1301 sept 29 2015 course powerpoint

7/23/2019 1301 Sept 29 2015 Course Powerpoint

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September 29 2015

Wrap up of musical form

Middle Ages and Renaissance music

The Baroque Era, part 1


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Rondo Form: A refrain (A) alternates with

rhythmically and thematically contrasting music.

ABACA or ABACABA (palindrome)

Usually two contrasting sections in rondo (B) and (C)

Audio: Jean Joseph Mouret Rondeau de Suite de

symphonie (1729). (Introduction to Listening CD included

with your textbook, track 25.

Figure 3.17 The chateau of Chambord, France


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Identifying Musical Texture Mussorgsky, "Great Gate of Kiev" fromPictures at an Exhibition (A

section)

Without using the terms homophonic, polyphonic or monophonic,

how would you describe the texture of this excerpt? (e.g.,synchronized, unified, drawing attention to the melody)

Does each orchestral section have a uniquely characteristic line or areall the lines moving at generally the same pace?

Is our attention focused on one melody or a variety of melodies heard

at the same time?

Promenade theme fromPictures at an Exhibition

Describe the alternating textures in this example

Does the bass line double the melody or are its pitches different?Listen carefully.

Does the bass line share the same rhythm as the melody or is itsubstantially different?

What makes the homophonic passages of this excerpt homophonic

rather than polyphonic?


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Style: The distinctive sound created by a

composer and artist, or a performing group, asexpressed through the elements of music

Each period in the history of Western classicalmusic has a distinct musical style

Musical styles dont change overnight theyevolve and overlap

See Checklist of Musical Styles by Period,

pgs: 53-57 in text (7th edition)

Middle Ages 476-1450 Romantic 1820-1900

Renaissance 1450-1600 Impressionist 1880-1920

Baroque 1600-1750 Modern 1900-1985

Classical 1750-1820 Postmodern 1945-presnet

Musical Styles


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Medieval Music, 476-1450


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The Middle Ages (476-1450)

The Middle Ages was the time between the fall

of Rome and the Age of Discovery

The Roman Catholic Church was the dominant

spiritual and administrative force in Medieval

Europe

The Church and the court vied for political

control

Profound spirituality


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Music in the Cathedral

1150-1350: The Age of Cathedrals

Started in northern France

Large, urban cathedrals that served as houses of worship

and municipal civic centers

Built in the Gothic style

Figure 5.3 The cathedral of Notre Dame of

Paris, begun c. 1160


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Music at the Court

1150-1400: The court emerged as center for patronageof the arts

Popular song and dance

Women were able to participate in court entertainment


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Medieval Musical Instruments

Pipe organ: principal instrument of the monastery and

cathedral

Was the only instrument admitted by church authorities

More variety of instruments at court

Haut: Loud instruments; often used for dance music

Sackbut, shawm, cornetto Bas: Soft instruments

Flute (recorder), fiddle (vielle), harp, lute

Vielle: Distant ancestor of the modern violin


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Medieval Musical Instruments

Left to right: cornetto, sackbut, organ, harp et vielle

Figure 5.8 Hans Memling (c. 14301491),musical angels painted for the walls of a

hospital in Bruges, Belgium.


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Chapter Six: Renaissance Music, 1450-1600


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Renaissance Music

Intellectual and artistic flowering that began in Italy,

then to France and England

Inspiration from ancient Greece and Rome

Musicians turned to the Greek philosophers,

dramatists, and music theorists as no actual music

survived from this time Emphasis on the enormous expressive power of music

New alliance between text and music, with the

accompanying music underscored and enhanced the

meaning of the text

Greater range of emotional expression


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Humanism Emphasis on personal achievement, intellectual

independence, discovery

Culture rejoiced in the human form in all its fullness

MichelangelosDavid

New genre of paintingtheportrait

Depicted worldly individuals enjoying the good life

The Humanities: The study of the arts, letters, and

historical events than have enriched the human spirit

over the centuries

Figure 6.4 Leonardo da Vincis portrait of Cecilia Gallerani, called The Lady with the Ermine

(1496).


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Popular Music in the Renaissance

1460: Johann Gutenberg invented the printing press

1501: First printed book of music in Venice byOttaviano Petrucci

3-step printing method: words, staff lines, and notes

Encouraged amateur music making (music was now

available to a mass market) and the printing of largecollections of music: songs, dance music, etc.

1529: Parisian music printer Pierre Attaingnant

develops a new single-impression method for

printing

Faster production rate, less expensive to print and for

those purchasing the prints


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Popular Music in the Renaissance

Dance Music

Collections of dance music were published Jacques Moderne, French music printer

Produced collections of dance music (and vocal music)

Musique de joye (Joyful Music): Collection of 25dances arranged for instruments

Pavane: Slow, gliding dance in duple meterperformed

by couples holding hands. CD1 (of 5), track 12

3 phrases, each one is repeated and ornamented

Galliard: Fast, leaping dance in triple meter

3 phrases, each one is repeated. CD1 (of 5), track 13


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YouTube video of a pavane:

starts at 048.

https://www.youtube.com/watch?v=VroYskzaF

p0&feature=player_embedded


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Renaissance Music

Melody Mainly stepwise motion within moderately narrow range; stillmainly diatonic, but some intense chromaticism found in

madrigals from end of period

Harmony More careful use of dissonance than in Middle Ages as thetriad, a consonant chord, becomes the basic building block of

harmony

Rhythm Duple meter as common as triple meter; rhythm in sacred

vocal music (Mass and motet) is relaxed and without strongdownbeats; rhythm in secular music (madrigal and

instrumental music) usually lively and catchy

Color Predominant sound is unaccompanied ( a cappella) vocalmusic; more music for instruments alone has survived

Texture Mainly polyphonic: imitative counterpoint for 4 or 5 vocallines (Masses, motets, and madrigals); occasional passages of

chordal homophonic texture for variety

Form Strict musical forms not often used; Masses, motets, madrigals,and instrumental dances are through composed (no musical

repetitions, no standard formal plan


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Introduction to Baroque Art and Music


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The Baroque Era (1600-1750)

First appeared in Italy

Baroque: Excessive ornamentation in the visual artsand a rough, bold instrumental sound in music

Energetic detail

Grandiose, flamboyant

Drama created through contrast

Figure 7.4 Rubenss The Horrors of War (1638


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Baroque Architecture and Music

Construction on the grandest scale

Saint Peters in Rome

Space filled with abundant, even excessive,

decoration

Figure 7.1 The high altar at Saint Peters

Basilica, Rome

Figure 7.2 Saint Peters Square, Rome


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Baroque Music

Grandiose music composed for such vast spaces

Compositions for colossal forces Baroque orchestra of King Louis XIV sometimes had as

many as 80+ players

Some sacred choral works required 24, 48, or even 53

separate lines or parts

Love of energetic detail within a large-scale

composition

Highly ornamental melody above a solid chordalfoundation

Abundance of melodic flourishes


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Baroque Painting and Music

Large and colorful paintings

Overtly dramatic Drama created by means of contrast

Pure shock created by presenting gruesome events

from history or myth in a dramatic way

Music also highly dramatic

Doctrine of the Affections: Different musical moods could

and should be used to influence

the emotions (affections) of thelistener

Drama of the stage joined with

music to create Opera

Figure 7.5 Judith

Beheading Holofernes (c.

1615) by Artemisia

Gentileschi.


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Characteristics of Baroque Music

Remarkable variety of musical style

Introduction of many new musical genres: Opera, cantata, oratorio, sonata, concerto, and suite

Two elements remain constant

Expressive, sometimes extravagant melody

Strong supporting bass

Figure 7.6 A Woman Playing the Theorbo-Lute

and a Cavalier (c. 1658) by Gerard ter Borch.


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Expressive Melody

Use of soloist to communicate raw individual emotion

All voices not created equal Emphasis on the highest and lowest sounding lines

Middle lines fill out the texture

S --------------------------------------------A ---------------------------------------------------------

T ---------------------------------------------------------

B --------------------------------------------


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Rock-Solid Harmony Provides strong harmonic framework for elaborate

melodies

Basso continuo (continual bass): A small ensemble ofat least two instrumentalists who provide a

foundation for the melody heard above

Usually a low string instrument and a harpsichord Figured bass: Numerical shorthand places below the

bass line

Basis for improvised chords


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Elements of Baroque Music -

Melody Two different melodic styles

Somewhat mechanical instrumental style, full of

figural repetitions

More dramatic, virtuosic style of singing marked by

flourishes and melismas (makes its way intoinstrumental music)

Melody expands lavishly over long musical spans,

not short symmetrical phrases


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Harmony

Chord progressions that we hear today originated in

the Baroque

Music built around stock chord progressions

(I-VI-IV-V-I)

Melody unfolds while the chord progressions repeat

Modern two-key system: Major and Minor

El f B M i


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Rhythm

Uniformity rather than flexibility

Meter and certain rhythmic patterns are established at

the beginning and continue to the end

Strong recurring beat (groove)

Rhythmic clarity and drive

Rhythmically propulsive

El f B M i


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Texture

Homophony:Basso continuoprovides a wholly

chordal framework

Many 17th-century composers rebelled against the

predominantly polyphonic, imitative texture of the

Renaissance Hostility to Polyphony gradually diminished

Polyphony: Counterpoint

New genre of the Fugue

Bach and Handel

El t f B M i


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Dynamics

Early 17th-century, composers began to write

dynamics in their music

Use of two basic terms:piano (soft) andforte (loud)

Sudden contrasts of dynamics rather than gradual

crescendos and diminuendos Terraced dynamics: Shifting of volume suddenly

from one level to another

Similar to contrasts between major and minor


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Toward Late Baroque Instrumental Music


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Toward Late Baroque Instrumental Music

About 80% of classical music is instrumental

Instrumental music became prominent in the 17th

-century with the rising popularity of the violin

Idiomatic Writing: Musical composition that exploits

the strengths of a particular voice or instrument

Use of expressive gestures that had developed in vocal

music

Doctrine of the Affections also applied to instrumental

music Instrumental music could tell a tale or paint a scene


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The Baroque Orchestra Orchestra: An ensemble of music, organized around a

core of strings, with added woodwinds and brasses,

playing under a leader

Origins in 17th-century Italy and France

Harpsichord for basso continuo

Most Baroque orchestras were small, usually with nomore than 20 performers, each with individual parts

Could swell to as many as 80 for special occasions at

artistocratic and royal courts

King Louis XIV at Versailles, with composer Jean-

Baptiste Lully (1632-1687) as conductor

New musical genre: French Overture

Slow introduction, fast second section

i C


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Pachelbel and His Canon

Johann Pachelbel (1653-1706): Known in his day as a prolific

composer for harpsichord and organ

Canon in D:

Instruments: violin 1, violin 2, violin 3, + basso continuo

(harpsichord and cello)

Use of imitative canon with three voices plus basso continuo that

unfolds over timepolyphonic texture

First movement of a two-movement suite

Use of basso ostinato repeated 28 times

Bass line used by later classical composers as well as popmusicians


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Corelli and the Trio Sonata

Originated in Italy

Baroque Sonata: A collection of instrumentalmovements, each with its own mood and tempo, but all

in the same key

Chamber Sonata (sonata da camera): featured dance

movements, such as allemande, sarabande, gavotte,or gigue; four movements: slow-fast-slow-fast

Solo Sonata: Written either for solo keyboard instrument

or solo melody instrument (such as violin)

Trio Sonata: Two soloists and basso continuo performers

Sometimes a fourth instrument, harpsichord, is added to

bass, resulting in four musicians for the trio.


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Arcangelo Corelli (1653-1713)

Composer-virtuoso who made Baroque solo and trio

sonatas internationally popular Worked in Rome as a teacher, composer, and violin

performer

Works admired by Johann Sebastian Bach in Leipzig,

Franois Couperin in Paris, and Henry Purcell in

London

Modern sounding harmony

Functional harmony: each chord has a specific role orfunction

Use of ascending chromatic bass lines: increases the

sense of direction and cohesiveness


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Trio Sonata in C Major, Opus 4, No. 1 (1694) Chamber sonata for two violins and basso continuo

(harpsichord and cello)

Four movements: Preludio, Corrente, Adagio, Allemanda

Prelude:

Use of a walking bass: moves stepwise either up or down

Texture: homophonic

Meter: duple meter

Mood: slow, calm Figure 9.3 Arcangelo Corelli

T i S t i C M j O 4 N 1 (1694)


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Trio Sonata in C Major, Opus 4, No. 1 (1694) Corrente: Binary dance form (AB), fast tempo

Duo between the violin and cello (melodic sequences)

Texture: homophonic Meter: triple meterMood: lively, fast Adagio : free form, slow tempo

Chordal accompanimentconnection between the second and

fourth movement. Lack of cadences leave us in suspense for much

of the movement. Texture: homophonic Meter: duple meterMood: slow, full of tension, anxiety lack of resolution

Allemanda: Binary dance form (AB), fast tempo Walking (running!) bass; melodic suspensions between the violins

Texture: homophonic Meter: duple meter Mood: very lively,mostly energetic, brief passage that is darker (minor mode)

B section: changes to minor mode

Note the contrasts in mood and style between the movementsFirst

d thi d b d l th d d f th ti

1301 sept 29 2015 course powerpoint

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