi

Italian composer known for his concertos -worked at La Pieta "hospital" in Venice, home for orphans, illegitimate, or poor boys and girls Concertos -achieved remarkable range of colors and sonorities thorugh different groupings of solo and orchestral instruments -unlike Corelli, his concertos feature the same opposition between virtuoso soloists and orchestra -3 movements ritornellos form: ritornellos for full orchestra alternate with episodes for the soloist(s) (expanded on Torelli) -opening rit composed of several small units, typically 2to 4 measures in length, some of which may be repeated or varied -later statements of rit usually partial -serve as guideposts to tonal structure of music Ex: Concerto for Violin and Orchestra in A minor by Vivaldi -slow movement is as important as the fast one -very formulaic writing

Luciano Berio

Italian composer, wrote series titled Sequenza -each for unaccompanied solo instrument for specific performer -title refers to harmonic fields explored Sequenza IV for piano -rapid, gesture, sudden changes of register and dynamics -atonal language, figuration, textures -resembles earlier serial music -sostenuto pedal used throughout, catches harmonics from other notes

Frottola

Italian counterpart to the villancico 4-part strophic syllabic, homophonic melody in upper voice marked rhythm patterns features simple music; earthy, satirical texts -top voice sung, other parts sung or played by instruments -mock popular songs, for amusement and courtly elite 13 collections published by Petricci Composer: Marco Cara

English Madrigals

Italian madrigals began to circulate in the 1560s and sung in homes of aristocrats and middle class (late 16th century) Composers: Morely, Weelkes, John Willbye

Franco-Flemish Composers

Jacob Obrecht, Henricus Isaac and Josquin des Prez -all born and trained in the Low Countries -traveled widely, working at courts and churches in different parts of Europe including Italy -careers illustrate lively interchange between Franco-Flemish and Italian center General Traits 1. structure largely determined by text 2. standard 4-voice texture, up to 5 and 6 a. imitative counterpoint and homophony b. borrowed melodies often distributed among the voices c. smooth melodies, motivic relationships 3. full harmonies a. full triadic sonorities predominated; replaced open 5ths and octaves at cadences b. bass replaced tenor as foundation

Extramusical imagery and meanings

Joan Tower, John Taverner Joan Tower, American Composer many works based on images Silver ladders for Orchestra ladders: rising lines, stepwise or leaps by fourths John Taverner, English composer elements from liturgical music of the Orthodox Church Liturgy of St. John Chrysostom, unaccompanied chorus harmonically simple, chant-derived idiom

Avant-garde

John Cage and other avant-garde composers raise fundamental questions what is music? what counts as musical sound? how should be listen, and to what? What is compositions and what is the role of the composer?

Mille Regretz

Josquin des Prez 4-voice chanson -authorship questioned by some scholars -texture alternates between homophony and imitation between all four voices -each phrase of text receives its own particular treatment

Missa Pange lingua

Josquin des Prez Mass paraphrase mass: mass based on paraphrased monophonic melody, appears in all voices based on plainchant hymn paraphrased in all four voices, in each movement paraphrase in points of imitation phrases adopted as motives, treated in imitation

Ave Maria...virgo serena

Josquin des Prez Motet exemplifies diversity of his style earliest and most popular words drawn from 3 different texts, all addressed to Virgin Mary music crafted to fit words sensitive declamation and projection of text constantly changing texture -overlapping points of imitation -presence of paraphrases of source melody in all voices -hymn text: homophonic phrases -closing prayer: plainest chordal homophony in long notes

Renaissance tuning and temperament

Just Intonation - a system of tuning notes in the scale, common in the renaissance, in which most (but not all) thirds, 6ths, P4s, and P5ths are in perfect tune -proposed by Bartolome Ramis de Pareia -problems include: one third must be out of tune, making sonorities unstable unless the performer adjusts pitch -notes outside the diatonic scale, keeping P5ths and third pure meant that enharmonic notes were different in pitch Temperaments - tuning system in which pitches were adjusted to make most or all intervals unusable without adding keys -mean tone temperament: fifths were tuned small so that the major thirds could sound well -equal temperament: each semitone is exactly the same

Music in classical genres (21st century)

Kaija Saariaho studied composition in native Finland L'amour de loin, last tableau of Act IV, opera -spectralist musical style melodic material is modernist Jeremy Sams The Enchanted Island, premiered at MET in NY literal mashup in classical genre, a work of quotation and collage Shakespeare's A Midsummer Night's Dream and The Tempest arias: Handel's operas, oratorios, cantatas, etc Osvaldo Golijob grew up in Argentine Jewish family influenes: Piazzola neuvo tango synagogue music klezmer studied with Geroge Crumb Ainadamar: Fountain of Tears, Grammy Award Winning Opera

Machaut's Isorhythmic movements

Kyire, Sanctus, Agnus Dei and Ite, missa est are isorhythmic In each of these movements orchestrated by Machaut, the tenor carries a cantus firmus, the melody to a chant on the same Ordinary text, divided into two or more taleae. The contratenor is also isorhythmic, coordinated with the tenor, and together they form the harmonic foundation To generate rhythmic activity, Machaut often relies on repeating figuration

Main musical items of Ordinary

Kyrie Gloria Credo Sanctus Agnus Dei (Ite missa, est) King George Can Sing All (of it) These are now the portions most familiar to musicians because their texts do not change and almost all compositions called "mass" from 14th century on are settings of these portions only

Machaut's Mass

La Messe de Nostre Dame (Mass of Our Lady) one of the earliest polyphonic settings of the Mass Ordinary probably first polyphonic mass written by a single composer and conceived as a unit -apparently composed for performance at a Mass for the Virgin Mary -after his death, oration for Machaut's soul was added to the service

Shostakovich

Lady Macbeth of the Mtsensk District -widely popular until Stalin saw it and disapproved Symphony No. 5 premiered to great acclaim, as his response to the criticism of the opera -encompassed a wide range of styles and moods like Mahler's symphonies -4 movts -all works were created in a politicized context, and the search for double meanings has been widespread in the West and in Russia after the fall of the Soviet Union Symphony No. 7 deals programmatically with the heroic defense of Leningrad against Hitler's armies Tenth Symphony -signed third movement with a motive drawn from the German spelling of his name D-E-flat - C-B

Jean-Baptiste Lully

Louis XIV's favorite musician - for 3 decades -created distinctive French kind of opera -collaborated with playwright Moliere to create series of successful comedies-ballets, which blended elements of ballet and opera -established Academie Royale de Musique -created tragedie lyrique (tragedie en music), reconciling the demands of drama, music and ballet in a new French form -each opera included a prologue - often singing the king's praises -each began with an ouverture (French for "opening") marking entry of the king -adapted recit to French: irregular metric groupings to reflect the rhythms of the text -focus on drama -elegance and naturalism -French elements added in performance: notes inegales agrements

War of the Buffoons

Lullistes versus Ramistes -Rameau's operas stirred critical controversy -lullites attacked him as subverter of lully's tradition -Rameau's popularity sparked parodies of his operas -Lullists support Rameau in this war

Predecessors of concerto style

Lully operas: dance episodes for solo wind trio oratorio and opera arias by Stradella Sonatas for solo trumpet with string orchestras

cantional style

Lutheran composers put the melody in the top voice, accompanied by block chords with little contrapuntal figuration

Machaut's Polyphonic settings of the Ordinary

Machaut 14th century, numerous settings of Ordinary texts by French, English and Italian composers -some for papal chapel at Avignon, others for Masses celebrated on special occasions -most were sets of individual pieces that could be freely combined with others in a service, some were composed as pairs of movements and a few were fathered into anonymous cycles Settings were typically in one of 3 styles: 1. isorhythmic with a chant tenor 2. songlike, with a decorated chant in upper voice 3. homophonic with all parts moving together Machaut's mass build on this tradition, but treats the six texts of the ordinary as one compositions rather than separate pieces. Movements are linked together by similaries of style and approach and by a tonal focus on D in the first 3 movements on F in the last three All six movements are for four voices uses a contratenor ("against the tenor") in the same range as the tenor, sometimes below it and sometimes above

Chansons

Major innovation of Ars nova period development of polyphonic songs, or chansons (French for songs) in treble-dominated style Treble-dominated style: upper voice carrying the text, called the cantus (Latin for song) or treble, is the principal line, supported by a slow moving tenor without text Machaut wrote the cantus before the tenor, reversing the normal order of composition in earlier polyphony -set his own poems for polyphonic chansons

Mozart Masses

Masses for the most part in current symphonic-operatic idiom (except Requiem) intermingled with fugues at certain customary places, and scored for chorus and soloists in alternation with orchestral accompaniment Requiem -commissioned by Count Walsegg -unfinished, completed by his pupil and collaborator Franz Xaver Sussmayer -metaphor for Mozart's sudden death

Tiento

organ music in Spain, improvisatory-style piece that often featured imitation, akin to 16th century fantasia -harp and guitar were main chamber instruments whose repertory centered around dance

Postwar modernists extend personal idioms

Milton Babbit -developed further extensions of serialism Stockhausen, Licht (Light) massive cycle of 7 operas composed using serial melody formulas Boulez elaborated older pieces in hew guises changed approach more radically: Ligeti inspiration in minimalism, 19th century heritage etudes for solo piano -combined elements of his earlier music -dissonant textures that gradually change -repetitive procedures of minimalism Ex: Etude No. 9 simple, familiar ideas move quickly, fuse together into undulating texture

Office Hymns

Most familiar type of sacred song, practiced in almost all branches of Christianity Hymns are strophic, consisting of several stanzas that are all sung to the same melody Choirs sing a hymn in every Office Service Stanzas may be 4-7 lines long and some include rhymes. Melodies often repeat one or more phrases producing a variety of patterns

Francesco Landini

Most important composer of ballate and of the Trecento period sweet harmonies which contain 3rds and 6ths Melismas on the first and penultimate syllables of poetic line are characteristic of the Italian style Landini candence - as the tenor descends by step, the upper voice decorates its ascent by first descending to the lower neighbor and then skipping up a third Non avra ma pieta, ballata

Madrigal

Most important secular genre of 16th century Italy (and Renaissance) -emphasis on enriching meaning and impact of text through setting -new effects of declamation, imagery, expressivity Text: single stanza, 7 or 11 syllables, free rhyme scheme, NO REFRAINS OR REPEATED LINES in 16th cent madrigal (this distinguishes it from frottola, formes fixes and 14th century madrigal) Poetry: major poets, poems often end with epigram -typically through-composed -four voices, later five voices -one singer to a part -written for enjoyment of singers

Salsa

NYC and Puerto Rico, a distinctive type of dance music. A mix of Cuban dance styles with jazz, rock and Puerto Rican musical elements -Tito Puente

William Billings

New England Psalm-Singer most settings were "plain tunes" later collections, fuging tunes fuging tunes -tunes usually open with a syllabic and homophonic section, the feature a passage in free imitation before closing with voices joined again in homophony -canons with ground bass some were sacred Moravians - conservants of European trends, used concerted arias and motets, used instruments

Pietro Aaron

New Harmonic Conception He was a priest, composer and theorist his writings describe a change from the old linear approach to composition in which the top line and tenor formed the structural framework, to a new harmonic conception, in which each voice had a more equal role

Motet

New genre in the early 13th century, created by musicians at Notre Dame, which added newly written Latin words to the upper voices of discant clausulae, like texts added to chant melismas It became the leading polyphonic genre for both sacred and secular music Over the course of the century, poets and composers developed new forms of the motet, including some with French words, secular topic, 3 or more voices or rhythmic patterns increasingly free of the rhythmic modes

Polyphonic Conductus

Notre Dame composers and others in France, England, etc. also composed polyphonic conductus settings for 2 to 4 voices of the same type of text used in the closely related genres of monophonic conductus and Aquitanian versus -tenor is newly composed or drawn from an existing monophonic conductus -all voices sing the same text together in essentially the same rhythm -words are set syllabically for the most part -rhythmed, rhythmic, strophic Latin poems, rarely taken from the liturgy though usually on sacred or serious topic Caudae- melismatic passages at the beginning and end, or at important cadentail points Example: Ave virgo virginum

Ockeghem and Busnoys

Ockeghem - esteemed for his masses Busnoys- chansons Chansons -new features include longer-breathed melodies, increased use of imitation, great equality between voices, and more frequent use of duple meter Music of Busnoys and Ockeghem marks a transition between older counterpoint, in which cantus and tenor form the essential structure for other voices, and the approach that emerged by late 16th century, in which all voices play more similar roles Masses -voice parts cover greater range than Du Fay's -cantus firmus place in tenor but freely changes rhythm and adds notes, giving the tenor more character Canon- deriving two more voices from a single notated voice Inversion - moving by the same intervals but in opposite direction Retrograde- backwards Mensural canon - voices move at different rates of speed by using different mensuration signs

Cleonides

Octave Species in the diatonic genus the three main consonances of perfect 4th, 5th and octave were subdivided into Tones (T) and semitones (S) in only a limited number of ways which he called species The seven species of octave are combinations of the species of fourth and fifth, a division of the octave that became important in medieval and Renaissance theories 7 species of 8th all lack a principal tone -Mixolydian (B to b) -Lydian (C-C') -Phrygian (D-D') -Dorian (E-E') -Hypolydian (F-F') -Hypophrygian (G-G') -Hypodorian (A-A') Ethnic names originally associated with styles of music practiced in different regions of the Greek world. Plato and Aristotle used these names for harmoniai in the sense of scale types or melodic styles Later, writers used the same names for up to fifteen different tonoi

Mendelssohn Chamber Music

Octet for Strings -remarkable for symphonic conception independent treatment of all instruments demanding string techniques scherzo inspired by Goethe's Faust most characteristic works: Piano Trios D minor, C minor tuneful, attractive themes, idiomatic writing both feature slow mvts in manner of Songs Without Words and scherzos in typical pixiesh style Classical genre and forms serve as vessels for Romantic material emphasizing expressive melody

Vernacular Song

One type that survived: Epic - a long heroic narrative Chanson de geste (songs of deeds) and epic in the northern French vernacular recounting the deeds of national heroes and sung to simple melodic formulas Most famous: Song of Roland about Charlemagne's battle against the Muslims in Spain

Later madrigalists

Orlande de Lassus and Philippe de Monte, Luca Marenzio, Carlo Gesualdo leading madriglists were Italian Luca Marenzio and Carlo Gesualdo De Lassus and de Monte were from the North

Pope Marcellus Mass

Palestrina Mass quality almost like plainchant long breathed, rhythmically varied, easily singable lines voices move by step, few repeated notes counterpoint and dissonance counterpoint conforms to Zarlino -duple meter -cambiata -text declamation -movements with longer texts: homophony -movements with shorter texts: imitative polyphony throughout -syncopation to sustain momentum, link phrases

stile antico

Palestrina's style model for church music -coexisted with stile moderno modernized: basso continuo added, regularized rhythms, major-minor tonality codified by Johann Joseph Fux treatise: Gradus ad Parnassam

Joseph Haydn

Patrons: Esterhazy Princes -built up orchestra to about 25 players -wrote music in all genres Style -source of idiom: galant style -from C.P.E. Bach he adopted the heightened expressively of empfindsam style and an emphasis on making the most of each musical idea through variation and development -took fewer risks at Esterhazy -absorbed counterpoint from Baroque composers Ex: String Quartet in E-flat "The Joke" -theme derived entirely from a single idea -surprise elements -his wit makes his music especially endearing to players and connoisseurs -monothematic -loved developments

Early madrigal composers

Philippe Verdelot, Jacques Arcadelt four voices. By midcentury, five voices became rule

Praeludium in E major

Piece by Dietrich Buxtehude -virtuosic display for the performer, especially in the pedals Lutheran organ music

Polystylism and Postmodernism

Postmodernism abandons notions that musical idioms develop continuously styles of all epochs and cultures equally available musical material employed as composer sees fit Polystylism aspects of postmodernism combination of new and older styles created through quotation or stylistic allusion more engaging and easier to follow

Martin Luther

Professor of biblical theology at University of Wittenberg, Germany -views contradicted Catholic doctrine -Luther sought to give people larger role -95 theses posted on church door -opposed indulgences Pressed to recant -charged with heresy excommunicated

Proper and Ordinary

Proper of the Mass - texts for certain parts of the Mass that vary from dad to day Proper chants are called by their function Ordinary of the Mass- text of other parts do not change, although the melodies may vary Ordinary chants by their initial words. Sung portions of the Ordinary were originally performed by the congregation but were later taken over by the choir, which was all male

Antiphonal Psalmody in the Mass

Psalmody, singing of psalms, was part of the Mass as wall as the office In early mass, psalms sung antiphonally with antiphons were used to accompany actions: the entrance procession and giving communion -musically more elaborate than Office antiphons and are typically neumatic with occasional melismas

Orlande de Lassus (Orlando di Lasso)

Ranks with Palestrina among great composer of sacred music in the 16th century (Germany) -wrote many secular works -wrote 700 motets -attention to text Versatile composer, no "Lassus" style -synthesized acheievements of an era -master of Flemish, French, Italian, and German styles in every genre -motets influenced later German Protestant composers His motets -rhetorical, pictorial and dramatic interpretation of text determines form and details -words promt every gesture

3 types of chant

Responsorial: singer alternates with the choir and congregation Antiphonal: 2 groups or halves of the choir alternate Direct: without alteration 3 ways of setting text Syllabic: almost every syllable has a note Neumatic: changes in which syllables carry 1-6 notes or so, one neume per syllable Melismatic: long melodic passages on a single syllable Recitation formulas - simple melodic outlines that can be used with many different texts Most phrases resemble an arch, beginning low, rising into a higher range, lingering there, then descending

French Revolution

Revolution that was inspired by Enlightenment ideas of equality Three Phases 1. reformist 2. Reign of Terror - govt executed political opponents 3. Govt adopted more moderate constitution Napoleon Bonaparte - army general - declares himself emperor -expanded French territories -ended Holy Roman Empire -introduced reforms in govt, efficiency, legal system more uniform, taxation less burdensome -tried to take control of Moscow and was defeated -escaped exile in 1815, marched to Paris, resumed power - final defeat came at Waterloo Music and Revolution -popular songs carried message of Revolution -Govt supported opera but librettos were subject of censorship -Paris conservatory founded (model for conservatories) Industrial Revolution -turned a rural and agricultural society to an urban one -started in Britain

L'Euridice

Rinuccini's pastoral drama story demonstrates music's power to move the emotions -set to music by Peri recitative style -idiom for dialogue invented by Peri -halfway between speech an song -basso continuo held steady notes, voice moved freely -liberated voice from harmony

Romanticism

Romantic - new idiom, focused on melody, emotion, novelty, and individuality, paralleled Romanticism in literature and art Schlegel's definition -early on, elegant, natural, simple, clear, formally closed, and universally appealing (Haydn, Mozart) Romantic music - search for original, interesting evocative, individual, expressive, or extreme Beethoven's music straddled both caps ETA Hoffman and other writes considered instrumental music the ideal Romantic art because it was free from the concreteness of words and visual images. Absolute - music independent of words, drama, visual image,s or any kind of representational aspects Characteristic - instrumental music that depicts or suggests mood, personality, or scene (usually indicated in title) Program - instrumental music taht tells a story or follows a narrative or other sequence of events, often spelled out in an accompanying text called a Program (not a Romantic convention - Vivaldi Four Seasons) Organic- motivic links can contribute more to a work's unity than it's harmonic play or use of conventional form

Musical plays

Rondeau - dance song with a refrain in two phrases whose music is also used for the verse, here in the pattern ABaabAB ex: Jeu de Robin et de Marion by Adam de la Halle

Stravinsky

Russian Period -most important works - ballets The Firebird, Petrushka, and the Rite of Spring - all commissioned by Diaghilev for the Ballets Russes in Paris Firebird based on russian folk tales stems from Russian nationalist tradition and exoticism of Rimsky-Korsakov Humans are characterized by diatonic music and supernatural creates in octatonic and chromatic realms Petrushka static harmony with repetitive melody and rhythmic patterns as well as abrupt shifts from one block to another Petrushka chord (F-sharp and C major triads) Rite of Spring used folk melodies Primitivism - deliberate representation of the elements, crude and uncultured and cast aside the sophistication and stylishness of modern life and trained artistry Characteristics of his mature style can be heard in the first scene, Danse des adolescentes -each pulse is played with the same strength, negating hierarchy of beats and offbeats that is essential to meter -in last movement he adopts reduced meter to pulse rapidly changing meters and unpredictable alternation of notes with rests WWI forced him to focus on smaller works L'histoire du soldat - 6 solo instruments Neoclassicism - new stage in Stravinsky's career. A broad movement from 1910s to 1950s in which composers revived, imitated or evoked the styles, genres and forms of pre-Romantic music -marks a turn away from Russian folk music and toward earlier Western art music as a source of imitation, quotation or allusion Serial period -serial music music that used the 12 tone method; used especially for music that extends the same general approach to series in parameters other than pitch wrote in this technique from 1953 on

Laude

Sacred Italian monophonic songs -composed in cities rather than courts -most were polyphonic -sung in processions of religious penitents and in confraternities, associations of citizens who gathered for prayer and mutual support From 14th century on, laude were mostly polyphony

Klangfarben melodie

Schoenberg concept (tone color melody) changes of tone color are perceived as parallel to changing pitches in a melody

grunge

Seattle: Nirvana, Soundgarden, Pearl Jam nihilism of punk, electric-guitar of heavy metal -intimate lyrics, dressed-down fashions

Cantigas

Songs in Galican-Portuguese in honor of the Virgin Mary Cantigas de Santa Maria (a collection) -non sofre Santa Maria All have refrains AAB form

Tomas Luis de Victoria

Spanish composer of 16th century wrote sacred music for Catholic services may have studied with Palestrina -works are shorter, less florid, more cadences, more chromatic alteration, more contrasting passage in homophony or triple meter Ex: Missa o magnum mysterium, imitation mass exact quotation from motet, changes dialogue between two subjects, variants of original -reworks material in new ways, high value in variety

Egeria

Spanish nun - on pilgrimage to Jerusalem ca. 400 C.E described services there - noting psalms and hymns sung between prayers and Bible readings. Eyewitness report is a crucial document of early Christian practices

computer music

Speech Songs by Charles Dodge -computer synthesized vocal sounds -lifelike imitations of speech with transformation Paul Lansky -developed his own software to create computer works -music draws on pop traditions Institute for Acoustic and Musical Research and Coordination, Paris -premier center for computer music founded by Pierre Boulez

German Opera (19th century)

Spingspiel soaked up Romantic elements form French drama while intensifying genre's specific national features Carl Maria von Weber German Romantic Opera Der Freischutz (The Free Shooter) what made it so daring?usual orchestration but also idea of putting ordinary people on stage, talking and singing about their concerns ,their loves and their fears libretto characterizes German Romantic opear plot drawm from medieval history, legend, or fairy tale story involves supernatural begins and happenings set against background of wilderness and mystery Giving such importance to physical and spiritual background separates German opera from French and Italian although musical styles and form drawn from other countries Simple folklike melodies introduce distinctly German national element -use of orchestral color for dramatic expression more qual role for orchestra in contrast to Italian stress on beautiful singing Der Freischutz The Wolf Glen's Scene incorporates elements of melodrama genre of musical theater that combines spoken dialogue with background music Entire scene centers on notes of diminished 7th chord painting picture of terrifying dark forest -influenced by Wagner

Scholasticism

St. Anselm, St. Thomas Aquinas, and others sought to reconcile the classical philosophy of Aristotle and others with Christian doctrine through commentary on authoritative texts

Church Fathers

St. Basil, St. John Chrysostom, St. Jerome, and St. Augustine -interpreted the Bible and set down principles to guide the church -St. Augustine was so deeply moved by singing of psalms that he feared the pleasure it gave him -many "church fathers" condemned instrumental music

musicals

Stephen Sondheim dominant American figure, songs sound like art song in semi-popular idiom Company Sweeney Todd, melodramatic, murderous London barber Sunday in the Park with George, based on pointillist painting by Seurat Andrew Lloyd Webber, leading English composer of musicals Evita Cats The Phantom of the Opera Sunset Boulevard Claude-Michel Schonberg, French composer Les Mis Miss Saigon retelling Puccini's Madama Butterfly other musicals based on operas Rent on Puccini's Madama Butterfly Aida by Elton John on Verdi's opera

Webern

The Path to the New Music Lecture series - 12 tone music was the inevitable result of music's evolution because it combined the most advanced approaches to pitch (using all 12 chromatic notes) musical pace, and the presentation of musical ideas with polyphonic procedures and unity within variety, deriving every element from the thematic material Works tend to be very short - music was very concentrated Ex: Three Little Pieces for Cello and piano (20 notes) Music has been described as pointillistic- often features only 1-3 or four notes at once dynamics are specified down to the finest gradation Symphony, Op. 21 1st movement -illustrated use of 12 tone procedures. Entire movement is a double canon in inversion -double canon is a reinterpretation of sonata form -development is a plaindrome and recap presents the same succession of rows as the exposition, but in new rhythms and registers Klangfarben melodie: Schoenberg concert (tone color melody) changes of tone color are perceived as parallel to changing pitches in a melody

Strauss

Tone poems - preferred term for symphonic poems Early works emulated Mozart, Beethoven and Schubert Chief models for program music were Berlioz and Liszt - drawing on their colorful orchestration, transformation of themes and types of program Ex: Macbeth -Don Quixote Don Juan - first complete work Don Quixote variation form adventures of knight Don Quixote and squire Sancho Panza chamber music sound b/c conceived in contrapuntal lines its themes attach to particular solo instruments "variation" themes of the 2 main characters transformed so that the beginnings of the themes sprout new melodic characters, building on Liszt's thematic transformation

Magnus Liber Organi

Treatise from Anonymous IV "great book of polyphony" two musicians associated with creating polyphony for Notre Dame: Leonin served at Cathedral in Paris in many capacities. He became a priest. Perotin made the best quadrupla (4 voice organa) and likewise the noblest tripla. He also made 3 voice conductus collection contained two voice settings of the solo portions of the responsorial chants for the major feasts of the church year

Troubadours and Trouveres

Troubadours - poet composers in souther France whose language was Occitan, and spread north to the Trouveres, whose language was Old French (langue d'ock and langue d'oil) Trobar and Trover "to compose a song" Chansonnier - songbooks used to preserve the songs of the troubadours and trouveres Poetry -spoke on various subjects -refrain - recurring phrase or verse with music -Alba (dawn song), canso (love song) and tenso (debate song) Fin'amours/fine amour - refined love or sometimes called courtly love -A woman adored from a distance, with discretion, respect and humility Melodies -strophic -small melodic range -rhythm was not always dictated except in late manuscripts -melodies were free Subject love songs, political, moral and literary topics, dramatic ballads, dialogues and dance songs Ex: con vei la lauzeta mover (troubadour song) by Bernart de Ventadorn

Schubert Chamber Music

Trout Quintet (5 mvt) piano, violin, viola, cello and bass 4th movt - variations on his song Die Forelle (The Trout) last 5 years of life - most important chamber works String Quintet C major (composed 2 months before death) added a second cello rich sound appealed to Romantic sensibilities strong contrasts of mood and style profound slow mvt learned counterpoint to rustic vernacular styles unusual key relationships

Ambrosian Chant

Type of chant Songs of the Milanese rite (Milan was the most important center for the Western Church outside of Rome) became known as Ambrosian chant, after St. Ambrose, bishop of Milan Chant is similar to the one found in Rome

Liturgical Books

Types of Books used in the liturgy Missal - texts for the Mass Gradual - chants for the Mass Breviary - texts for the Office Liber usualis - book compiled by monks of the most commonly used texts and chants of the Mass and Office

Early Motets

Typical early motet: Factum est salutare/Dominus -became more secular -tenor lost its liturgical function and became raw material for composition, supporting the upper voices Composers reworked existing motets in several ways -writing a different text for the duplum, in Latin or French, no longer necessarily linked to the chant text and often on secular topic -adding a third or fourth voice to those already present -giving the additional parts texts of their own, to create a double motet (with 2 texts above the tenor) or triple motet -deleting the original duplum and writing one or more new voices, each with its own text -Composers also wrote motets from scratch, by laying out one of the tenor melodies from the Notre Dame clausula repertory in a new rhythmic pattern and writing new voices to fit it Example: Motets on Tenor Dominus

George Chadwick

US composer developed idiom laced with American traits such as pentatonic melodies and characteristic rhythms from Protestant psalms and African-Caribbean dances used in Symphony No. 2 and Symphonic Sketchs

English Polyphony

Used imperfect consonances often in parallel motion Harmonic 3rds and 6ths were common in English music -influence of folk polyphony Rondellus - borrowed from Perotin's voice exchange -two or three phrases, first heard simultaneously, are each taken up in turn by each of the voice Rotta - perpetual canon or round at the union ex: Sumer is icumen in

Music of Texture and Process

Varese, music as spacial Iznnis Xenakis mathematics fundamental to music Metastaseis, for orchestra -each string player has unique part Kryzysztof Penderecki -Polish, best known pieces on texture and process Threnody for the Victims of Hiroshima -for 52 string instruments -beginning: instruments play as high as possible, scream of high clusters -players choose one of four patterns, sound indeterminate -polychoral, antiphonal calls and responses Gyorgy Ligeti Hungarian composers international fame Stanley Kubrick's film: 2001 Space Odyssey, excerpts of three works Atmospheres Requiem Lux aeterna music in constant motion, static harmonically and melodically

Opera in Italy

Venice - principal Italian center leading composers included Legrenzi and Alessandro Scarlatti Arias were vehicles for star singers - composers indulged them Strophic aria - favorite at the time, 2 or more stanzas to same music Da capo aria - dominant form at the end of the century - ABA ABA' -repetition allowed for ornamentation

Medieval Instruments

Vielle, Hurdy gurdy, Psaltery, Transverse flute, Shawm, Trumpet, Pipe and tabor, Portative organ, positive organ Vielle - fiddle, the principal medieval bowed instrument and predecessor of the Renaissance viol and modern day violin Hurdy gurdy - 3 stringed vielle sounded by a rotating wheel inside the instrument tuned by a crank at one end; player presses levers to change pitch Psaltery - played by plucking strings attached to a frame over a wooden surrounding board; remote ancestor of harpsichord and piano Transverse flute - similar to modern flute but made of wood/ivory and without keys Shawn- double-reed instrument, similar to the oboe Trumpet - no valves Pipe and tabor - high whistle fingered with the left hand while the right beat a small drum with a stick Portative organ - small enough to be carried, single set of pipes Right hand played the keys Left hand worked the bellows Positive organ - must set on table and required assistance to pump the bellows

The New German School

Wagnerians term used by music critic Brendel for the composers he felt were leading the new developments - Wagner, Liszt, Berlioz -took Beethoven as their model (neither Liszt nor Berlioz was German) claimed they were German in spirit b/c they took Beethoven as their model Brahms and Hanslick were advocates of absolute music -claimed music should be understood and appreciated on its own terms rather than for its ties to anything outside music

recitativo accompagnato

accompanied recitative used orchestra to dramatize the rapid changes of emotion -orchestral outbursts dramatize tense situations

chromatic saturation

a measure of intense chromaticism that all 12 chromatic notes appear in first phrase used by Hugo Wolf in Lebe wohl!

Rondeau

a refrain alternates with a series of contrasting periods

Florentine Camerata

academy hosted by Count Bardi -group of prominent individuals who met to discuss lit, science and arts and musicians performed new music. Members included Mei, Bardi, Galileo and Caccini led to Monody

air

air de cour replaced by air seriuex and air a boire leading genre of vocal chamber music in France air serieux (serious air) aire a boire (drinking songs) -syllabic, strophic, one to three voices with lute or continuo Marc-Antoine Charpentier - popular composer of airs and student of Crissimi -adopted Italian chamber cantata to French styles

Bebop

also called bop new style of jazz built around virtuosic soloists fronting small combos emerged in the early 1940s -rooted in standards from the swing era, in blues progressions, and in other popular sources for contrafacts, but newly infused with virtuosity, unusual dissonance, chromaticism, complicated rhythms, and a focus on solo voices and improvisation Anthropology by alto saxophonist Charlie Parker Miles Davis, John Coltrane, Thelonious Monk

Sonata form

also called first movement form most common form of first movements of sonata, chamber works or symphony 18th cent - 2 part structure 19th century 3-part structure reprising the opening idea and restating in the tonic material that first appeared in the dominant. Koch's Introductory Essay on Counterpoint - describes the development of ideas in the "sonata" or expanded binary form Writers eventually expanded on Koch's idea into the following Expo (transition), Development (retransition), Recap -sometimes slow intros preceded expo -coda: after recap other forms: slow movement sonata form: without development variations form: small binary form theme, embellished variants minuet and trio: two binary-form minuets combined rondo: small binary form theme, alternates with episodes

Pierre Boulez

also inspired by Messiaen's Mode de valeurs Structures, for two piano -uses and transforms pitch row of Messiaen's -dynamics, articulation distinguish rows from one another Le marteau sans ma"tre (The Hammer without a Master) -for alto voice, alto flute, xylorimba, vibraphone, guitar, viola, soft percussion instruments -ensemble different in each movement -vocal line: wide melodic intervals, glissandos, Sprechstimme

Leonin's organum

also known as pure organum Duplum - upper voice above the tenor -longest and most elaborate settings of chant -allowed for various types of intervals and unique cadences Viderunt Omnes - Leonin an colleagues chant melody appears in the tenor in unmeasured long notes, like a series of drones over the sustained tones the upper voice called the duplum sings expansive melismas notation does not clearly indicated rhythmic mode free rhythm

Counter Reformation

also known as the Catholic Reformation Church Council met in Tent to consider how to respond to the reformation = Council of Rent -spoke little on music -declared that polyphony was allowed only if the words remained comprehensible to all -passed measures to purge abuses and laxities effects on music -uniform liturgy tropes and most sequences eliminated -restricted polyphonic music -regulated music in the services

Henry Cowell

american composer native of California; little training in European music -experimentation in early piano music Tides of Monaunaun Tone clusters - chords of diatonic or chromatic seconds produced by pressing the keys with the first or forearm, to represent the tides by Manaunaun, legendary Irish sea-god The Banshee requires assistant, strings again are plucked or strummed eclectic approach to compositions -incorporated American, Irish or Asian elements After WWI, pieces incorporated Indian tabla, Japanese koto New Music, periodical promoting music and concerts -published scores by Ives, Schoenberg and other modernist and ultramodernists

Collegium musicum

an association of amateurs from the educated middle class who gathered to play and sing together for their own pleasure or to hear professionals in private performances

Spectralism

analysis of timbre, sound spectra led to new trend: spectral music approach to sound and composition focus on perception, acoustics, tone color timbre depicted by sound spectrum, analyzed mathematically juxtaposing spectra through ring modulation, complex sounds created centers on properties of sounds identified by analysis acoustic instruments recreate harmonic relationships first developed by French composers Grisey, Murail spectralist composers centered in Cologne -former students of Stockhausen

Guilds

around 12th century professional musicians, men and women, began to organize themselves into guilds which provided legal protections, established guild members' exclusive rights to perform within a city or region and laid out rules for conduct (Paris Mintrels' Guild) Formerly viewed as outcasts, musicians gained greater social acceptance through such guilds

Intabulations

arrangement of vocal music for lute or keyboard, typically written in tablature used by Spanish composer Luys de Narvaez -intabulation of Josquin's Mille regretz

Avant-garde (Erik Satie, Futurism)

art that is iconoclastic, irreverent antagonistic and nihilistic - art that seeks to overthrow accepted aesthetics and start fresh Erik Satie Gymnopedies -piano -instead of offering variety as expected in a set of piano pieces, they are all ostentatiously plain and unemotional music mocked classical composers and conventions some music written to be played during the intermission of a play or as background music each pieces questioned the listener's expectations Futurism futurists- The Art of Noises: Futurists Manifesto Luigi Russolo argues that musical tastes were stale and that the modern world of machines required a new music based on noise -noises categorized into 6 families - new instruments called intuonarumori (noise-makers) made a particular noise with an octave and a half range

Adrian Willaert

associated with Petrarchan movement (madrigals) set Petrach's sonnet Apro core e selvaggio "harsh and savage heart" Associated major thirds and sixths with harshness or bitterness, and minor intervals with sweetness or grief

Chaconne

baroque genre derived from the chacona, consisting of variations over a basso continuo

French Church Music

borrowed sacred concertato and oratorio from italy but flavored with agreements, notes inegales, and overdotting - preserving French taste petit motet - sacred concerto for a few voices with continuo grand motet - soloists, double chorus and orchestra Lully's Te Deum Charpentien introduced Latin oratorio to France - drew from Italian/French styles of recit and air Organ music - new style which drew from overtures and expressive recits of French opera

Hindemith

began composing in the late Romantic style -later adopted ideals from the New Objectivity all music was neotonal Gebrauchsmusik - "music for use" as distinguished form music for its own sake -his goal was to create for a young or amateur performer, music that was high quality, modern, and challenging yet rewarding to perform Mathis der Maler (Mathis the Painter) and Symphony Mathis der maler --mathis leaves his calling as painter to join the peasant in a rebellion they are defeated and he comes to realized that by abandoning his art he betrayed his gift and his true obligation to society , which is to paint Allegory to Hindemith's own career written in neo-romantic style Harmonic fluctuation - fairly consonant chords progress toward combinations containing greater tension and dissonance, which are then resolved either suddenly or by slowly moderating the tension until consonance is again reached Returned to Germany after the war (spent time in US) and wrote Symphonic Metamorphosis after Themes of Carl Maria von Weber

Rossini

bel canto style "beautiful singing" elegant, effortless technique and equally beautiful tone throughout entire range, agility, flexibility, and control much of it improvised Rossini operas voice most important General style combining catchy melodies and snappy rhythms and clear phrases laced with coloratura often repeats ideas with new twist spare orchestration supports singers instead of competing fondness for 3rd-related keys "Rossini crescendo" building up excitement by repeating a phrase louder each time and often higher pitch - sometimes giving the effect of spinning out of control Scene structure simple recit in comedies serious operas and some part of comic opera Rossini and librettists developed scene structure that distributed story more evenly typical scene instrumental intro and recit section 1. scena - italian for "scene" that is accompanied by orch 2. ensuing aria has 2 sections lyrical cantabile lively and brilliant cabaletta cantabile expresses relatively calm moods such as pensiveness, sadness or hope cabaletta - more active feelings anger/joy part or all of cabaletta is repeated - perhaps improvised with embellishments most arias also have a middle section between cantabile and cabaletta = tempo di mezzo (middle mvt) usually some kind of transition or interruption by other characters in which something happens to alter the situation duet ensemble has similar form but cantabile is usually preceded by an opening section - tempo d'attaco in whcih characters trade melodic phrases finale of an act culminates in a fast stretta corresponding to the cabaletta of an aria or ensemble Ex: The Barber of Seville opear buffa with bel canto Rossina's famous aria: una voce poco fa no opening recit 1st part of cantabile - she narrates being serenaded by and falling in love with Lindoro Broken into small phrases punctuated by orchestra chords -style appropriate with a narration Best known serious opera Guillaume Tell (William Tell) written for Paris opera Opera Overtures most in 2 parts long slow intro with a lyrical melody for wind instruments followed by a fast binary form without repeats - shaped by exposition of a sonata form

Rogers and Hammerstein

best-loved shows Oklahoma Carousel South Pacific The King and I Oklahoma! -record breaking run, over 2000 performances -pivotal development in drama, music, dance racial prejudice, encounters between Polynesia or Asia and the West South Pacific: set on Pacific island during WWII The King and I: English governess in Siam Flower Drum Song: San Francisco's Chinatown

Big Bands and Swing

big bands - type or large jazz ensemble popular between the wars featuring brass, reeds, and rhythm sections, and played prepared arrangements that included rhythmic unisons and coordinated dialogue between sections and soloists -featured a vocalist Swing - a type of jazz from the 30s that was characterized by a large ensembles and hard-driving jazz rhythms

Cesar Franck

blended traditional counterpoint and classical forms with Liszt's thematic transformation, Wagner's harmoy and the Romantic idea of cyclic unifications through thematic return called founder of modern French Chamber music Piano Quintet in F minor String Quartet D major Violin Sonata A major all are cyclic featuring themes that recur or are transformed in two or more movements Symphony in D minor, model of cyclic form, probably most popular French Symphony after Berlioz

John Adams

blends minimalist techniques with variety of other approaches Phrygian Gates for piano minimalism in its early transitional phase pitch content changes, goes through "gates" later works minimalist techniques elements from popular and classical music Nixon in China, opera minimalist techniques, formality of Baroque historical opera -short driving ideas constantly evolve -culminates in three-part counterpoint over rapidly pulsing, slowly changing harmonies Doctor Atomic "Batter my heart", opera post-minimalist techniques: orchestral interludes expressive vocal line, recalls 19th century opera fuses minimalism and Romantic opera: points of contact between them

Tonaries

books called tonaries grouped chants together by mode, making the similarities between chants in the same more apparent and thus helping singers to learn and memorize rapidly

Bright Sheng

born and trained in Shanghai sent to Qinghai during Cultural Revolution learned and collected folk music there seeks to integrate elements of Asian and Western music Seasons, from Seven Tunes Heard in China, solo cello suite -tradition of Bach cello suite -playing style of Chinese bowed string instruments -mostly pentatonic Chinese tune

J.S. Bach

born in Eisenach, Germany -came from large family of musicians -first positions as church organist -married twice, 7 kids, then 13 kids -as church organist he focused on chorale settings (Lutheran) -renowned improviser -fascinated by Vivaldi and arranged much of his music for organ or harpsichord Typical of his fugues - the form closely resembles a concerto fast movement. Fugue subject functions like a ritornello, returning in related keys as well as the tonic refer to sheet for more on J.S. Bach Ex: cantata - nun komm, der heiden Heilan The Art of Fugue St. Matthew Passion Mass in B minor Well Tempered Clavier

Barbara Strozzi

born in Venice, daughter of poet librettist Giulio Strozzi -student of Francesco Cavalli -major works: 8 collections of vocal music (cantata) Lagrime mie -successive sections: recitative, arioso, aria -focus on unrequited love -changing figurations capture moods, images of text

Debussy

born in suburb of Paris studied at Conservatoire, age 20 won the Prix de Rome had friendships with symbolist poets made a living as critic admired Wagner French tradition: preference for sensibility, taste, restraint impressionism and symbolism detached observation; evoke mood, feeling, atmosphere, scene -common practice harmony avoided -motives not developed -dissonances, need not resolve -sonorities move in parallel motion -exotic scales L'isle joyeuse -sucession of distinct images chromatic, whole tone chords without urgency to resolve -defies conventional tonal relationships used evocative titles: Golliwogg's Cake-walk from Children's Corner imitates Scott Joplin Twenty-four Preludes, character pieces, picturesque titles at end Orchestral Music Prelude to "The Afternoon of a Faun" -on symbolist poem by Stephane Mallarme -mood through suggestion, connotation, indirection La Mer - rapidly alternating musical images Nuages -oscillating pattern fifths, thirds Songs and Stage music set texts of Baudelaire, Verlaine, and Francois Villon Pelleas et Melisande - his response to Tristan und Isolde

Josquin des Prez

born near Ath, northern France served Sforza family, sistine chapel maestro di capella music expressed emotion: humanist major works: masses, motets, and chansons Chansons show characteristics of Obrecht and Isaac formes fixes abandoned strophic texts, simple 4 or 5 line poem four to six voices equal melodic interest in all parst Ex: Mille regretz 4 voice chanson text alternates between homophony and imitation between all 4 voices Motets exemplify diversity of his style variety of texts: Mass Proper or other Ex: Ave Maria...virgo serena earliest and most popular words of text addressed to Virgin Mary music crafted to fit words sensitive declamation and projection of text constantly changing texture Masses 18 masses, varied, technical ingenuity a. 9 use secular tune as cantus firmus b. masses base on chant c. freely composed double canons d. subjects derive from solmization syllables Ex: Missa Pange lingua paraphrase mass based on plainchant hymn paraphrase in all four voices in each movement paraphrase in points of imitation movements resemble motets

Latin Oratorio

cherished by church elites presented by invitation only, sparing no expense

Plato and Aristotle

both argued education should stress gymnastics (to discipline the body) and music (to discipline the mind) In Republic, Plato insisted that the two must be balanced, because too much music made one weak and irritable and too much gymnastics made one uncivilized, violent and ignorant -only certain music was suitable Plato endorsed two harmoniai - Dorian and Phrygian because they fostered temperance and courage In Politics, Aristotle was less restrictive than Plato -music could be used for enjoyment as well as education negative emotions could be purged by inducing them through music and drama

Agrements

brief ornaments used to adorn candences and other important notes - not as elaborate as in Italian (Lully)

Steve Reich

brought minimalism to broad audience -formed his own ensemble -made living of performing, touring, recording attracted wide range of listeners -later works sometimes called postminimalist developed quasi canonic procedure - musicians play same material out of phase with each other Piano Phase for two pianos -pianist repeat same figure several times -one pianist gradually pulls ahead, creating new harmonic combinations

Schumann's Piano Works

bulk: character pieces Papillons (butterflies) Carnaval Fantasiestuck (Fantasy pieces) Kinderscenen (scenes from childhood) evocative titles - meant to stimulate player and listener Carnaval Op. 9 conjures up masquerade ball through 20 short pieces each named for a dance, costumed figure, or acquaintance at the ball (including Clara), or interaction between revelers (flirtation/recognition) -used characters in his own literary writings to embody different facets of his personality impulsive revolutionary: Florestan visionary dreamer: Eusebius each piece is a fragment - lacking clear harmonic conclusion -claimed he did not always know the title until it was written In Carnaval - many movements feature melodies based on motives that spell Asch - home twon of his fiance

Music of African Americans

call and response alternating short phrases b/w a leader and a group -improv -syncopation -multi layers of rhythm -bending pitches -moans, shouts -banjo spiritual - religious song of Southern Slaves passed down orally based on images or stories from the Bible Go Down Moses Fisk Jubilee Singers popularized spirituals

Polyphonic psalm settings

calvinist churches sang unaccompanied but psalm tunes were set polyphonically for devotional use at home or in gatherings resembled popular music with religious message

Ensemble finale

came about in later opera appeared in the comic operas of Logroscino and Galuppi -at the end of an act, all characters come together on stage and sing until reaching a climax with all singers taking part

Chromaticism

came about with madrigals direct chromatic motion was not possible in Guidonian system -forbidden in polyphony before Rore -created powerful means of expressing grief Zarlino approved chromatic motion to express sorrow Used by Cipriano de Rore and Nicola Vicentino

Hard bop

came after bebop dominated by drummers such as Max Roach

Rome

center for opera development, 1620s -subjects expanded: lives of saints, epics, comic operas -spectacular stage effects emphasized -recitative and aria more clearly defined -often included vocal ensembles -open with sinfonia in two parts: slow chordal section, lively imitative canzon -castrati - because women were prohibited

Church of St. Mark (Basilica San Marco)

center of Venetian musical culture private chapel of the doge; not controlled by church hierarchy

Synagogues

centers for reading and homilies rather than worship

Mass

central act is a symbolic reenactment of the Last Supper in which a priest consecrates bread and wine, designated as the body and book of Christ and offers them to the worshipers in communion over time, other ritual actions and words were added including prayers, Bible readings and psalm-singing Mass is performed every day in monasteries convents and major churches on Sundays in all churches and more than once on the most important feast days

The Enlightenment

central themes were reason, nature, and progress -individuals, through reason, could solve problems -Leaders in this movement included French thinkers such as Voltaire, Montesquieu and Rousseau (philosophes, French thinkers) -developed doctrines about individual rights A humanitarian movement - welfare of humankind Social roles for music -more public concerts as outlets for performance -many earned money as teachers and amateur performers -magazines devoted to musica news, review and criticism appeared Forke's Allgemeine Geschichte der Musick (General History of Music)

sonata da camera

chamber sonata featured a series of stylized dances, often beginning with a prelude (dance suite)

Opera Reform

changes to opera reflected Enlightenment thought -sought to make more "natural" -more flexible structure, more expressive, less ornamented, varied musical resources -modified da capo aria, introduced other forms -greater use of accompanied recitative and ensembles -orchestra more important -reinstated choruses to assert primacy of the drama and music Niccolo Jommelli -blended Italian melody and French declamatory recitative; Tommaso Traetta -combined French tragedie en musique and Italianopera seria; Ippolito ed Aricia

Borodin

chemist by profession left many works unfinished Prince Igor -completed after his death by Korsakov and Glazunov -two musiacl styles evoke two ethnic groups -Russian characters: modeled on Russian folk song -Polovtsians, central Asian people: vocal melismas, chromaticism, A2nds Instrumental music chamber and orchestral works characterized by song-like themes, transparent instrumental textures, modal harmonies and original method of spinning an entire mvt from a single thematic idea (1st mvt of Symphony No. 2)

Lutheran Chorale

chorale, late 16th century congregational hymn originally sung in unison Luther wrote poems and melodies himself 4 main sources a. adaptations of Gregorian chant ex: Nun komm, der Heiden Heiland b. existing German devotional songs c. contrafactum: secular songs given new words d. new compositions ex: Ein fest Burg song most identified with the Reformation

Rite

church calendar or schedule of days commemorating special events, individuals, or times of the year Liturgy or body of texts and ritual actions, assigned to each service Plainchant r chant, unison song with melodies for the prescribed texts Chant dialects based on location -Gregorian -Byzantine -Ambrosian -Old Roman

Choral Music (Romanticism)

church choirs - increasingly made up of amateurs less prestigious than orchestras and opera houses 19th century 3 main types of choral music 1. oratorios and similar works for large chorus and orchestra one or more soloist on dramatic narrative or sacred texts but intended for concert rather than stage 2. short choral works on secular texts usually homophonic/melody in upper voice with or without accompaniment by piano or organ 3. liturgical works, anthem, hymns, and other sacred pieces written for church choirs, congregations or home performance choral music lucrative for publishers amateur choirs organized as choral societies with members paying dues to purchase music, pay conductor, etc. One of 1st choral societies Berlin Singakademie singing class for wealthy women later accepted men under direction of Felix and Fanny's teacher - chorus had quintupled in size - almost 150 members

sonata da chiesa

church sonata contained mostly abstract movements, often including one or more that used dance rhythms or binary form but were not usually titled as dances

Rhythm and Blues (R&B)

coined by Jerry Wexler to replace "race music" R&B used as the name sound that developed in urban areas in the years just after WWII -usually included a vocalist or vocal quartet, piano or organ, electric guitar, bass, and drums -covers were produced by white singers of those made popular by black singers

Tex-Mex

combined Mexican mariachi music with American country music

Gershwin

combined jazz and blues with conventional styles to create his own Rhapsody in Blue jazz concerto Porgy and Bess folk opera recurring motives like those of Verdi or Wagner characters all African American

opera comique

comic opera in France with spoken dialogue historical significance -reflected demand for simple, clear, "natural" singing -encouraged growth of separate national tradition -popular entertainment at surburban fairs -almost entirely popular tunes, vaudevilles Presence of Italian comic opera 1750s -opera comiques with ariettes, mixed Italian French styles -vaudevilles gradually replaced by ariettes -end of 1760s all music freshly composed -spoken dialogue instead of recitative serious plots-based on social issues before and during Recolution -works produced at the Theatre de L'Opera-Comique in Paris

Jean Cordier

competition between patrons for the best performers seen in his career renowned as a singer with a beautiful voice and as a leader for improvised polyphony in church recruited by the Medici family battled for Cordier's services almost led to war between Naples and Milan each new appointment brought raise in salary and other rewards

Alberto Ginastera

composer from Argentina drew on national, international sources "object nationalilism" tonal music, traditional Argentine folk elements Danzas argentinas for piano "subjective nationalism" Bartoklike synthesis of native and international elements "neo-expressionism" -earlier traits with twelve-tone, avant-garde techniques operas Don Rodrigo turn from nationalism to abstract style typical in postwar era

Smetana

composer from Bohemia -opear was specifically nationalist project in Bohemia -national theater's conductor, won contest -composed eight operas, core of Czech operatic repertory The Bartered Bride, comic opera -Czech subjects, sets and costumes on national traditions -folklike tunes, popular dance rhythms avoided stylistic conventions of Italian and German opera -heavily influenced by Liszt The Moldau (Ma Vlast, My country) picture of the river that winds through Czech countryside in an ever-broadening stream, through forests, village wedding, and over rapids on its way to Prague

Stockhausen

composer from Cologne inspired by Messiaen, Mode de valeurs et d'intensites (Mode of Durations and Intensities) -created a "mode" comprising 36 pitches -each assigned specific duration, dynamic level, articulation -piece was not serially organized Kreuzspiel (Cross-Play) for piano, oboe, bass-clarinet, percussion -pitch row permuted through complex process of rotation -each row form stated only once -percussion uses two rows of duration -pitch register also subject to serial techniques

Grieg

composer from Norway piano style: delicate grace notes influence: Norwegian folk songs and dances Ex: Lyric Pieces -imitation of circling melodies with subtle variations, grace notes, open strings and drone 5ths Not all Grieg music nationalist Piano Concerto in A minor bravura work modeled on Schumann's piano concerto in the same key

Francesco Cavalli

composer in Venice pupil of Monteverdi, organist at St. Mark;s Ex: Giasone (Jason) arias exemplify lyric style -best paid composer composing opera

Claudin de Sermisy

composer new French chanson (16th cent) one of composers to publish in Attaingnant's early chanson collections Ex: Tant que vivray -typical lighthearted text, optimistic love poem -melody in top voice, harmony of 3rds, 5ths, occasional 6th above bass -accented dissonances rather than syncopated suspension before cadence -opening long-short-long rhythm common

Clement Janequin

composer new French chanson (16th cent) one of composers to publish in Attaingnant's early chanson collections lyrical love songs, narrative songs, bawdy songs -celebrated for descriptive chansons -imitations of bird calls, hunting calls, street cries, sounds of war Ex: la guerre (war)

Francois Couperin

composer who tried to merge French and Italian styles in his chamber works -first and most important French composer of trio sonatas -wrote pieces to honor Corelli and Luly -used very descriptive titles wrote L'art de toucher le clavicin (Art of Playing the Harpsichord) important source for performance practice

Jean-Phillipe Rameau

composer whose writings founded the thoery of tonal music -his operas established him as Lully's successor Theory of Harmony Traite de l'harmonie - one of the most influential theoretical works ever written Fundamental bass - he coined this to indicated the succession of the roots or fundamental tones in a series of chords Tonic Dominant Subdominant Modulation -one of the first to describe music vertically Ex: Pieces de clavecin en concerts (Concerted Harpsichord Pieces) -5 suites for harpsichord accompanied by violin and bass viol Operas similar to Lully -realistic declamation and precise rhythmic notation in recits -mixing recits with more tune, formally organized airs -chorus and instrumental interludes -divertissements differed from Lully -relied on harmony and chromaticism for melodies -dissonance -orchestration reflected - thunder, earthquakes Ex: Hippolyte et Aricie

Elgar

composer with no academic training catholic religion and humble origins barred him from social circles wasn't interested in folk music - instead forged personal style (more individual because self-taught) Dream of Gerontius - oratorio- influenced by Wagner's Parsifal - orchestra as important as chorus Enigma Variations (Symphony) Cello Concerto

basso continuo/thorough bass

composer wrote out the melody or melodies and the bass line but left it to the performer to fill in appropriate chords or inner parts

England (Vaughn Williams and Holst)

composers sought distinctive English voice collected folk songs to use for nationalistic purposes in their compositions Holst -influenced by English song, Hindu sacred texts -best known for The Planets Vaughan Williams -drew inspiration from folk song but also from English hymnody and earlier English composers such as Tallis and Purcell -had profound knowledge of hymnody as musical editor of the new English Hymnal National quality- folk music and assimilation of the modal harmony of 16th century English composers

symphonie concertate

concerto-like work, two or more solo instruments -Paris, hundreds written, performed, published -Mannehim composers followed suit

Music in the Lutheran Church

congregation - larger role everyone sings -retained much of Catholic liturgy (some in translation, some in latin) -music assumed central positions -smaller churches adopted Deudsche Mess (German Mass) published by Luther and followed main outline of Roman Mass -replaced most elements of Proper and Ordinary with Germna hymns

Musorgsky

considered most original of Mighty Five received musical training from Balakirev one of principal stage works: Boris Godunov -realism and nationalism reflected in Godunov melodic style, Coronation Scene from Godunov -words set naturalistically, follow rhythm and pacing of speech (imitated Russian speec) -almost always syllabic, accented syllables on string beats -melodic profile closer to Russian folk songs -tonal, clear sense of key block construction -series of episodes held together by central figure of the tsar (large blocks of material) -juxtaposition of blocks evident in Coronation scene Pictures at an Exhibition Suite of 10 pieces inspired by exhibition Musorgsky saw of over 400 sketches, paintings and designs by his late friend Victor Hartmann - shared an interest in finding new artistic language that was uniquely Russian Kiev gate -translates into grad processional hymn combines western European and Russian elements, blending classical procedures with a melody that resembles a Russian folk song

Franco-Flemish chanson

contrapuntal chanson of Franco-Flemish tradition maintained Orlande de Lassus mixed traditions -some in new homophonic style -others who influence of Italian madrigal or Franco-Flemish tradition -wide range of subject matters -acutely tune to text, music fit its rhythm

French Dance Music

core of lute and keyboard repertoire -arranged ballet music -original music in dance meters and forms -meant for entertainment of small audience -phrase patterns match many dance steps binary form -two roughly equal sections, each repeated -first sections leads to dominant, second returns to tonic composers: Gaultier, Jacquet de la Guerre Allemand, courante, saraband, gigue, often preceded by a prelude and augmented with optional dances (in germany)

Anthem

corresponds to Latin motet polyphony work in English, sung by choir; Matins or Evensong texts from Bible or Book of Common Prayer Elizabeth I: two types of anthems 1. Full anthem: unaccompanied choir, contrapuntal style 2. Verse anthem: alternates with full choir doubled by instruments Example: If ye love me by Thomas Tallis -early anthem -4 part men's choir -simple homophony and four brief points of imitation -syllabic setting match spoken rhythm of words

Duke Ellington

cotton club Harlem band was the house band (big band) group moved more and more to arrangements worked out in advance that contrasted ensemble passages with solos, whether scored or improvised. Group grew and trouped Ex: Cotton Tail -tune at the beginning by series of choruses over the same progression contrafact - new tune composed over a harmonic progression borrowed from a particular song - in this case, the chorus of Gershwin's I Got Rhythm

Air de cour

court air genre of song for voice and accompaniment which became the dominant type of French vocal music (musique mesuree had been unsuccessful, to artificial to become popular)

ballet de cour

court ballet, French Baroque musical dramatic work, staged with costume, scenery -professional dancers alongside members of court -several acts with entrees: solo songs, choruses, instrumental dances flourished at court since Louis XIII Louis XIV was a brilliant dancer -dance was a model of discipline, order, refinement

concerted madrigal

early 17th century type of madrigal for one or more voices accompanied by basso continuo and in some cases other instruments Ex: Monteverdi's books of madrigals - included duets, trios with continuo, large pieces for chorus, soloists and instrumental ensemble

Perotin Organum

created organa for 3 or even 4 voices duplum, tripulm quadruplum organum duplum organum triplum organum quadruplum Voices above the tenor were name dumplum, triplum, etc. upper voices used the rhythmic modes voice exchange - where voices trade phrases 4 voice setting of the Viderunt omnes to give long sections in organum style both coherence and variety, Perotin uses several repetitive and harmonic devices in constantly changing ways: he may repeat a phrase in one voice while the other voices change, or restate a phrase at a new pitch level. Created polyphonic works of unprecedented length, more grandiose

Pythagoras

credited with discovering the octave, fifth and fourth, long recognized as consonances, are also related to numbers -numbers: were the key to the universe and music was inseparable from numbers -rhythm: ordered by numbers, because each note was some multiple of a primary duration -these intervals are generated by the simplest possible ratios 2:1 octave 3:2 fifth 4:3 fourth

New Chansons (16th century)

developed during reign of Francis I -4 voices, light, fast, strongly rhythmic -pleasant, amorous settings -syllabic text setting, repeated notes, duple meter -principal melody in highest voice, homophonic -strophic repetitive forms, no word painting -focus on tuneful melodies -composed for amateurs Published by first French music printer: Pierre Attaingnant

The Carol

distinctive english genre derived from the medlieval carole, a monophonic dance-song with alternating solo and choral sections, the 15th century English carol was a two or three part setting of a poem in English, Latin or a mixture of the two -most were on religious subjects, particularly the Christmas season and the Virgin Mary Burden, or a refrain, with its own muiscal phrase, sung at the beginning and then repeated after each stanza

Bull Lyre

distinctively Sumerian lyre whose soundbox features a bull's head, which had religious significance (could be used at a victory banquet) -the player holds the lyre, supported by a strap around his neck, perpendicular in front of him and plays with both hands -Lyre had a variable number of strings running from a bridge on the soundbox to the crossbar, where they were knotted around sticks that could be turned to change the tension and thus the tuning of each string used for wedding songs, funeral laments, military music, work songs, nursery songs, dance music, tavern music, music for entertaining at feasts, songs to address the gods, music to accompany ceremonies and processions and epics sung with instrumental accompaniment - all but the last uses that continue today

ensemble canzonas

divided choirs applied to instruments (16th cent) Ex: Canzon septimi toni a 8 from Gabrieli's Sacrae symphoniae -resembles double-chorus motet -two groups of instruments, organ accompaniment -series of contrasting sections, imitative, homophonic -alternating passages, rapid dialogue

da capo aria

dominant aria form at end of 17th cent in Italy "from the head" ABA, allowed embellishments, showed character development Scarlatti's most common form of aria -sustains lyrical moments -expressed single sentiment; contrasting middle section aria from La Grisela (Scarlatti's last opera) A section: two vocal statements B: conrast of key, lacks orchestral ritornellos A: embellishments by singers, display artistry

overdotting

dotted note held longer (Lully)

Ginastera

drew on both nationalism and international sources Three periods 1. Objective nationalism tonal music infused with traditional Argentine folk elements - Danzas argentinas 2. Subjective nationalism -original style through a Bartok-like synthesis of native and international elements - Pampeanas No. 1 3. Neo-Expressionism -combines earlier traits with 12 tone and avant-garde techniques - opera, Don Rodrigo

recitativo secco

dry recitative basso continuo, speechlike

Gavotte

duple-time dance with a half-measure upbeat and a characteristic rhythm of short-short-long

Band Music

earliest form of this music attached to military units 19th cent - common everywhere invention of brass instruments (valves, pistons) Civil War - heyday of professional bands bandmaster: John Philip Sousa conducted US Marine band stable of rep: march Stars and Stripes Forever dropped da capo repetition and instead alternated the lyrical trio with more aggressive break strain builds climax instead of returning to beginning

Enheduanna

earliest known composer (by name) fl. ca. 2300 B.C.E. An Akkadian high priestess at Ur, who composed hymns (songs to god) to the moon good Nanna and moon goddess Inanna; their texts, bu not her music, survive on cuneiform tablets

canzona (16th cent)

earliest were intabulations of French chansons -contrapuntal instrumental music in late 16th century adapted from a chanson or composed in similar style -light, fast-moving, strongly rhythmic; long-short-short -series of contrasting sections

Jacques Arcadelt

early madrigal composer Franco-Flemish, worked in Rome and Florence Ex: Il bianco e dolce cigno among most famous early madrigals text alludes to sexual climax "death that in dying fills me full with joy and desire death depicted with plaintive rising and falling half step

Philippe Verdelot

early madrigal composer French active in Rome and Florence 4-voice madrigals, mostly homophonic 5 or 6 voice madrigals more motetlike

mashups

elements of two or more recordings combined material used is copyrighted, distributed online for free mashups often aim to undermine seriousness of either or both source tracks

crumhorn

enclosed double reed (rise of instrumental music)

Minuet

ends a suite. An elegant dance in moderate triple meter

Old Roman Chant

essentially the same as Gregorian chant. Melodies are more ornate

Lowell Mason

established the American tradition of music education in schools founded Yankee tunesmiths crude -favored more European music

Jennifer Higdon

exemplifies accessible modernism studied at Curtis Institute, University of Pennsylvania with George Crumb award 2002 Pulitzer Prize for her Violin Concerto Grammy Award for her Percussion Concerto blue cathedral, orchestral tone poem written in memory of her brother piece features flute and clarinet effects are typical of Debussy no tonal progressions, triads and diatonic fields are familiar coloristic orchestration

descending tetrachords

falling contour, constant repetition: suited to a lament, inescapable sorrow Ex: Lament della ninfa (lament of the Nymph) Monteverdi madrigal -bass line establishes tonal center -regular phrasing -vocal melody; distress through strong dissonances -6 or 7 measure phrases overlap 4 measure bass -commentary on lament, unstaged drama

Theodore Thomas

famous immigrant musicians in US played violin in NY Phil and Academy of music conducted Brooklyn Phil - founded his own professional orchestra

W. C. Handy

father of the blues -didn't invent it but published it

strophic aria

favorite type of aria in 17th century Italy 2 or more stanzas to same music

Amy Beach

female composer (US) could not study/teach at top universities because she was a woman child prodigy women considered incapable of composing large forms - proved them wrong Mass in E-flat Gaelic Symphony - ethnic flavor Piano Concerto most other works engaged traditions of German classes themes of her piano quintet based on Brahms' piano quintet

Jublius

final syllable of "alleluia" extended by an effusive melismas called a jubilus. St. Augustine regarded such long melismas as an expression of a joy beyond words Associated with Responsorial Psalmody in the Office and Mass

Louis Moreau Gottschalk

first American composer with international reputation born in New Orleans, studied piano and organ trained in Paris pieces with melodies and rhythm from mother's Caribbean heritage made reputation -spent life touring US, Caribbean and South America -through Gottschalk, composers imitated dance rhythms and syncopations of the New World Ex: Souvenir de Porto Rico uses theme from P.R. song and feature Afro-Caribbean rhythms such as the habanera and resillo, cinquillo appealed to middle class audience arranged chopin etudes

George Frideric Handel

first composer whose music has never ceased to be performed -achieved greatest fame writing music for public performances -British monarchs most important patrons Operas Almira - first opera - set arias in Italian and recits in German -overture modeled after French models -borrowed from Scarlatti's cantatas Rinaldo - first opera for London Wrote some of his most famous operas with the Royal Academy of Music - joint stock company for producing Italian Opera subjects: episodes from the lives of Roman heroes freely adapted to include maximum number of intense dramatic situations, tales of magic and marvelous adventure revolving around the Crusades recitative styles: recitativo secco, recitativo accompagnato Ex: Giulio Cesare -opens with dialogue in simple recitative -Cleopatra's da capo aria interwoven with other elements -combination of national elements also present Ex: Saul, oratorio -libretto by Charles Jennens -blending of genres -accompanied recit in martial style -chorus reflects on morality -rhetorical figures convey meaning of text -CHORUS GIVEN MORE PROMINENCE Ex: Messiah -series of contemplations on Christian ideal of redemption -texts from the bible: Old testament prophecies, through life of Christ to resurrection -French overture -Italianate recits and da capo arias -Germanic chordal fugues -English choral anthem style Ex: Six Concerti Grossi Op. 3 -feature woodwind and string soloists -invented concerto for organ and orchestra

prima practica

first practice 16th century vocal polyphony by Zarlino -music had to follow its own rules -dominated by verbal text Monteverdi Cruda Amarilli -numerous dissonances violates rules of counterpoint -rhetorical device, highlights words "cruda" (cruel)

Venice

first public opera house (1637) Teatro San Cassiano -everyone purchased tickets -supported by rich merchants Librettos -mythological themes, epics Plots -wide range of emotions, dramatic conflicts, striking stage effects -3 acts standard Music -choruses and dances elimitated for financial reasons -separation of recit and aria became convention composers: Francesco Cavali, Antonio Cesti

Adam de la Halle

first vernacular poet-composer whose complex works were collected in a manuscript, showing the great esteem in which he was held The Play of Robin and Marion does not exalt the lofty theme of fin'amours, in which a noblewoman is adored discreetly from afar, but draws on the tradition of the pastourelle, a song about a shepherdess and a knight who seeks to seduce or abduct her. Form: rondeau, dance song with a refrain in two phrases whose music is also used for the verse Jeu de Robin et de Marion

Roman de Fauvel

flavor of the times is captured in this allegorical narrative poem satirizing corruption in politics and the church, apparently written as a warning to the king of France and enjoyed in high political circles at court. manuscript has 169 pieces of music interpolated within the poem. Most are monophonic, from Latin chants to secular songs 34 are motets, many with texts that denounce the lax morals of the clergy or refer to political events Among theses motets in the Roman de Fauvel, are the first examples of a new style: Ars Nova

Francesca Caccini

florence highest-paid musician employed by grand duke of Tuscany -female -among most prolific composer of dramatic music Ex: The Liberation of Ruggiero from The Island of Alcina -billed as ballet, now considered opera -sinfonia, prologue, recitatives, arias, choruses, instrumental ritornellos -elaborate stagin -explores themes of women and power

ritornello form

form in which ritornellos for full orchestra alternate with episodes for the soloist(s) used by Vivaldi (expanded on Torelli) -opening rit composed of several small units, typically 2to 4 measures in length, some of which may be repeated or varied -later statements of rit usually partial -serve as guideposts to tonal structure of music Ex: Concerto for Violin and Orchestra in A minor by Vivaldi -slow movement is as important as the fast one -very formulaic writing

Intermezzo

form of comic opera two or three segments performed between acts of a serious opera -originated in Naples -usually 2 or 3 characters Ex: Pergolesi's La Serva Pardrona (The Maid is Mistress) -opera in miniature, 3 characters -social hierarchy questioned

Psalm Tones

formulas for singing psalms in the Office one for each of the 8 modes Each psalm tone contains: -intonation: rising motive used only for the first verse -mediant: cadence for the middle of each verse -termination: final cadence for each verse Last verse of the psalm is followed by the Lesser Doxology (a formula of praise for the Trinity - Father, Son, Holy Spirit)

French opera (19th century)

founding by Lully late 17th century The Opera which focused on tragedy - most prestigious Opera Comiques gave oepras with spoken dialogues instead of recitative despite name, many opera comiques had serious plots The Theatre Italien presented operas in Italian including works composed for Paris and older operas by Mozart and others After defeat of Napoleon French monarchy restored: Louix XVIII sponsorship for opera continued as before Gas lighting introduced more spectacular and subtle stage effects

Greater Perfect System

four tetrachords plus and added lowest note to complete a two-octave span the outer, fixed tones of each tetrachord are shown in open notes, the movable inner tones in black notes since most melodies exceeded a 4th, theorists combined tetrachords to cover a larger range conjunct - shared a note disjunct - separated by a whole tone Each note and tetrachord had a name to indicated its place in the system mese - middle note meson - tetrachord below mese hypaton - lowest tetrachord diezeugmenon - above mese hyperbolaion - highest tetrachord Also a lesser perfect system, spanning an octave plus a fourth with only one conjunct tetrachord above the mese.

Euripides' Orestes

fragment survives on a scrap of papyrus from about 200 B.C.E -choral ode seven lines of text with musical notation above them, but only the middle portion of each line survives -calls for either chromatic or enharmonic genus along with the diatonic and for instrumental notes interspersed with the vocal -poetry and music dominated rhythmic pattern used in Greek tragedy for passages of intense agitation and grief. music reinforces the ethos

Jacob Obrecht

franco-flemish composer works: about thirty masses, 28 motets, numerous chansons, songs in Dutch, instrumental pieces imitation cantus firmus masses, various treatments of borrowed material point of imitation - passage in a polyphonic work in which two parts enter in imitation clear tonal centers, confirmed by cadences melodic ideas short and well defined

Sibleius

from Finland established reputation through symphonic poems Style modal melodies uncomplicated rhythms insistent repetition of brief motives ostinatos pedal points contrasts of orchestral timbres and textures "rotational form" repeatedly cycling through series of thematic elements, varied each time -exemplified in 4th Symphony, third movement

Goliard Songs

from late 12th-13th centuries, associated with wandering students and clerics known as goliards -topics vary from religious and moral themes to satire and celebrations of love, spring, eating, drinking, and other early pleasures

fusion and other jazz blends

fusion new trend launched by Miles Davis jazz with electric guitar sound, propulsion of rock, rhythms and character of soul and of rhythm and blues smooth jazz blended jazz with pop music popularity of saxophonists Kenny G and David Sanborn experimental jazz Art Ensemble of Chicago seriousness of purpose, devotion to jazz as an art select audience of connoisseures

Futurism

futurists- The Art of Noises: Futurists Manifesto Luigi Russolo argues that musical tastes were stale and that the modern world of machines required a new music based on noise -noises categorized into 6 families - new instruments called intuonarumori (noise-makers) made a particular noise with an octave and a half range

Melodrama

genre of musical theater that combines spoken dialogue with background music used in Germany Opera Weber, Der Freischutz, The Wolf Glen's Scene

empfindsamer stil

german for "emotional style, sentimental style" from enlightenment -surprising turns of harmony, chromaticism, nervous rhythms, rhapsodically free, speechlike melody -originated in Italy -associated with fantasias, slow movements of C.P.E. Bach

Lutheran organ music

german organ builders drew on elements of the dutch -Buxtehude's Praeludium in E Major -virtuosic display for the performer, especially in the pedals -fugues were written as solo works or sections within preludes and toccatas Term fugue was for pieces in imitative counterpoint - replaced ricercare, fantasia and capriccio

Brahms

gift for melody and simple, direct expression of emotion Orchestral Works -knew he had to match standards set by Beethoven Worked on Symphony No. 1 for 20 years -immediate success prompted his to write another -conventional sequence of movements fast, slow, light movement, fast not scherzo, but lyrical intermezzo or character piece for light movement -echoes Beethoven's 5th by moving from C minor and C major and from struggle to triumph Symphony No. 3 wide melodic spans, cross relations b/w major and minor forms of the tonic triad; metric ambiguity between triple and duple divisions of the bar finale: Brahms trademark: dash of simultaneous triple and duple divisions of the best Symphony No. 4 chaconne - reflects fascination with Baroque set of variations on a bass ostinato and on a harmonic pattern recalls Eroica Symphony Greatest concerto: Piano Conerto No. 2 integration of piano and orchestra make it the most symphonic concerto Chamber music most popular: Quintet for Piano and Strings in F minor -opening 1st movement - continuously building on germinal ideas Schoenburg called developing variation Piano Music style characterized by full sonority, broken figuration, frequent doubling of melodic line in octaves, thirds, 6ths, multiple chord like appogiaturas, frequent use of cross rhythms Variations Variation and Fugue on Theme of Handel difficult etude like Variation on Theme of Paganini Waltzes, Hungarian Danges Brahms Songs Schubert as model voice primary partner - piano rich with supporting figuration strophic and modified strophic Brahms Choral Works German Requiem Ein deutches Requiem -text not liturgical words of Latin Requiem but passages in German, chosen from Old Testament, Apocrypha, and New Testament

Franconian notation

goes with 13th century polyphony composer and theorist Franco of Cologne codified the new system now called Franconian notation in his Ars cantus censurabilis (The Art of Measurable Music) written around 1280. For the first time, relative durations were signified by note shapes, a characteristic of Western notation. Important innovation There were four sings for single notes double long long breve semibreve like rhythmic modes, Franconian notation is based on ternary groupings on the basic unit, the tempus (now normally transcribed as a quarter note rather than an 8th, as is customary for Notre Dame polyphony Three tempora constitute a perfection - akin to a measure of three beats As in the rhythmic modes, a long may last two or three tempora, and a breve is normally one tempus but can last two tempora if needed to fill a perfection. A double long has the value of two longs, and a tempus may contain two or three semibreves. Signs for rests and ligatures indicated durations in a similar manner. What we would transcribe as ties across the barline were not possible to notate, except for double longs. allowed composers to achieve more rhythmic freedom and variety

Giovanni Baccaccio

great 14th century write masterpiece is the Decameron, a collection of one hundred witty and sometimes ribald stories, told over a ten day period by ten friends who have fled to the country to avoice the Black Death ravaging Florence

Harmony in Machaut's Mass

greater prominence of imperfect consonances in the Ars Nova style, in contrast to earlier polyphony Most of the vertical sonorities include 3rds and 6ths resolving to perfect consonances at the ends of phrases used by Machaut (Messe de Nostre Dame)

Les Six

group of composers who absorbed the strong influence of neoclassicism but sought to escape the old political dichotomies Honneger Milhaud Poulenc Tailleferre Auric Durey drew on Satie Hailed by Cocteau who called for new music that could be fully French and anti-romantic, and its clarity, accessibility and emotional restraint Each wrote highly individual music that drew on a wide range of influences, including but not limited to neoclassicism Tailleferre was the most in tune with neoclassicism and drew on Couperin and Rameau Honnegger excelled in music of dynamic action and graphic gesture, expressed in short-breathed melodies, strong ostinato rhythms, bold colors and dissonant harmonies Milhaud was prolific in his compositional output open to sounds and styles of the Americas especially Brazil after spending time there Polytonality Creation of the World - influenced by jazz he heard in Harlem Poulenc drew from Parisian popular chanson traditions sustained in cabarets and revues -Compositions revel in an ingratiating harmonic idiom, draw grace and wit from popular styles and wed satirical mimicry to fluent melody Ex: Les mamelles de Tiresias concert champetre -evokes the spirit of Rameau and Domenico Scarlatti -his sonatas and chamber works bring mildly dissonant harmonies into classical genres and forms

Twelve-bar blues form

harmonic progression in which the first four measure phrase is on the tonic, second on the subdominant and ends on the tonic and the third phrases starts on the dominant and returns to the tonic

Rondeau

has only one stanza framed by a refrain that includes both section of music used for the stanza In addition, first half of the refrain returns midway through the piece between the a section, creating a distinctive form Typically A section cadences without finality, akin to an open ending B section may echo the final passage of the A section, but closes conclusively on the tonal center Example: Machaut Rose, liz, printemps, verdure

cantillation

hebrew scripture chanted by soloist performed responsorially: leader and congregation synagogue services: singing of psalms to traditional formulas

large scale sacred concerto

major feast days allowed composers to compose special works used cori spezzati (divided choirs) Giovanni Gabrieli Ex: In ecclesiis -4 soloists, 4-part chorus, 6-part instrumental ensemble organs -modern arias, instrumental canzonas -massive climax

Faure

his music embodies qualities of the French tradition -studied under Saint-Saens at Ecole Nidermeyer -was co-founder of Societe National -considered a radical who composed in more advanced modern style Best known works: Faure Requiem also one of the great masters of French song wrote dozens of melodies (in manner of Gounod) lyrical melody with no display of virtuosity - remained the basis of his style Song Cycle - La bonne chanson (The Good Song) poems by Paul Verlaine Faure focus: music arranged to suggest a narrative used recurring themes to create musical unity across entire cycle and to recall earlier events or emotions

Canzona

imitative piece for keyboard or ensemble in several contrasting sections - chamber music or in church -lively character Variation canzona - transformations of a single theme appear in successive sections

Fantasia

imitative work on a larger scale than the ricercare -leading composers included Sweelinck and German, Samuel Scheidt Ex: Scheidt's Tabulatura nova -modern Italian piece, each voice on separate staff England - imitative fantasia, often called fancy could treat one or more subjects. music for viol consort (consort fantasias), fancy

Max Steiner

immigrant from Vienna worked on Broadway arranger, orchestrator, composer King Kong, Gone with the Wind, Casablanca King Kong -organized around leitmotives -coordinates music with actions -music conveys mood, character, place through style -intense dissonance for fright (modern technique) other leading Hollywood composers -Korngold (Adventures of Robin Hood) -Newman (Wuthering Heights, How the West Was Won) animated films Snow White and the Seven dwarfs bugs bunny cartoons

New Orleans Jazz

improvisation was an important part centers on group variation of a given tune, either improvised or in the same spontaneous style. The result is a counterpoint of melodic lines, alternating with solos during which the rest of the ensemble provides a rhythmic and harmonic background incorporates call/response as well as African-American Gospel tradition Ex: Louis Armstrong King Oliver's Creole Jazz Band -Armstrong invited to play ensemble in 2 groups front line - melodic instruments rhythm section - keeps the beat, fills background - drums, piano and banjo New Orleans jazz typically takes 12 bar blues, a 16 measure strain from ragtime or a 32 bar popular song as a starting point Chorus the repetition of the presented tune and its adaptation with various instrument combinations scat singing - technique in jazz in which the performer singes nonsense syllables to an improvised or composed melody

mean tone and equal temperaments

in the concertato medium, there were problems in tuning just intonation: singers, violinists mean tone temperaments: keyboard players approximations of equal temperament: fretted instruments compromises, various mean-tone temperaments predominated

The Palestrina Style

in this composer's style, the music is almost entirely in duple meter cambiata (changed) - figure in 16th century polyphony in which a voice skips down from a dissonance to a consonance instead of resolving by step, then moves to the expected note of resolution -strove to accentuate the words correctly, make them intelligible -often uses syncopation to sustain momentum and link phrases -first style to be preserved and imitated -stile antico (old style) -still ideal style in present-day counterpoint books

Harry Partch

individualistic, single-minded search for sonic media -repudiated equal temperament, Western harmony, counterpoint -inspired by Chinese, Japanese, Native American, African rural American music "monophonic" musical ideals of ancient Greeks

Scriabin

influences: Liszt, Wagner: chromaticism Rimsky-Korsakov: octatonic scale, other exotic elements Debussy, Russian composers: juxtapositions of texture, scale, figuration complex harmonic vocabulary evolved -chords featuring tritones from octatonic, whole-tone scales evaded conventional tonal resolution harmonic language in last 5 piano sonatas -dispensed with key signatures, tonality -chords do not project yearning to resolution -transcendence of desire, read as erotic, mystic -sense of progression by altering referential chord -enigmatic beginning, increase dynamism, ecstatic transcendence -novel harmony serves functions of tonality Vers la flamme, tone poem for piano -octatonic sonorities, chord successions -climactic ending tritones "resolve" to P5ths fast expansion of range -increase in dynamics, density of attacks, ecstatic conclusion

Emperor Constantine I

introduced to Christianity by his mother Helena and he issued the Edict of Milan Edict of Milan - legalized Christianity and allowed the church to own property By then, Christianity was firmly established in most cities of the empire Emperor Theodosius I made Christianity the official religion and suppressed others except for Judaism. Church organized itself as the model of the empire

Oblique Neume

kind of neume that indicated 3 notes diamond shaped notes appear in descending patterns as a way to save space but receive the same values as square notes small notes indicate partially closing the mouth on a voiced consonant at the end of a syllable

Minnesinger

knightly poet-musicians wore in Middle High German Minnelieder (love songs) - more spiritual than the fin'amour -most songs are strophic -most common melodic form is AAB called bar form -each A section or Stollen uses the same poetic meter, rhyme scheme and melody -The B Section or Abgesang is usually longer and may end with all of the latter part of the melody for the Stollen Ex: Wlther von de Vowelweide: Palastinalied (Palestine Song)

theorbo

large lute with extra bass strings from baroque

Kithara

large lyre, used especially for processions and sacred ceremonies and in the theater and normally played while the musician was standing Kitharode - singer accompanying himself on the kithara Images rarely show performers reading from a scroll or table while playing, despite having a well-developed form of notation but 4th century B.C.E -primarily learned by ear and sang from memory were played as solo instruments and competitions held for best performers. An amphora, a jar for wine or oil was awarded to prize winner

Basilicas

large, rectangle buildings used for worship

solo madrigal

late 16th/early 17th centuries through composed setting of a non-strophic poem for solo voice with accompaniments, distinguished from an aria and from a madrigal for several voices

Orchestral Suite

late 17th century German suite for orchetra patterned after the groups of dances in French ballet and opera ex: Muffat's Florilegium Bach

verisimo

late 19th cent Italian Opera from Italian "true" operatic parallel to realism and literature operas present every day people, especially lower classes, in familiar situations -music responds directly to text broad definition in late 19th/early 20th centuries including operas that reacted against Romantic idealism and turned away from a reliance on conventions -this definition could include late Verdi Operas, and Operas of Puccini

Carlo Gesualdo

later madriaglist prince of Venosa -aristocrat and murderer -perferred modern poems with strong images -sharp contrasts: diatonic and chromatic passages, dissonance and consonance, choral and imitative textures, slow-moving and active rhythms -breaks up poetic lines to isolate striking words Ex: Io Parto, e no piu dissi -slow chromatic, mostly chordal -dissonance portrays laments

Luca Marenzio

later madricalist Ex: solo e pensoso based on Petrarch sonnet -image of pensive poet walking alone: top voice, slow chromatic ascent -depicted contrasting feelings and visual details used madrigalisms - striking musical images evoke text almost literally

Balakirev

leader of mighty five only one with conventional training in music -informal teacher for the others arranged and published two collections of folk songs

Soul

leading African-American tradition of popular music in the 1960s, a descendant of rhythm and blues in which the intense expression, melismas and ecstatic vocalizations of gospel singing were brought over to songs on love, sex, and other secular subjects -Ray Charles -Aretha Franklin

Stephen Foster

leading American song composer -no formal training Oh! Susanna -earned a living solely as composer combined elements of British ballads, American minstrel songs and German lieder, Italian opera and Irish folk songs Jeanie with the light Brown hair

Mahler

leading Austro-German composer of symphonies after Brahms, Bruckner -avid Wagnerian; respected, influenced by Brahms 4th Symphony -each movement different -exaggerated contrasts, traditional four movement -interweaves Romantic fantasy, modern style, references to classical past Kindertotenlieder (Songs on the Death of Children) orchestral song cycle transparency of chamber sonatas -post-Wagnerian harmony -thin textures -irony heightened by emotional mismatch of text and music

R. Murray Shafer

leading Canadian composer variety of styles, neoclassical to avant-garde most pieces based on extramusical inspirations environmental music, pieces break out of concert hall Music for Wilderness Lake -performed at sunrise, sunset away from human settlements -12 trombonists, positioned around lake -meditative melodies, conductor in a raft

William Byrd

leading English composer of the late 16th and early 17th centuries best known for his Latin masses and motets -probably student of Tallis -although Catholic, served Church of England and was protected by Queen Elizbeth wrote Anglican and Catholic service music also wrote secular vocal and instrumental music

Claudius Ptolemy

leading astronomer of antiquity music closely connected to astronomy through notion of harmonia -certain planets, their distances from each other, and their movements were believed to correspond to particular notes, intervals and scales in music -Plato gave his idea form in his myth of the "harmony of spheres" the unheard music produced by the revolutions of the planets. -invoked by writers in MIddle Ages and later including Shakespear, The Tempest and underlay the work of Johannes Kepler, the founder of modern astronomy

Giuseppe Torelli

leading composer in Bologna first concertos ever published trumpet concertos for services in San Petronio possibly first solo violin concertos most follow 3 movement pattern: fast-slow-fast ritornellos frame solo passages in fast movements

Marco Cara

leading composer of frottola (italian counterpart to villancico)

Guillaume du Fay

leading composer of his time excelled in every genre associated with Burgundian court trained at Cathedral of Cambrai in northern France his many travels exposed him to a wide variety of music blended national traits in chansons French - used ballade form, long melismas, syncopation Italian - smooth vocal melodies, melodies on the last accented syllable of each line of text, meter change for the b secion Ex: Resvellies vous

New Romantic Style: Schubert Symphonies

maintain form of symphony and infuse it with content derived from new Romantic style developed in Lieder and piano pieces -greater focus on songlike melodies, adventurous harmonic excursions, innovative textures, enchanting instrumental colors, strong contrasts and heightened emotions -themes were most important element in any form to Romantics Ex: Unfinished Symphony originally planed as 4 movt work in B minor Symphony No. 9 "Great" blend of Romantic lyricism and Beethovian drama within expanded Classical form typical of Schubert approach to sonata form is 3 key exposition(s)

John Cage

leading composer of the postwar avant-garde Influenced by Cowell and Varese - searched for new sounds and used untraditional instruments Introduced to tala (organization by duration in Indian music) by Cowell -square root form - the number of measures in each unit it the square root of the total in the movement Prepared piano - various objects, such as pennies, bolts, screws, or pieces of wood, rubber, plastic, etc, are inserted between the strings, resulting in delicate, complex percussive sounds when the piano is played on the keyboard Met composer Morton Feldman and his growing interest in Zen Buddhism moved him away from experimentation -created opportunities for experiencing sounds as themselves: chance, indeterminacy, and blurring of boundaries between music, art and life Chance - decisions normally made by the composer are determined through random procedures, such as tossing a coin Indeterminacy - composer leaves certain aspects of the music unspecified 4 minutes and 33 seconds

Juan del Encina

leading composer of villancico (Spanish secular polyphonic song in Renaissance Spain) -first Spanish playwright ecologues: one-act pastoral plays -villancicos at midpoint and end -used pastoral themes that depict idealized worlds of shepherds

Minimalism

leading musical style of late 20th century prominent trend since 1970s reduced to minimum, procedures simplified absorbed influences rock African music Asian music tonality Romanticism Early Minimalism in music -parallel movement in NYC, California counterculture -reaction against modernist music -material reduced, pace of change to a minimum Le Monte Young music centers on small number of pitches, held at great length The Dream House -giant speakers project drones, 32 different frequencies Terry Riley member of La Monte Young's ensemble explored patterns through repetition; tape loops

Petrarchan movement

led by Cardinal Pietro Bembo, poet and scholar -development of madrigal linked to currents in Italian poetry -movement to revive the sonnets and canzoni of Petrach -Bembo edited Petrarch's Canzoniere identified opposing qualities, peasingness and severity in the sounds of Petrarch's poems

Jean Calvin

led largest branch of Protestanism outside Germany rejected papal authority cenetered in Geneva, missionaries spread Calvinism across Switzerland

Rachmaninoff

left Russia after Russian Revolution emigrated to US made living as pianist had big hands combines influences Western composers: Mendelssohn, Chopin Russian elements: Orthodox liturgical music, Tchaikovsky renowned for passionate, melodiosu idiom focused on elements of Romantic tradition Prelude in G minor traditional harmonies, ABA' form B section dwells on dominant seventh chord diminished fourth, melody sound Russian subtle connections between sections

Jesus of Nazareth

life and teaching gave rise to Christianity - subject of the Roman Empire his teachings drew from Hebrew Scripture - charge to "make disciples of all nations" sparked a movement that spread throughout the Roman empire

Donizetti

like Rossini had instinct for theater and for melody that effectively captures a character, situation or feeling one of most famous operas Lucia di Lammermoor based on novel by Sir Walter Scott -set among lonely cliffs and ancient feuds of Scottish highlands Lucia tricked into thinking man she loves was unfaithful and agrees to marry someone else. On wedding night, she murders him then begins to hallucinate reminiscence motive -flutes and clarinets recollect the theme of her love duet from Act I

The Concerto

like the vocal concerto, it united contrasting forces into a harmonic whole, in an instrumental version of the concertato medium. Florid melody over firm bass; musical organization based on tonality and multiple movements with contrasting tempos, moods and figuration

Suites

linking two or three dances together ex: Schein's Banchetto musicale -25 suites for 5 instrument with continuo

Berg

listeners preferred his music to Schoenberg -infused his post-tonal idiom not only wiht the forms and procedures of tonal music, like Schoenberg, but also wtih its expressive gesture, characteristic styles and other elements that quickly conveyed meanings and feelings to his listeners Wozzeck -example of expressionist opera -atonal music -sprechstimme in some scenes -each of three acts has continuous music drama organized through leitmotivs, pitch-class sets identified with the main characters and traditional forms that wryly comment on the characters and situations -Second Act is a symphony in 5 movements -3rd act presents 6 inventions After Wozzeck he adopted 12 tone methods Lyric suite Violin concerto Lulu

balletto

little dance light genre dancing as well as singing or playing "fa-la-la" refrains, dancelike rhythms -imitated by German and English composers

canzonetta

little song end of 16th century vivacious, homophonic style, simple harmonies lighter style -imitated by German and English composers

Villanella

lively strophic piece, homophonic, usually 3 voices -parallel 5ths suggest rustic character -mocked more sophisticated madrigals

Tuba

long straight trumpet from the the Etruscans (earlier residents of the Italian peninsula) was used in religious, state and military ceremonies

string instruments (16th century)

lute, viol/viola da gamba, violin Lute -introduced by Arabs into Spain -lutenists performed solos, accompanied singing, played in ensembles -Spanish vihuela, closely related to lute Viol/Viola da Gamba -leading bowed string instrument of 16th century -held between the legs, bowed underhand -delicate tone Violin -distant cousin of the viol -bowed, fretless instrument tuned in 5ths -used to accompany dancing

Prokofiev

made initial reputation as a radical modernist, combining striking dissonance with motoric rhythms Left Russia and toured in US -Love for Three Oranges in Chicago Wrote Peter and the Wolf as one of the many pieces he wrote in response to the Soviet demand for high quality music for children Cantata -Alexander NEvsky

Final

main note in the mode and usually the last note in the melody

Formes Fixes

most french songs of 14th century are in one of 3 forms ballade rondeau virelai all three add a refrain to a stanza in AAB form each does so in a distinctive way, resulting in its own form

Symphony

major orchestral genre mid to late 18th century 3 or 4 movements, homophonic style Italian origins -italian sinfonia, opera overture -orchestral concertos, Torelli -church sonatas in northern Italy -orchestral suites: source for binary forms Giovanni Battista Sammartini first symphonies ever written Ex: Symphony in F Major -scored for strings in four parts -lasts 10 minutes -first movement form described by Koch Johann Stamitz composer for Mannheim orchestra -first symphonist consistently following 4-movement structure -minuet and trio third movement -strong contrasting second theme after modulation in first movement Ex: Sinfonia in E-flat Major -larger scale than Sammartini -added two oboes and two horns -exploits Mannehim crescendo

Bernstein

major presence: Broadway, classical music NY Phil last minute replacement, overnight celebrity Out Town West Side Story, retelling of Romeo and Juliet -lyrics by Sondheim -set in gang-ridden NYC -variety of musical styles: Afro-Caribbean dance styles, jazz, Tin Pan Alley formulas "Cool" Act from West Side Story -modern styles of jazz alternates with cool jazz, bebop -fugue on twelve-tone theme Opera Candide

French overture

marked the entry of the king two sections, each played twice i. homophonic, majestic, dotted rhythms ii. faster second section, fugal imitation, returns to first section iii. overture to Lully's Armide Ex: Armide -supernatural beings: opportunities for spectacular stage effect - aimed at pleasing audience

Musique mesuree

measured music imitates rhythm of Greek poetry -16th century French style of text-setting, especially in chansons, in which stressed syllables are given longer notes than unstressed syllables -sought to unite poetry and music as in ancient times and revive the ethical effects of ancient Greek music (Academie de Poesie et de Musique) -hoped to improve society co founder of Academie: Jean-Antoine de Baiif Example: Le Jeune's Revecy venir du printans -too artificial to become popular

Cantus-firmus variation

melody repeats with little change but is surrounded by different contrapuntal material in each variation

"Perfect Melos"

melody, text and stylized dance movement conceived as a whole for Greek,s music and poetry were nearly synonymous. In Republic, Plato defined melos as a blend of text, rhythm and harmonia (relationship among pitches) In Poetics, Aristotle established the elements of poetry as melody, rhythm, and language "Lyric" poetry - poetry sung to the lyre

Twelve-tone method

method faced problem: atonal methods - he could not match the formal coherence of tonal music and to rely on a text to sustain pieces of any length 12 tone method - form of atonality based on the systematic ordering of the 12 notes of the chromatic scale into a row that may be manipulated according to certain rules Row or series - 12 pitch-classes of the chromatic scale arranged in an order chosen by the composer and producing a particular sequence of intervals -prime - original row form -inversion -retrograde - backwards -retrograde inversion 12 tone series is often broken into segments of 3, 4, or 6 notes which are then used to create melodic motives and chords -as a rule, composer states all 12 pitches of the series before going on to use the series in any of its forms again Shoenberg used this new technique to write instrumental music Piano Suite Op. 25 (modeled after Bach)

Cipriano de Rore

midcentury madrigalist most madrigals were 5 voices by midcentury, frequent changes of texture Flemish -He was profoundly interested in humanism and in ideas from ancient Greek music -Grief and sorrow are portrayed in his work by changes of voice combinations, chromaticism

Nicola Vicentino

midcentury madrigalist who used chromatic motion to evoke classical antiquity, idyllic pastoral scene -proposed reviving chromatic and enharmonic genera of ancient Greeks -wrote madrigals on Petrarch sonnets

serenata

midway between cantata and opera semidramatic piece, several singers and small orchestra resembled oratorios except secular subjects; same patrons

Schumann (Romantic Reconceptions)

models: Schubert and Mendelssohn Symphony year followed the "lieder year" Spring Symphony (first symphony) fresh and spontaneous inexhaustible rhythm energy Second: D minor mixed reception - was laid aside after completing 2 more symphonies he returned to #2 revising as No. 4 revision represents most radical rethinking continuous flow, as if single movement organically unified cycles result it a symphonic fantasia that combines traditional forms with continuous process of variation can be regarded as 4 mvt symphony or as single extended sonata form that encompasses 4 movts within it

Solesmes Chant Notation

modern editions of chant prepared by Solesmes monks and proclaimed official Vatican editions by Pope Pius X -Neume may carry only one syllable of text they are read left to right Oblique neume -3 notes

The Church Modes

modes each chant was assigned to a particular mode, and learning the modes and classifying chants by mode made it easier to learn and memorize chants -important characteristics of each mode: final, range, and reciting tone -modes are differentiated by the arrangement of whole and half steps in relation to the final (the main note in the mode and usually the last note in the melody) 8 modes Tonaries - grouped chants together by mode

Cornu

most characteristic instrument large G-shaped circular horn

Britten

most choral music conceived for cathedral choirs, amateur choruses -Hymn to St. Cecilia, Ceremony of Carols -wrote most of his tenor roles for his life partner Peter Grimes -established him as an important composer -First English opera since Purcell to enter the international repertory War Requiem -expresses Britten's pacifism -set to Latin texts and verses by Wilfred Owen

trio sonata

most common instrumentation after 1670 2 treble instruments (usually violins) with basso continuo -could be either da camera or da chiesa

Machaut's Motets

most date from Machaut's early career 20 are isorhythmic based on tenors from chant 3 use secular songs as tenors like other motets of time, his are longer and more rhythmically complex than earlier examples and often include hocket and isorhythmic passages in the upper voices

Biber's Mystery

most famous sonatas scordatura - unusual tunings of the violin strings to facilitate the playing of particular notes or chords sonata (first three accompanied and last is passacaglia) -joyful, sorrowful, glorious

Copland

most important and central American composer of his generation studied with Nadia Boulanger jazz elements and strong dissonances figure prominently in his early works During the Depression he looked to appealing to the masses El Salon Mexico -mexican folk songs Billy the Kid and Rodeo -Cowboy Songs Appalachian Spring -American idiom exemplified -Tis the Gift to be SImple -shaken hymn use of transparent, widely spaced sonorities, empty octaves and fifths and diatonic dissonances creates a distinctive sound that has been frequently imitated and has become the quintessential musical emblem of America - especially music for film or television

Girolamo Frescobaldi

most important composer of Toccatas -improvisation and played on the harpsichord or organ -believed in tempo changes -sectional -published keyboard collections Ex: Toccata No. 3 -succession of brief sections, each subtly varied -virtuoso passage work -sections end with weakened cadence - sustained momentum -beat modified according to mood, character

Villancico

most important form of secular polyphonic song in Renaissance Spain -texts usually rustic or popular subjects - composed for aristocracy -ALWAYS includes refrain (estribillo) and one or more stanzas (coplas) -AAB -Principal melody in top voice -preference for simplicity: short, strophic, syllabic, mostly homophonic leading composer: Juan del Encina

Boethius

most revered authority on music in the middle ages -emphasized the influence of music on character -De institutione musica (Fundamentals of Music) Divides music into 3 parts: musica mundane - of the universe musica humana - human music musica instrumentalis - instrumental music

Louis Andriessen

most significant Dutch composer of postwar era major influence on younger composers in US, Europe orchestral instruments with sounds from big band, jazz rock juxtaposes contrasting blocks of pulsing sound, layers disparate musical strands

Tin Pan Alley: The Golden Age

most songs followed a standard form of one or more verses followed by 32 measure chorus in AABA, ABAB or ABAC pattern. Focus increasingly on the chorus Irving Berlin mastered all current popular song genres early in his career he was known as America's chief ragtime composer -Alexander's Ragtime Band Cole Porter -wrote exclusively for theater and Hollywood musicals George Gershwin jazz-influenced music and wrote popular songs and musical music sent some singers into stardom (Astaire, Merman) I got rhythm reused (contrafact) several times

Melos

music as a performing art from which the word melody derives Surviving Greek music is monophonic, with a single melodic line (although not always performed that way) -from pictures we known singers accompanied themselves on the lyre or kithara but we don't know whether they sounded notes in the melody, played a variant of it (heterophony) or played an independent part (polyphony) Melos could denote and instrumental melody alone or a song with text

Service

music for Matins, Holy Communion and Evensong Great Service: contrapuntal and melismatic setting Short service: same texts, syllabic, chordal style Thomas Tallis composed English Service Music

Polyphony

music in which voices sing together in independent parts at first, polyphony in church music was a style of performance,. Polyphonic performance heightened the grandeur of chant and thus of the liturgy itself. -new development in theory and notation allowed musicians to write down polyphony and develop progressively more elaborate varieties in genres such as organum, conductus and motet Rise of written polyphony Counterpoint - combination of multiple independent lines Harmony - regulation of simultaneous sounds Centrality of notation Composition - composition as distinct from performance Began as a manner of performance and developed into a written traditions

Carl Orff

music under the nazis won international reputation during Nazi-era best known for Carmina Burana - chorus, soloists, chant, created a pseudo-antique style based on drones, ostinatos, harmonic stasis and strophic repetition -also developed methods for teaching music in school

classical music/style

musical idom of mid to late 18th century, generally characterized by an emphasis on melody over relatively light accompaniment -simple, clearly articulated harmonic plans -periodic phrasing -clearly delineated forms based on contrast between themes/keys

Haut and Bas

musicians distinguished between instruments on their relative loudness Haut - French for high shawmn cornetts- hollowed out wood, often slightly curved, with finger holes and a brass-type mouthpiece trumpets Bas - French for low Pedal keyboards were added to church organs Stops - enabled the player to select different ranks of pipes and the addition of a second keyboard

Electronic music

musique concrete -recorded sounds manipulated through mechanical and electronic means, assembled into collages -composer worked with concrete sounds, rather than notation Pierre Schaeffer -pioneered in Paris tape recorders recently developed possible to record, amplify, transform, arrange music electronic sound created by oscillators early electronic instruments -Theramin -Ondes Martenot Composers: Stockhausen, Varese, Poeme electronique synthesizers composers call on pitches from music keyboard Silver Apples of the Moon by Morton Subotnick

Tin Pan Alley

name for a district on West 28th St. in NY where numerous publishers specializing on popular songs were located

Free Jazz

named after landmark album Free Jazz, experimental style moved away from jazz standards and familiar tunes, turning instead to a language built of melodic and harmonic gestures, innovative sounds, atonality and free forms using improvisation that was carried on outside the strictures and structure of standard jazz forms

New Virtuosity

new generation of technically proficient performers emerged -careers as champions of the newest music -encouraged composers to write pieces to challenge their skills Ex:Luciano Berio, Elliot Carter, John Cage,

operetta

new genre of light opera in Austria, England and US

opera bouffe

new genre of light opera in France, 19th century

Cantata

new genre of vocal chamber music, 17th century -secular composition with continuo -usually solo voice, lyrical or quasi-dramatic text -several sections, recitatives and arias Prominent composers: Cesti, Carissimi, Strozzi (Lagrime mie - unrequited love)

Operetta

new kind of light opera, spoken dialogue -originated in opera bouffe of offenbach -could be both funny and romantic Viennese Johann Strauss the Younger, Die Fledermaus (The Bat) Englad, W.S. Gilbert (librettest) and Arthur Sullivan (composer) HMS Pinafore The Pirates of Penance The Mikado When the foeman bares his steel from The Pirates of Penzance -illustrates humor of Gilbert and Sullivan -at climax, two choruses sing melodies in counterpoint -hilarious juxtaposition of opposing styles scene structure closely resembles opening of Act III of Les Huguenots

French Grand Opera

new opera in France: designed to appeal to newly well-to-do middle class audiences Grand Opera - as much spectacle as music librettos that focused on romantic love in context of historical conflicts and exploited every possible occasion for ballets, stage machinery, choruses and crowd scenes Les Huguenots by Meyerbeer typical of French Grand Opera 5 acts enormous cast, ballet, dramatic scenery and lighting effects plot: centers on events leading to the St. Bartholomew's Day Massacre of 1572 in which Catholics slaughtered hundreds of Protestants (Huguenots) in Paris unlike earlier historical dramas that showed rulers in control, Les Huguenots represents a new view of history that regarded competition between groups as the principal engine driving events, beyond the control of individuals perspective poignantly exemplified in closing scene of Act II -illustrated Meyerbeer's ability to integrate expression of deep personal feelings with crowd scenes, public ceremonies and confrontations (Reflects Rossini's influence on grand opera) -scene structured like Italian opera finale, with an orchestral introduction, opening section, slow movement (like cantabile), dialogue in accompanied recitative and fast stretta at the end

Geroge Crumb

new sounds out of ordinary instruments, objects new and unusual effects always have musical purpose, evoke extramusical associations Ancient Voices of Children, cycle of four songs -poems by Federico Garcia Lorca -two instrumental interludes -unconventional sound sources, special effects from conventional instruments Black Angels -electronically amplified string quartet -surrealistic dreamlike juxtapositions -unusual means of bowing

Renaissance Counterpoint

new style of counterpoint based on preference for consonance, including thirds and sixths as well as p4 and p5 and p8 Liber de arte contrapuncti (A Book on the Art of Counterpoint) by Johannes Tinctoris : leading treatise on counterpoint -dissonance should be limited to passing and neighbor tones on unstressed beats and to syncopated passages

English influence

new way of writing for three parts: the upper voice, which has the principal melodic line as in 14th century chansons, is coupled with a tenor as if in a duet, and the two parts - and eventually the contratenor as well - are more nearly equal in importance, in melodic quality, and in rhythm

Italian notation

notation from Italy that is different than the French Ars nova breve can be broken into two three four six, eight, nine or 12 equal semibreves or various patterns of unequal ones groupings of semibreves are marked off by dots, akin to modern bar line convenient for florid melodic lines -later supplements and eventually replaced by the French system

tablature

notational system used in English lute songs that tells the player which strings to pluck and where to place the fingers on the strings, rather than indivating what pitches will result

Free Organum

note against note organum -original voice has greater independence and prominence Ad organum faciendum - rule book for improvising in the new style -added voice is usually below the chant rather than above -organal voice moves against chant in free mixture of contrary, oblique, parallel and similar motion Alleluia justus ut palma

The Roles of Romantic Opera

number of opera houses grew - run by impresario attending opera was social event individual number and complete scores were published in versions for piano and voice and performed in salons and by amateurs at home Italian opera - focus remained on beautiful singing French and German - orchestra played an increasing role over the course of the century composer gradually became more prominent figure in collaborative effort of creating opera -1850 permanent repertory of operas began to emerge. At center were operas by Rossini, Bellini, Donizetti, Meyerbeer, Weber, alongside late Mozart opera subjects varied Nationalism -inspired by French Revolution and Napoleonic Wars -in political realm was attempt to unify a group of people by creating national identity through characteristics such as common language, culture, etc. -could be used to support the status quo or challenge it Exoticism - evocation of a foreign land or culture

Lied (19th century Romantic)

number of songs greww -frequent theme in poetry was individual confronting the greater forces of nature or society -chief poetic genre continued to be the lyric, a short, strophic poem on one subject expressing personal feeling or viewpoint -ultimate models were lyric poets of ancient Greek and Rome Ballad - imitation of folk ballads of England and Scotland. Might alternate narrative and dialogue and usually dealt with romantic adventures or supernatural incidents -piano rose from accompaniment to equal partner with the voice -song collections and cycles grew in number

Authentic

odd numbered modes typically cover a range from a step below the final to an octave above it Dorian (D to D) Phrygian (E to E) Lydian (F to F) Myxolydian (G to G) reciting tone is a 5th above the final

Chorale prelude

offten applied to any chorale-based work, entire melody is presented just once in readily recognizable form Chorale prelude is a single variation on a chorale, which may be constructed in any of the following ways -each phrase of the melody serves in turn as the subject of a point of imitation -phrases appear in turn, usually in the top voice in long notes with relatively little ornamentation. Each phrase is preceded by a brief imitative development in the other voices of the phrase's beginning, in diminution (shorter notes) -melody appears in top voice, ornamented, accompanying voices proceed freely with a great variety from phrase to phrase -melody is accompanied in one or more of the other voices by a motive or rhythmic figure not related motivically to the melody itself

Chorale prelude

often applied to any chorale-based organ work, entire melody is presented just once in readily recognizable form -single variation on a chorale, which may be constructed in any of the following ways -each phrase of melody serves in turn as the subject of a point o imitation -phrases appear in turn, usually in the op voice, in long notes with relatively little ornamentation. Each phrase is preceded by a brief imitative development in the other voices of the phrases- beginning, in diminution (shorter notes) melody appears in top voice, ornamented, accompanying voices proceed freely with a great variety from phrase to phrase -melody is accompanied in one or more of the other voices by a motive or rhythmic figure not related motivically to the melody itself

Vocal Chamber Music in Italy

often commissioned for special events allowed composers to experiment Alessandro Scarlatti wrote more than 600 -most were written with alternating recit-aria pattern -da capo aria - ABA, allowed embellishments, showed character development -serenata - semidramatic piece for several singers and small orchestra, usually written for a special occasion

Ravel

often grouped as an impressionist, like Debussy Ex: Jeux d'eau, treats his whole-tone sonorities as dissonant harmonies that must resolve Miroirs, Gaspard de la nuit invoke impressionism in their strong musical imageyr, brilliant instrumental technique and colo harmonies Borrows from French Baroque - Menuet antique looked for popular traditions outside of France - using Viennese waltz rhythms in La Valse Many works feature Spanish idioms - Bolero neoclassicism - pre-romantic music revived, imitated, evoked originated in France, rejection of German Romanticism Le tombeau de Couperin

Sonata

often scored for one or two melody instruments, usually violins with basso continuo -imitated the modern expressive vocal style Biagio Marini -violinist under Monteverdi -published 22 collections of vocal and instrumental work -early example of "instrumental monody" -by mid century canzona and sonata had merge, sonata stood for both

Guillaume de Machaut

one of most important composers of French Ars Nova period poet and composer wrote narrative poems that describe life events of himself and his patrons -always moved through elite circles -support by royal and aristocratic patrons allowed him to produce a lot of music, mostly settings of his own poetry. -among first composers to compile his complete works and discuss his methods major musical works: Messe de Nostre Dame (Mass for Our Lady), Hoquetus David, motets, ballads, rondeaux, virelais, etc.

Schoenberg

one of most influential composers of 20th century born in Vienna, son of Jewish shopkeeper -taught privately: Berg and Webern -after WW I founded and directed Society for Private Musical Performances in Vienna made famous by innovations Atonality - music that avoids establishing a tonal center twelve tone method - form of atonality based on systematic orderings of the 12 notes of the chromatic scale Tonal Works Verklarte Nacht tone poem followed romantic tradition (grew from Tristan) turned away from late Romantic gigantism and toward chamber music used Brahm's principle of developing variation and applied it to his own works Atonal Music began to composer pieces that avoided establishing any note as tonal center -embraced this because music of the late 19th century had heavy chromaticism, distant modulations and prolong dissonances - declaration at the end of a piece seemed arbitrary manipulated the notes and intervals of a motive to create chords and new melodies treating notes of a moteive containing three or more pitches just as we might a triad or other tonal chord -after called it a set -pitch-class set, using pitch-class to mean one of the 12 notes of the chromatic scale and its enharmonic equivalents in any octave -convenient way to label sets is to arrange the notes in the most compact array from lowest to highest and number each pitch-class by the number of semitones above the first one chromatic saturation - appearance of all 12 pitch-classes within a segment of music Pierrot Lunaire cycle of 20 songs combination of instruments is unique to each movement (nonrepetition) Sprechstimme - speaking voice, approximating the written pitches in the gliding tones of speech - innovative idea that blends traditional notion of song and melodrama

Ballade

one of the formes fixes typically 3 stanzas, each sung to the same music and each ending with the same line of poetry, which serves as the refrain form of each stanza is aabC two couplets sung to the same music followed by contrasting music that culminates in the refrain often the two sections have different endings 1. open 2. closed (estampie)

Alessandro Scarlati

one of the leading compers of opera in Northern Italy, 17th century wrote more than 600 cantatas Clori vezzosa, e bella -wide harmonic range, chromaticism, diminished chords

St. Augustine

one of the most significant thinker in the history of Christianity and of Western philosophy. In his Confessions, often considered the first modern autobiography, he expresses the tension between music's ability to heighten devotion and to seduce with mere pleasure

Virelai

one of the three formes fixes (fixed forms) of 14th century French song text and music have particular patterns of repetition that include a refrain, a phrase or section that repeats both words and music 3 stanzas, each preceded and followed by a refrain Machaut wrote them 25 of them are monophonic and 8 are polyphonic

Small scale sacred concerto

one or more soloists accompnaied by organ continuo and often by one or two violinists - available within the means of small churches Ex: Lodovico Viadana, One Hundred Church Concertos -first volume of sacred vocal usic printed with basso continuo Ex: Alessando Grandi (Monteverdi's deputy) O quam tu pulchra es -elements from recitative, solo madrigal, lyric aria -changing styles reflect moods of text

Music and Ethos

one's ethical character of way of being/behaving (Greek writers believed music could affect the ethos) -this ideas built on the Pythagorean view of music as a system of pitch and rhythm governed by the same mathematical laws that operated in the visible and invisible world Music could penetrate the soul and restore its inner harmony

Russian Opera (19th century)

opera arrived in Russia (visiting Italian troupe) 5 years later permanent opera company founded Mikhail Glinka 1st Russian composer recognized by Russians and internationally established reputation with patriotic pro-government historical drama A Life of the Tsar - 1st Russian Opera sung throughout plot: peasant who sacrifices life to save Tsar form Polish invaders blended Italianate melody, French drama and spectacle and German counterpoint and idealization of peasant life and culture

Antonio Cesti

opera composer in Venice Cavalli's most serious competitor spent much of career abroad Ex: Orontea - introduction of both high and low characters - rise of middle class

Metrical psalms

vernacular translations of psalms, metric, rhymed, strophic -newly composed melodies, or adapted tunes from chant psalters - collections of metrical psalms associated with Jean Calvin

keyboard instruments (16th century)

organ, clavichord, harpsichord organ -added stops, distinctive timbre -pedal keyboard employed in Germany and Low Countries -portative out of fashion; positive organs common clavichord -solo instrument suitable for small rooms -brass blade strikes string, tone sustains -very soft tone, performer controls volume, vibrato harpsichord -solo and ensemble use, moderate size rooms -quill plucks stinrgs -different sizes, various names England: virginal, France: clavecin, Italy: calvicembalo -most robust tone than clavichord -could not sustain or shade -timbres and degrees of loudness by second keyboard or stop mechanism

Giovanni Gabrieli

organist, composer, supervisor of instrumentalists at St. Mark's almost 3 decades wrote polychoral motets - workes for two or more choirs Venetian sonata: was a close relative of the canzone, consisting of a series of sections each based on a different subject or on variants of a single subject.

Conductus

originated in the 12th century as a serious Latin song with a rhymed, rhythmical text, akin to a sequence but without the paired phrases. Both versus and conductus were set to newly composed melodies not based on chant -set to newly composed melodies not based on chant -for performance outside religious contexts

Heinricus Isaac

output more Pan-European output sacred works, many songs Lieder - four part settings of popular songs or newly composed melodies in similar style German Lieder: Italian style adopted ex: Innsbruck, ich muss dich lassen homophonic texture held church positions in Florence, Vienna and Innsbruck

Richard Wagner

own libretti leitmotives presented ideas in a series of essay The Artwork of the Future and Opera and Drama -saw himself as Beethoven's true successor -believed in absolute oneness of drama and music Gesamtkunstwerk (total or collective work) poetry, scenic design, staging, action and music work together to form Gesamtkunstwerk vision of new music and drama: music drama (didn't like that term) instead he called his works operas, dramas or festival stage plays core of drama = music Early Operas (before concept of Gesamtkunstwerk) several operas that drew directly on his predecessors The Flying Dutchman (Romantic opera tradition of Weber) The Ring Cycle Cycle of 4 dramas German national epic woven out of stories from medieval German epic poems and Nordic legends - linked by common characters and motives -largely about the value of lvoe and people willingness to abandon it for worldly ends "ring" refers to gold he stole gives wearer limitless power Wotan, ruler of gods tricks him out of it Alberich puts a curse on ring Leitmotive (leading motive) usually in orchestra at first appearance or mention of the subject and by its repetition during subsequent appearances or citations -musical label -may be varied, developed or transformed as plot develops Ring Cycle examples mention of the ring (E-C-A-F-sharp) when he curses it it's stated backwards -instead of regular meter and rhythm - poetry features vigorous, changing speech rhythms marked by Stabreim (alliteration) Later Operas Tristan und Isolde "Tristan chord" F-B-D-sharp-G-sharp resolves to A then A-sharp then B -chromatic harmonies, delayed resolutions inexpressible yearning Act I exemplifies Gesamtkuntswerk (scene on boat)

Renaissance antecedents of opera

pastoral drama, madrigal, intermdeio pastoral drama plays in verse, music and songs interspersed -pastoral poems, rustic settings -popular in Italian courts madrigal madrigals as miniature dramas -emotion, dramatizing text -madrigal comedy or madrigal cycle intermedio -musical interlude performed between acts of a play usually 6: before, between and after play's 5 acts -almost all the ingredients of opera

sampling

patching together digital chunks of previously recorded music raises copyright issues used extensively in many traditions

Aulos

pipe typically played in pairs each pipe had fingerholes and a mouthpiece fitted with a reed. No reeds survive but written descriptions suggest that they were long tubes with a beating tongue -used in the worship of Dionysus, god of fertility and wine -played with both hands in the same finger positions, leading scholars to believe the two pipes were played in unison with slight differences in pitch -modern reconstructions produce parallel octaves, fifths, or fourths, or a drone or separate line in one pipe against a melody in the other Pythian Games - awards won for solo aulos playing An amphora, a jar for wine or oil was awarded to prize winner

Hans von Bulow

played premiere of Liszt B minor sonata and Tchaik Concerto No. 1, and all Beethoven sonatas from memory -conducted premiere of Wagner's Tristan und Isolde -his wife deserted him for Wagner

Psalms

poems of praise from the Hebrew book of psalms Depending on the occasion, priests and sometimes worshipers ate some of the offering. Sacrifices were celebrated twice daily with additional services on festivals and the Sabbath. During the ritual, a choir of Levites sang psalms assigned to that day, accompanied by harp and psaltery. Trumpets and cymbals also used

Canticles

poetic passages from parts of the Bible other than the Book of Psalms

German Polyphonic Lied

popular song (German) or melody in tenor or cantus, free counterpoint in other voices innsbruck, ich muss dich lassen after 1550, Lied declined in importance Lassus: leading figure - composed 7 collections

pianoforte

popularity shadowed that of the harpsichord. Invented by Bartolomeo Cristofori (Florence) in 1700, used a mechanism in which the strings are struck by hammers that then drop away, allowing each string to reverberate as long as the corresponding key is held down. Allowed for dynamic change. grand piano shaped like a harpsichord relatively inexpensive used in public performance, aristocratic homes square pianos domestic instruments shape of a clavichord

Zarauela

predominant genre of musical theater in Spain light, mythological play in a pastoral setting that alternates between sung and spoken dialogue and various types of ensemble and solo song

John Dunstable

preeminent English composer in the first half of the 15th century -composed all polyphonic genres most important works are his three-part sacred pieces, settings of antiphons, hymns, Mass sections, and other liturgical or biblical texts Paraphrase - melody is given a rhythm and ornamented by adding notes around those of the chant Dunstable's style: no two measures have the same rhythm and melodies move mostly by step or steps mixed with thirds, sometimes outlining a triad. example: Quam pulchra es not based on existing melody

Music in the Enlightenment

preference for the "natural" related to central ideas of Enlightenment -rejected artifice and complexity, regarded as unatural preferred music: shift from contrapuntal complexity to vocally conceived melody, short phrases, spare accompaniment -should appeal to all tastes at once styles: galant, empfindsam, and classical styles Melody, Harmony, Texture, Form Periodicity - characteristic of new style - unlike Bach. Frequent resting points break the melodic flow into segments that relate to each other as parts of a larger whole Period - complete musical thought concluded by a cadence -Terminology is borrowed from rhetoric Koch's Anleitung zur Composition (Introductory Essay on Composition) -one of various treatises -Incises - joining short segments of a melody

Bellini

preferred dramas of passion with fast gripping action favorite librettist: Felice Romani style known for long, sweeping, highly embellished intensely emotional melodies most famous: cantabile section of Norma's cavatina (entrance aria), casta diva (chaste goddess) from Norma Norma subject: ancient Gaul after conquest of the Romans - reflected Romantic fascination with distant times and Italian yearnings for freedom from foreign domination

Meistersinger

preserved tradition of unaccompanied solo song (derived from minnesinger) -urban merchants and artisans, music as avocation -formed guilds; composed according to strict rules Best known: Hans Sachs

Delta blues

primarily from Mississippi delta and is associated with male African American singers and guitarists. More rooted in oral tradition resulting in greater flexibility of textual and musical form and harmonic choices

Music Printing 16th century

printed music had a wider dissemination - fostered music literacy -rise of the amateur -allowed composers to make money caused a rise of regional and national styles rise of instrumental music reformation

Rimsky-Korsakov

professor at St. Petersburg Conservatory studied with Balakirev and other private teachers professionalism -edited, completed, orchestrated works by Glinka, Musorgsky, Borodin and others -championed Russian music -wrote harmony text used in Russia and manual on orchestration 15 operas, several on Russian history, plays, epics or folk tales -in many, alternated diatonic modal style with chromatic "fantastic" style Sadko Tsar Saltan The Golden Cockerel key element of fantastic style: use of scales or pitch collections in which same sequence of intervals occurs several times so that there is more than one possible tonal center -became trademarks of Russian music programmatic orchestral works capriccio espagnol Sheherazade -4 movts each diff story woven together by themes of Sutan and his wife Sheherazade is the storyteller (solo violin) recurring themes - thematic unity akin to cyclic symphonies of Frank and Tchaik

Querelle des bouffons

quarrel of the comic actors in France pamphlet war, promted by Italian comic opera in Paris -critical opposition to old-fashioned subsidized French opera -French intellectuals took part in the quarrel Jean-Jacques Rousseau -argued merits of Italian opera -praised emphasis on melody, emotion through melody

Sarabande

quick, lascivious type of dance - song from Central America - accompanied by guitar and percussion. Brought from New World to Spain. In France it was turned into a slow, dignified dance in triple meter with an emphasis on the second beat

Quotation and Collage

quotation of existing music, including collage of multiple choices Peter Maxwell Davies -drew on chant, English Renaissance music Geroge Rochberg turned to quotation after his son's death Nach Bach (After Bach) for harpsichord "commentary" on Bach's keyboard Partita No. 6 Lukas Foss Baroque Variations -transforms music of Handel, Domenico Scarlatti, and Bach -added clusters George Crumb Black Angels: Dies irae and Schuber's Death of the Maiden Stockhausen -borrowed material in several works Hymnen -words and melodies of different national anthems -combines electronic sounds with voices and instruments Opus 1970 -written for Beethoven bicentary -recognizable fragments of Beethoven's works Berio's Sinfonia -incorporates most of scherzo of Mahler's Symphony No. 2 -quotations of over 100 other works

Musica ficta

raised or lowered notes by a semitone to avoid the tritone F-B in a melody, to make a smoother melodic line, to avoid sounding the augmented fourth or diminished fifth above the lowest note, to provide a "sweeter-sounding harmony" at cadences Double leading tone cadence -bottom voice moves down a whole tone and the upper voices move up a semitone, forming a major third and major sixth expanding to an open fifth and octave Phrygian cadence - bottom voice moves a semitone and upper voices move up a whole tone to form a fifth and octave over the cadential note

Modernists

reassessed inherited conventions as profoundly as the modernists in art who pioneered expressionism, cubism and abstract art. Carried out a radical break from the musical language of the past while maintaining strong links to tradition Composers: Schoenberg, Berg, Webern, Stravinsky

Postminimalism

reflect influence of minimalism includes traditional methods harmonic motion varied material renewed expressivity Reich Different Trains The Cave

Dieterich Buxtehude

renowned organist and composer of organ music influenced J.S. Bach and other composers trained by his father organist at St. Mary's Church in Lubeck (Germany) -famed for public concerts at St. Mary's Wachet auf -concertato chorale setting -series of chorale variations

Petruce de Cruce

rhythmic variety of Franconian motet extended one step further (Pierre de la Croix) his motet aucun ont trove/lonc trans/Annuntiantes tenor moves in longs, and the dumplum has no more than 3 semibreves per tempus as in Franco's system, but the triplum may have as many as 7 semibreves in a tempus, performed as equal subdivisions of the breve. To accommodate the smallest notes, the tempo must have been even slower than in a Franconian motet

Ricercare and Fugue

ricercare - serious compositions for organ and harpsichord in which one subject, theme is continuously developed in imitation fugue - used in early 17th century, especially in Germany, used for the technique of imitation itself, as the name of the genre of serious pieces that treat one theme in continuous imitation (strict in form)

Purpose of Liturgy

role of church: teach Christianity and to aid in saving souls, immortality of each person's soul: the Trinity of the Father, Son and Holy Spirit: Jesus' crucifixion, resurrection and ascension in to heaven; salvation and eternal heavenly life for those judged worthy; and damnation in hell for the rest reinforce these lessons for worshipers - making clear the path to salvation through the church's teachings

lyric opera

romantic opera comique founded at Theatre Lyrique lie somewhere between light opera comique and grand opera subject; Romantic drama or fantasy Famous lyric opera Faust by Charles Gounod first stage of Theatre Lyrique as oepra comique (with spoken dialogue) later arranged by composer in its familiar form with recitatives Another popular lyric opera Gounod's Romeo and Juliette Massenet's Manon Massenet and Gounod shaped their melodies around natural speech rhythms of French language

Catch

round or canon with a humorous, often ribald text. Sung unaccompanied (English music)

Plagal

same final as authentic bigger range - 4th below the final to a 5th or 6th above it Hypodorian (A to A) Hypophrygian (B to B) Phpolydian (C to C) Hypomyxolydian (D to D) reciting tone is a third below of the authentic one, except if it falls on B in which case you move to C B-flat is the only chromatic alteration which gave prominence to F

Tonoi

scale or set of pitches within a specific range or region of the voice involve transposing the system of tones up or down by some number of semitones Like harmoniai, tonoi were associated with character and mood, the higher tonoi being energetic and the lower sedate

Neo-Romanticism

search for expressive tools familiar tonal idiom of 19th century Romanticism incorporate sound and gestures of Romanticism Penderecki -made his reputation with pieces based on texture and process increasingly focused on melody; drew on past styles, genres mid 1970s neo-Romantic works Violin Concerto Paradise Lost, opera Polish Requiem, new synthesis of styles neo-Romanticism elemetns from Renaissance and Baroque styles signature styles from 1960s George Rochberg 1960sturned from serialism to quotation 1970s Romantic and early modernist styles String Quartet No. 5 first movement reminiscent of late Beethoven or Schubert 2nd movement: recalls early Bartok 3rd: Beethovenian scherzo, Mahlerian trio 4th: atonal serenate resembles Schoenberg, Berg 5th: late romantic style David Del Tredici early works are serial and atonal changed to neo-Romantic style setting excerpt of Lewis-Carroll's stories for children Final Alice -text from Alice's Adventures in Wonderland -scored for amplified soprano and orchestra tonal music: folklike episodes (Strauss) atonal music, Theremin, suggest strange occurrence

Modernism

search for place besides classics, innovation with emulation of the past -combine traits, different traditions, eras 19th century Romanticim, exoticism 20th century: impressionism, expressionism, neoclassicism, primitivism, serialism 2nd half of 20th century: minimalism, postmodernism, polystylism, neo-Romanticism

Seconda Practica

second practice repsonce by Monteverdi's brother, Giulio Cesare Monteverdi -voice leading rules may be broken, dissonance used more freely, music as servant of the words

Office

series of 8 services that since the early Middle Ages have been celebrated daily at specified times -most important are Matins, Lauds, and Vespers

Opera Seria

serious opera which treated serious subjects, without comic scenes or characters -standard form developed by librettist Metastasio -intended to promote morality thorugh entertainment and to present models of merciful and enlightened rulers -usually two pairs of lovers surrounded by otehr characters -rarely tragic ending - instead deed of heroism -3 acts, alternating recit and arias -few duets, larger ensembles, rare simple choruses The Aria still ABA, 2 stanza aria texts by Metastasio -abbreviated da capo -dal segno Orchestra just adds support to singers -embellishments were still common in the return of a Ex: Digli ch'io son fdedl from Cleofide by Hasse (Tell him that I am faithful)

Thomas Tallis

served Chapel Royal for forty years under Henry VIII to Elizabeth I -remained Catholic -composer Latin masses and hymns, English service music

Polyphonic chorale settings

served two purposes a. group singing in homes and schools b. performance in church by choirs early published collections aimed toward young people -same settings as church Lied technique unaltered chorale tune in tenor 3 or more free-flowing parts Used by Johann Walter, Luther's collaborator chorale motets techniques from Franco-Flemish motet chorale as cantus firmus in long notes surrounded by free or imitative polyphony cantional style: chordal homophony a. tune in highest voice, accompanied by block chords b. after 1600 accompaniment played by organ, congregation sang melody

Concerto grosso

set a small ensemble (concertino) of solo instruments against a large ensemble (concerto grosso) Tutti - all Ripieno - full Ex: Corelli's Concerti Grossi Op. 6 Fast movement - modeled after A section of da capo (Torelli) -2 extended passages for soloist, framed by a ritornello that appears at the beginning and end of the movement and recurs, in abbreviated form and in a different key, between the two solo passages -solos present new material and exploit virtuosity of soloist, modulate and provide contrast and variety Albononi and Vivaldi established this in to 3 movements

Rule of St. Benedict

set of instructions on running a monastery - followed by monasteries and convents

Variations or partite

set of variations on borrowed or newly composed themes in keyboard and lute music common variation techniques: cantus-firmus variations melody embellished, harmonies remain unchanged bass or harmonic progression held constant Cantus-firmus variation - melody repeats with little change but is surrounded by different contrapuntal material in each variation Chaconne and passacaglia variations over a ground bass -traditional or newly composed -4 measures, triple meter, slow tempo -written by Frescobaldi

In Nomines

setting of existing melodies over 200 pieces for consort or keyboard titled In Nomie tradition derived from the Sanctus of John Taverner's Missa Gloria tibi trinitas

Lyres (Ancient Greece)

seven strings and were strummed with a plectrum, or pick there were several forms, most characteristic of which used as a soundbox a tortoise shell over which oxhide was stretched Player held the lyre in front, resting the instrument on the hip and supporting it by a strap around the left wrist. Right hand strummed with the plectrum while fingers of LH touched the strings -Associated with Apollo, God of light, prophecy, learning and the arts, especially music and poetry -learning to play the lyre was a core element of education in Athens (played by both men and women) -used to accompnay dancing, singing or recitation of epic poetry like Homer's Iliad and Odyssey; music for weddings; play for recreation

Earliest Babylonian Tuning (Ancient Greek tuning)

seven-note diatonic scales they recognized seven scales of this type, corresponding to the seven diatonic scales playable on the white keys of the piano. These scales have parallels in the ancient Greek musical system as well as in our own, suggesting that Babylonian theory and practice influenced that of Greece, directly or indirectly, and thus European music

Orchestral concerto

several movements that emphasized the violin and bass, distinguishing the concerto from the more contrapuntal texture of the sonata

Binary forms

simple binary, balanced binary, rounded binary simple binary -two sections, roughly equal length, each repeated -first section moves from tonic to dominant or relative major -second section returns to the tonic -originated as dance form balanced binary -emphasis of arrival on dominant and return to tonic -new material in dominant first section -material repeated in tonic end of second section rounded binary -highlights return to tonic in section section -double return: opening key, opening material -form for minuets

Early Organum

simplest type -singing or playing a memlody against a drone -drones typically sustain the modal final, sometimes joined by the fifth above. For listeners, drones grounded the melody in its tonal center and heighten the sense of closure when the melody cadences on the final Organum - term used in treatises to describe two or more voices singing different notes in agreeable combinations according to given rules Parallel organum - voices moving in fifths Principal voice - original chant melody Organal voice - moving in exact parallel motion a fifth below Fourths were acceptable but the tritone had to be avoided - this was done by having one voice remain on one note while they could proceed in parallel fourths Mixed parallel and oblique organum - early form of organum that combines parallel motion with oblique motion (in which the organal voice remains on the same note while the principal voice moves) to avoid tritones The styles of organum in Musica enchiriadis were ways for singers to adorn chant in performance based on strict rules for deriving added voices from the chant. Arezzo also described organum in Micrologus Largest source: Winchester Troper - manuscript of tropes and other liturgical music which contains 174 organa. Only the organal voices are notated

Clarinet

single reed, invented ca. 1710, made of wood, one or more keys aid in fingering group of wind players, regular features of French courts -amateurs tended not to play wind instruments

Buccina

smaller version of the cornu (circular horn) music was par of most public ceremonies and was featured in private entertainment and education

19th century Orchestra`

some amateur orchestras, other professional grew from 45 to 90 flutes, oboes, bassoons - elaborate system of keys by midcentury - easier to finger quickly and play in tune wind instruments - extended ranges (notably piccolo) English horn, bass clarinet and contrabassoon occasionally used Valves added to horns and trumpets = wider range of color combinations new fully chromatic pedal harp often played by woman Conductors Louis Spohr is said to have introduced conducting with baton in orchestra rehearssing London Phil

Domenico Scarlatti

son of Alessandro Scarlatti spent all life in Spanish court did not compose in galant style - does not emphasize melodies in short phrases -original and creative keyboard composer -composed 555 sonatas -Essercizi (Exercises) 30 harpsichord sonatas -standard index numbers by Kirkpatrick -sonatas paired: same key, contrast in tempo, meter or mood -typically in balanced binary form Ex: Sonata in D major, K. 119 -diversity of figuration -evocations of Spanish music

14th century madrigal

song for 2 or 3 voices from the 14th century without instrumental accompaniment all the voices sing the same text topic: pastoral, satirical or love poem consist of two or more three-line stanzas, each set with the same music, followed by closing pair called ritornello set to different music with a different meter Example: Jacopo de Bologna's madrigal Non al suo amante setting a poem by the great Italian lyric poet Francesco Petrarca

Aquitanian Polyphony

style of polyphony developed in France from the 12th century encompassing both discant and florid organum -more ornate polyphony -main sources were 3 manuscripts once held in the Abbey of St. Martial at Limoges in the duchy of Aquitaine and copied in Aquitanian notation Polyphonic versus Aquitanian polyphony includes settings of chant, such as sequences, Benedicamus Domino melodies and solo portions of responsorial chants. Most the repertory comprises settings of versus, rhyming, scanning, accentual Latin poems, which were also set monophonically Discant - when both parts move at about the same rate Tenor- lower voice which holds the principal melody Score notation - type of notation in which the different voices or parts are aligned vertically to show how they are coordinated with each other Jubliemus, exultemus

Tchaikovsky

sought to reconcile nationalist and internationalist tendencies in Russian music drew on Beethoven, Schubert, Schumann as well as Russian folk and popular music wrote great deal of music for the stage 2 most important operas based on novels by Pushkin Eugene Onegin -notable for penetrating passions of its characters and for way numerous themes are generated from a germ motive first announced in orchestral prelude -includes folklike music for peasant chorus -main characters sing in style modeled on domestic music - making of that class of Russian society Ballets Swan Lake Sleeping Beauty The Nutcracker each full length ballet in 2 or more acts together they establish Tchaik as most important composer in history of ballet -hummable melodies perfectly suited to fairy-tale atmosphere collaborations with choreographers: Petipa and Ivanov set high standard Tchaikovsky Piano Concerto No. 1 premiered in Boston - (pianist: Hans von Bulow) 3th Symphony private program - horn call from intro symbolizes inexorable fate novel: key scheme of 1st mvt - circle of minor thirds (common in Russian music - ultimately derived from music of Liszt and Schubert) 6th Symphony (Pathetique) private program tchaik never specified ends with despairing slow movement Tchaikovsky died unexpectedly 9 days after premiere -some interpret piece as biography Tchaik symphonies not always immediately successful

Partsong

staple of smaller mixed, men's and women's choirs choral parallel to lieder or parlor song scored for 2 or more voice parts song unaccompanied or simply doubled on piano or organ

Reformation

started with Martin Luther (theological dispute) and 3 main branches: Lutheran: northern Germany/Scandinavia Calvinist: led by Jean Calvin- Switzerland and Low Countries Church of England (Henry VIII)

galant style

stil galant French term from the enlightenment for courtly manner: modern, sophisticated -freer more songlike, homophonic -emphasized short breathed melody -phrases combined into larger units -light accompaniment, simple harmony, frequent cadences -originated in Italian operas and concertos

The Mighty Five

stood against professionalism of conservatories Balakirev Borodin Cui Rimsky-Korsakov Musorgsky sought fresh approach in their own music -incorporated aspects of Russian folk song, modal and exotic scales and folk polyphony but also extended traits from Western European composers they admired

Humanism

studia humanitatis strongest intellectual movement of the Renaissance study of the humanities, things pertaining to human knowledge sought to revive ancient learning, emphasizing the study of grammar, rhetoric, poetry, history and moral philosophy and centering on classical Latin and Greek writings Gradually, humanistic studies replaced Scholasticism Influence on music: influenced composers to apply ideas from rhetoric in their music

Philip Glass

studied at Juilliard, Nadia Boulanger worked with Indian sitarist, Ravi Shankar -influenced by rhythm organization of Indian music style emphasized melodiousness consonance, simple harmonic progressions amplification of rock music initially wrote for his own ensemble Einstein on the Beach - one act, four and a half hour opera -no sung text other than solfege syllables orchestra: electronic keyboard instruments, woodwinds, solo violinist

Olivier Messiaen

studied at Paris Conservatory composed many pieces on religious subjects Quartet for the End of Time Saint Francis of Assisi rather than developing themes, he juxtaposes static ideas (Debussy and Stravinsky) The Technique of my Musical Language -allowed him to write meditative music Modes of limited transposition - collection of notes, like the whole tone and octatonic scales that do not change when transposed by certain intervals -do not create a strong desire for resolution and are thus well-suited for meditative music Harmony avoids moving forward to a resolution, rather chord series are simply repeated to create a sense of stasis or meditation -rhythm is treated as matter of duration, not meter -added values - emphasize duration over meter, such as the dotted eighth note amid even eighths or the lone sixteenth note nonretrogradable rhythms - same forwards and backwards Ex: Quartet for the End of Time

Heinrich Schutz

studied with Gabrieli, Monteverdi and brought back their approach to Germany -new style to German music Early Sacred works Psalmen Davids (Psalms of David) -sensitive treatement of German texts, magnificence of large-scale Venetial concerto -2 or more choruses Symphoniae sacred -concerted Latin motets: combined recitative, aria, concerted madrigal styles Kleine geistliche Konzerte -Small sacred concertos in German -2 or more choirs, vocal soloists, instrumental ensembles, one or more organs playing continuo Ex: Saul - large scale concerto -two choirs doubled by instruments, 6 solo voices, two violins and continuo -polychoral style of Gabrieli, dissonance of Monteverdi

C.P.E. Bach

studied with father J.S. Bach served at court of Frederick the Great in Berlin -director of 5 principal churches in Hamburg -keyboard works -Essay on the True Art of Playing Keyboard Instruments -established 3 movement pattern -demonstrated possibility of expressive keyboard music Six Clavier Sonatas for Connoisseurs and Amateurs -multiplicity of rhythmic patterns -descending lines, appoggiaturas suggest sighs, melancholy mood -sudden dynamic changes, unexpected harmonic shifts

Concertato Style

style in the baroque that combines voices with instruments concerted madrigal: one or more voices and continuo sacred concerto: sacred vocal work with instruments -use of diverse timbres in combination

Blues

style of jazz origin is obscure, African-American vocal genre that is based on a simple repetitive formula and characterized by a distinctive style of performance usually speak on disappointments -freely syncopated rhythms and distinctive vocal or instrumental effects (slide, rasp, growl) Blue notes - flatted or bent notes on the third, fifth, and 7th scale degrees Classic blues performed primarily by African-American women singers typically accompanied by a piano or small combo Delta blues: primarily from Mississippi delta and is associated with male African American singers and guitarists. More rooted in oral tradition resulting in greater flexibility of textual and musical form and harmonic choices

Ars Sublitor

style of polyphony from the late 14th century or very early 15th century in southern France and northern Italy, distinguished by extreme complexity in rhythm and notation -coined by Ursual Gunther -intended for professional performers and cultivated listeners Phillipe de Casera: En remirant vo douce pourtraiture, ballade

Rock and Roll

style that blended black and white traditions of popular music. Coined by Aland Freed - DJ in Cleveland -combined the unrelenting beat of rhythm and blues with the milder guitar background of country music and drew on numerous elements in both traditions, from rhythm to timbre -instrumentation was amplified or electric guitars for both rhythm and melody, back by electric bass and drums and sometimes augmented by other instruments -drew on Tin Pan Alley forms -first megastar: Elvis -1960- simply called Rock

Ragtime

style that featured syncopated or "ragged" rhythm against a regular, marchlike bass -mostly remembered today as piano music cakewalks - couples dance derived from slave dances and marked by strutting and acrobatic movements Rags - instrumental work in ragtime style, usually in the form of a march Leading composer: Scott Joplin ex: Maple Leaf Rag

Verdi

supported/identified with Italian Risorgimento (italian unification) -camouflaged patriotic messages in historical dramas "Viva Verdi" nationalist cry Opera works of the theater, vivid characterization, sharp contrast, fluid and concise dramatic and musical structure prime reason for popularity: ability to capture character, feeling and situation in memorable melodies simple forms: AABA - easy to follow Librettos -usually chose subjects himself preferred stores that had succeeded as spoken dramas -focused on tragic pots (stayed away from comedy as his first comic opera had failed) Method always wrote with singers in mind -demanded singers remain subordinate to the composer (unlike bel canto era) Nabucco - 1st great success turned from historical subjects to dramas centered on interpersonal conflict Ex: Rigoletto hunchback court jester at odds with the courtiers around him sings declamatory arioso style and lacks real aria Employer Duke of Mantua is shown in tuneful arias that stick to predictable forms Ex: La donna e mobile -his claim women are fickle rings truer about himself -irresistible carefree waltz rhythm Act III 4 characters sing each on a different style to convey own personality and mood next operas Il trovatore La traviata La traviata - replaced overture with briefer prelude that sets the scene and introduces important themes to come -one of first tragic operas to be set in the present rather than in historical past -linked to contemporary trend of realism in lit and art -scene of final Act follows structure of Rossini for duets (no embellishment allowed) scena tempo d'attaco slow cantabile tempo di mezzo fast cabaletta -later operas more continuous, harmonies more daring important influence: French Grand Opera and Meyerbeer Aida has all traits of mature style -commissioned for Cairo opera - Egyptian subject - exotic color and spectacle only 2 operas after Aida -Otello -Fallstaff - comedy

English Song

surviving poems in Middle English from narrative ballads to secular and religious lyrics

Solmization

system of sight singing introduced by Arezzo which corresponds to the pattern of tones and semitones in the succession (C-D-E-F-G-A) ut-re-mi-fa-sol-la used to help identify the half steps in chant (which only included mi-fa

Redifining the Motet

term coined in 13th century for pieces that added text to the upper part of a discant clausula, gruadually broadened n meaning to encompass any work with texted upper voices above a cantus firmus, whether sacred or secular -by early 15h century, the isorhythmic motet was an old form used only for most elevated occasions -the term came to designate almost any polyphonic composition on a Latin text

Pop Music

term coined in 1950s for music that reflected the tastes and styles popular with teens and young adult market Charts - tracks popular songs in various categories

Monody

term used by modern historians to embrace all the styles of accompanied solo singing practiced in the late 16th/ early 17th centuies Caccini's Le nuove musiche ex: Vedro 'l mio sol, madrigal

Office Antiphons

the mode of the antiphon determines the modes of the psalm tone Cantor -leader of the choir, sings the opening words of the antiphon to set pitch and the full choir completes the antiphon Mass for Christmas Introit, Kyrie, Gloria, Gradual, Alleluia, Credo, Offertory, Sanctus, Communion, Ite, missa est Chants from Vespers for Christmas Day -First Psalm with antiphon: tecum principium and psalm Dixit Dominus Hymn - Christe Redemptro omnium

St. Basil

theologian, bishop of Caesarea (modern-day Turkey) and a strong advocate of communal monasticism. He extolled psalm-singing as a method that used the pleasure of music to convey a religious message and a sense of community

Fugue

they were written as solo works or sections within preludes and toccatas the term was for pieces in imitative counterpoint - it replaced the ricercare, fantasia and capriccio Exposition - first entrance of the subject beings on the tonic note Answer - second entrance, normally on the dominant Episodes - period of free counterpoint between statement of the subject

Church of England

third major branch of Protestanism Catholic under Henry VIII Edward VI adopted Protestant doctrines: Book of Common Prayer English replaced Latin in the service Mary restored Catholicism Elizabeth I bought back reforms made by Edward Anglican church: blend of Catholic and Protestant elements leading composers of English music: John Taverner (sacred music) Thomas Tallis Two forms of Anglican music developed: 1.Service - consists of music for certain portions of Matins, Holy Communion and Evensong 3. Anthem - corresponds to Latin motet

Popular Songs

this type of song sought to entertain, accomodate amaterus, sell lots of sheet music topics: love, heartbreak, birth, death, racialist ethnic satire, baseball form: refrain with 4 or 8 measure intro for piano; 8, 6, or 32 measure verse; and a refrain of similar size Art songs - precisely notated parts, through composed meant to engage listeners on a high artistic plane and required high professional standards of both pianist and singer

Christian Parallels

those between temple rites and Christian Mass symbolic sacrifice - taking of the body and blood of Christ via bread and wine

Church Music

took over musical idioms and genres of opera - orchestral accompaniment, da capo arias, and accompanied recits Lutheran church - congregational hymns composed in or adapted to the new galant style. Oratorios were popular In England Handel's influence supported baroque writing Americas- William Billings (New England Psalm-singer) - book of psalms and hymn settings. Ex: Pergolesi's Stabat mater (The Mother was standing) -setting of medieval Marian poem -exuberant melody and dramatic scene-painting -12 solos and duets for soprano and voices

tragedie en music

tragedy in music, french form later named tragedie lyrique created by Lully librettist, Philippe Quinnault - 5 act dramas -combined ancient mythology, chivalric tales -frequent divertissements (diversions): dancing and choral singing interludes -text overly and covertly propangandistic -divertissements at center of every act -tonal - new system of major and minor keys, no more modes

(Classical Romanticism) Mendelssohn

trained in classical genres mature symphonies follow classic models departures show impact of Romanticism Symphony No. 5 (Reformation) last movt based on Luther's chorale Ein feste burg Symphony No. 2 (Song of praise) adds solo voices, chorus and organ (Beethoven influence symphony No. 9) most frequently performed Italian (No. 4) - celebrated sunny and vibrant south Scottish (No. 3) -these preserve impressions he gained of sounds and landscapes on trips to Italy and British Isles Overtures genius for musical landscapes Fingals Cave -scottish topic Midsummer Night's Dream Overture inspired by Shakespear structur - sonata form without repeats light, bustling string texture Piano Concertos virtuosos pianist 4 concertos for his own performances emphasized musical content sought to achieve same balance of audience appeal and lasting value that was praised in Mozart and Beethoven concertos Violin Concertos E minor 3 mvts without pause linked by thematic content and connecting passages contrasts of virtuosity with lyric expression and of solo with orchestra to delineate the form, create variety and convey deep feelings

Gradus ad Parnassum

treatise by Johann Joseph Fux that codified stile antico

punk

trend, voicing teenage alienation hard-driving style, raw, unskilled sounds Sex Pistols, edgy fashions, preached nihilism new wave nihilism of punk, skilled musicians wider commercial success: Blondie, Talking Heads

Strauss Operas

turned to opera after establishing himself with symphonic poems Wagner and Mozart his main models contrasting styles: character's personalities, emotions, dramatic situation -used leitmotives Salome libretto: one act play by Oscar Wilde, decadent version of biblical story conclusion: -high level of dissonance, drama chromatic trill embellishes one note of chord -recitative-like declamation -verges on atonality or polytonality, resolves through familiar tonal progression -inspired later composers to abandon tonality Der Rosenkavalier (The Cavalier of the Role) 18th century Vienna: sunnier world. elegant, stylized eroticism -deceptively simple diatonic music -harmonic twists, unpredictable melodies Ariadne auf Naxox characters from Greek tragedy Mozartean music with Romantic effusions freely mixes from different eras last works Metamorphosen for string orchestra lament on WWII disasters theme from Funeral March of Beethoven's Eroica

Film Music

two categories of music in film that have continued to the present form 1927 music that is heard or performed by the characters themselves: diegetic music or source music background music that conveys to the viewer a good or other aspects of a scene or character, known as nondiegetic music or underscoring movie musicals "golden age" of Hollywood musical composers: Gershwin, Berlin, Kern, Porter choreography by Busby Berkely made Bing Crosby, Astaire, Rogers international stars -offered escape from Great depression

Lyres and Harps

two kinds of plucked string instruments archaeologists found in tombs at Ur, Sumerian city on the Euphrates Lyre - strings run parallel to the resonating soundboard and attach to a crossbar supported by two arms Harp - strings are perpendicular to the soundboard, and the neck that supports them is attached directly to the soundbox

Soviet Union (Between the Wars)

two organizations founded 1. Association for Contemporary music: sought to continue the modernist trends established by Scriabin and others before the way and promoted contacts with the West, sponsoring performances by Stravinsky, Schoenberg and Hindemith 2. Russian Association of Proletarian Musicians: encouraged simple tonal music with wide appeal, especially "mass songs" (songs for groups) with socialist texts also a union of Soviet Composers Socialist Realism - a doctrine of the Soviet Union - all arts were required to use a realistic approach that portrayed socialism in positive light -meant use of simple, accessible language, centered on a melody and a patriotic subject matter

Gregorian chant

type of chant brought about by the codification of liturgy and music under Roman leaders, helped by the Frankish kings Schola Cantorum (School of Singers) was the choir which sang when the pope officiated at observances Charlemagne was crowned emperor in Rome around 800 which later became the Holy Roman Empire. He helped spread Christianity Pope Gregory I - books attribute the development of repertory of chant to him -Legend says that the chants were dictated to him by the Holy Spirit in the form of a dove. These chants spread throughout the empire and became the common music for a more unified church

Byzantine Chant

type of chant that used psalms and hymns melodies were classed into 8 modes or echoi which served as the mode for the eight modes of the Western Church most characteristic - hymns

solo concerto

type of concerto one or more soloists and full orchestra (tutti or ripieno)

orchestral concerto

type of concerto several movements, emphasized first violin and bass

concerto grosso

type of concerto small ensemble (concertino) against large ensemble (concerto grosso) -favored by Roman composers Correlli's Concerti grossi, Op, 6 essentially trio sonatas, larger group punctuates structure through doubling

Country Music

type of music associated with white southerners type of popular music with folk music roots that began between the wars, spread through radio shows and recordings, and grew in popularity after WWII -a blend of many sources: hillcountry music of the southeast, based on traditional Anglo-American ballads and fiddle tunes; western cowboy songs and styles popularized by Gene Autry and other movie cowboys Our styles grew out of it: western swing, honky-tonk and bluegrass Hank Williams and Johnny Cash Nashville became the center of country music - Grand Ol'Opry

Chamber sonatas

type of sonata that begins with a prelude, two or three dances may follow as in a French suite -Dance movements are almost always in binary form -bass is accompaniment Solo sonatas -divided as church or chamber -in Allegro movements - violin employs double/trple stops Movements are thematically independent from each other and tend to be based on a single subject (Doctrine of Affections)

Trio Sonatas

type of sonata that emphasized lyricism over virtuosity Ex: Corelli's Trio Sonata in D -walking bass - steadily moving pattern of 8th notes under a descending sequence in the bass; and a dialogue between the violins as they leapfrog over each other to progressively higher peaks Most are four movements (church sonatas) -often in pairs: slow fast slow fast 1. contrapuntal texture, majestic, solemn character 2. Allegro - fugal imitation, full participation of bass 3. Slow - resembles lyric, operatic duet in triple meter 4. Last - dancelike rhythms and often in binary form

continuo instruments

typically harpsichord, organ, lute or theorbo

notes inegalees

unequal notes alternating longer notes on beat and shorter offbeats (Lully)

Tetrachord and genus

unique to Greek system tetrachord - "four strings" comprised four notes spanning a perfect fourth There were 3 genera (glasses) of tetrachord: diatonic, chromatic, and enharmonic -outer notes of the tetrachord considered stationary in pitch Inner two notes could move to form different intervals within the tetrachord and create different genera Diatonic - 2 whole tones and a semitone Chromatic - tone and a half (minor third) and the other semitones Enharmonic - top interval the size of two tones (major third) and the lower ones approximately quarter tones all these intervals could vary slightly in size, creating "shades" within each genus Aristoxenus remarked that the diatonic genus as the oldest and most natural, chromatic most recent and enharmonic most refined and difficult to hear.

Music for silent film

until late 1920s, films accompanied by live music role of music -covered noise of projector provided continuity evoked moods accompanist pianist or organist, improvised, played excerpts from memory larger theaters, small to medium-sized orchestras; arranged or composed music film music influenced by opera 1909 cue sheets showed sequence of scenes, events, suggest appropriate music

Heightened or diastematic neumes

used by scribes to place neumes at varying heights above the text to indicate the relative size as well as direction of intervals Lines, clefs and staffs

Italian Oratorio

useful tool for church to spread message in Italy -high minded alternative to opera -not as carefully preserved

The Italian Style

variety of melodic styles: lyrical, arpeggiations, virtuoso passages emphasis on soloists: vocal and instrumental arias and solo sonatas: virtuosity of individual concertos: contrast between individual and collective voices tonality organizing force: tonic established, departure, reture

musical theater

vaudeville brought variety shows out of saloons and into musical halls that respectable women could attend invented by NY theater impresario Tony Pastor -major form of theatrical entertainment until talking movies

Bela Bartok

virtuoso pianist, piano teacher, ethnomusicologist born in Austro-Hungarian empire synthesized elements of Hungarian, Romanian, Slovak, and Bulgarian peasant music with elements of the German and French classical tradition collected and studied peasant music along with Kodaly Bluebeard's Caste -combines Hungarian folk elements with influences from Debussy's Pelleas Piano works were treated more percussively Mikrokosmos 153 piano pieces in 6 books of graded difficulty Bartok's Synthesis in synthesizing peasant and classical music -pieces typically have a single pitch center -use diatonic and other scales -feature melodies built from motives that are repeated and varied -retained formal procedures such as fugue and sonata form -used rhythmic complexity and irregular meter from peasant music Music for Strings, Percussion and Celesta -neotonal Melodies over drones - an example of peasant influence

Quilisma

wavy line in ascending figures may have indicated a vocal ornament only accidentals used are flat and natural signs - only valid until the beginning of the next word a dot doubles the value of a note horizontal dash indicates a slight lengthening vertical lines of varied lengths show the division of a melody into sections (double barline) periods (full barline) phrases (half barline) smaller units (stroke through the uppermost staff-line) Asterisk in text shows where the chorus take over from the soloist

cuneiform

wedge-shaped writing on flat clay tablets -one of the first known forms of writing developed by the Sumerians in Mesopotamia -adopted by later civilizations, including the Akkadians and Babylonians -many tablets have been deciphered and some mention music

Minstrelsy

white performers blacked their faces with burnt cork and impersonated African Americans in jokes, skits and dances -grew from the solo comic performances of Daddy Rice as Jim Crow, a native plantation slave and of George Washington Dixon as Zip Coon, a boastful black urban dandy -not direct imitations of African-American music but did borrow elements characteristic of African and African-American traditions, from the banjo (folk instrument) to call-and response, which a lead singer alternates with a chorus or with instruments -call/response

Peter Schickele and P.D.Q. Bach

wittiest and most popular composer to use stylistic allusion works mostly tonal, draw upon variety of styles best=known for music created under guise of PDQ Bach supposed youngest, least talented son of J.S. Bach spoofed classical traditions, performers, musicologists Iphigenia in Brooklyn, cantata -bizarre instruments parody early music instruments "Howdy" Symphony by PDQ Bach response to Haydn's Farewell Symphony styles range from Classical to vaudeville

Catholic music 19th century

women normally excluded instead of amateur choirs for service, normally employed clerics and choir boys Schubert's Masses in A-flat and E-flat are exemplary settings of the Ordinary Elaborate works like Rossini's stabat mater brought up to date - operatic styles in church 2nd quarter - renewed interest in music of the past a cappella - denotes old contrapuntal style known as stile antico but in 19th century came to mean "unaccompanied" Protestant churches Lutheran composers produced flood of new music for services and home devotions that often used Bach as a model new works: anthems of Samuel Sebastian Wesley Woman began to sing in church choirs Reform Judaism adopted practices from Protestatism singing congregational hymns influential composer: Salomon Sulzer -updated traditional chants and wrote service music in modern styles for soloist and for choir Russian Orthodox Music Dmitri Bortnyansky - developed new style of Russian church music. Inspired by modal chants of Orthodox liturgy, used free rhythm and unaccompanied voices in single or double choruses with octave doublings in a rich and solemn texture shape note-singing - shape of noteheads indicates solmization syllables, allowing for easy sight-reading parts

Alfred Schnittke

worked in Soviet Union known as film composer moved to Germany Symphony No. 1 passages from works by numerous classical composers contrast of styles and historical period Concerto Grosso No. 1, 2nd mvt 18th century with modern, atonal, and popular styles evokes Vivaldi concertos, galant style, twelve tone music, hymnlike popular style

Charles Ives

worked in obscurity for most of his career, late recognition born in Danbury Connecticut Studied with Horatio Parker at Yale Built and insurance business Synthesized international and regional musical traditions Fluent composers in American vernacular music -grew up with parlor songs and minstrels Protestant church music -heard hymns in church and revival meetings - played them as organist European classical music -taught and performed the classics Experimental music -typical approach was to preserve most of the traditional rules but change others to see what would happen Polytonal - Melody in one key and accompaniment in another The Unanswered Question experimental flute and trumpet are atonal first to combine tonal and atonal layers in the same piece Synthesis Second Symphony -themes from American popular songs and hymns -borrowed transitional work from Bach, Brahms and Wagner 3rd Symphony, Four Violin Sonatas, First Piano Sonata -all feature movements based on American hymn tunes -cumulative form - used by Ives in which the principal theme appears in its entirely only at the end of the work, preceded by its development Later pieces were programmatic Three Places in New England Concord Sonata Collage - multiple tunes, layered on top of each other in a musical collage or woven together like a patchwork quilt to invoke the way experiences are recalled in memory General Booth Enters into Heaven -art song with musical content drawn primarily from American vernacular music, church music and experimental music

Schubert Piano Music

works for amateur market models for short lyrical pieces that create distinctive mood: six Moment Musicaux (musical moments) + 8 Impromptus larger works for piano Wanderer Fantasy -4 movements without breaks -interest in harmonic relationships of a third: first to use such a complete circle o major thirds around the octave In Sonatas - Schubert wrestled with contradictions between his song-inspired style and demands of the sonatas with its multiple mvts and extended forms -melodies do not normally lend themselves to motivic development, instead they recur in different environments that suggest new meaning Schubert sontatas - form often use 3 keys in expo rather than 2 tonic, mediant, dominant -numerous works for piano duet: Fantasy in F minor

Scriptoria

writing workshops in the monastery monks preserved the Roman liturgy and repertory of Gregorian chant in manuscripts laboriously written and copied by hand Scriptorium also refers to the entire group of monks who were engaged in producing a manuscript

Haydn Symphonies

written before 1782 serve most often as concert or theatrical curtain raisers -earlier symphonies followed older Italian model of 3 movement, later ones have standard 4 Later symphonies like Haffner and Linz: -Greater demands on performers -harmonic and contrapuntal complexity -final movements are climactic rather than light Other late symphonies include: -Prague -3 symphonies in E-flat major -Jupiter Many are written wtih slow introductions -create suspense Symphony in G minor, opens piano - rarely done before Finales -Exciting Jupiter -combines sonata form and symphonic style with learned counterpoint and fugue -opens with 2 contrasting motives -coda weaves all thematic motives but one into a five-voice fugue -Mozart achieves contrapuntal climax with stunning integration of galant style and rhetoric of his own age with the fugal style of the early 18th century