Chapter 2: The Classical Tradition

What is “art” music?

Example: Juan de Araujo: Ut queant laxis

Spanish Viceroyalties

• New Spain• New Granada• Peru• La Plata

Portuguese ViceroyaltyViceroyalty of Brazil

GuyanaFive sections governed by French, British, Portuguese, Dutch, Spanish

• Spanish Church Music becomes the most important vehicle for new music in the Americas

• Also an important tool for controland “conversion” of natives

• Cathedrals became important musical centers

THE COLONIAL PERIOD

Valladolid, Mexico

Santiago de CubaSucre, Bolivia

Colonial Church Music

Two types: plainchant (Gregorian chant) and Renaissance Polyphony

• Plainchant– Foundation of all church music in Europe from Middle Ages on– Thousands of chants in Catholic liturgy– Qualifies

• Non, or quasi-pulsatile• Monophonic• Often call and response• Narrow range, mostly stepwise melodic motion• Example “Alleluia vidimus stellam”

Renaissance Polyphony• Mostly performed in church, but secular styles

emerged• Vocal music predominates—later with

accompaniment• Multiple “voices” – two, three, four• Smooth lines• Complex interplay between voices• Religious purpose of foremost importance• Polychoral works emerge in larger churches

The Golden Age of Spanish Music

• 1525-1600• art supported by strong economic growth• Influenced by Venice, especially multiple choirs• Composers emigrated to New world, became

chapelmasters • Later, criollo musician write in this style

– Juan de Herrera– Francisco Lopez Capilla

“Salve Regina”: a hymn to the Virgin Maryby Hernando Franco

Hail queen, mother of mercy:our life, our sweetness, and our hope, hail.To thee we cry, the exiled sons of Eve.To thee we sigh, groaning and weeping in this vale of tears.Come then, our advocate,turn those pitying eyes towards us.And show us, after this exile, Jesus,the blessed fruit of thy womb.O clement, O holy, O sweet ever-virgin Mary.

Continuing Renaissance polyphonyPolychorality popular in Americas—continues Italian style

In Old World, Renaissance ended in 1600 with the introduction of opera and a new style of composition

In New World, Renaissance polyphony could continue for around 150 years,• Often surpassed composition techniques of SpanishImportant composer: Juan Gutierrez de Padilla

The mass ordinary: Kyrie, Gloria, Credo, Sanctus, Agnus Die

Example: Renaissance Mass• Missa Ego flos campi: Agnus Dei by Juan Gutiérrez

de Padilla (“Mexico” ca. 1590 – 1664)• Last movement of larger musical portion of the Mass• Two choirs, antiphonal response• Imatative polyphony, Taken from Gregorian chant

Agnus DeiQui tollis peccata mundiMiseerere nobisDona nobis pacem

Lamb of GodWho takes away the sins of the world,Have mercy upon us,Grant us peace

Instrumental Music

• Increasing use of instruments in religious music paralleled Europe’s timeline

• By early 18th century, full instrumental accompaniment expected in church performance

Musical syncretismMissionaries immerse themselves in indigenous cultures, learn of importance of religious music to Natives.Indigenous composers emerge: • Example: Hymn in Nahuatl: "Sancta maria in

ilhuicac cihuapille" by Hernando Franco• Indigenous composer Juan Mathias: "Quien sal

aqueste dia mathias", villancico for eight voices• Anonymous Hymn in Quechua: "Hanacpachap

cussicuinin"

Hanacpachap cussicuininVillancico in Quechua

 Quechua textI Hanaq pachap kusikuynin Waranqakta much'asqayki Yupay ruru puquq mallki Runakunap suyakuynin Kallpannaqpa q'imikuynin Waqyasqayta.II Uyariway much'asqayta Diospa rampan Diospa maman Yuraq tuqtu hamanq'ayman Yupasqalla, qullpasqayta Wawaykiman suyusqayta Rikuchillay.

 English translationI Heaven's joy! a thousand times shall we praise you. O tree bearing thrice-blessed fruit, O hope of humankind, helper of the weak. hear our prayer!II Attend to our pleas, O column of ivory, Mother of God! Beautiful iris, yellow and white, receive this song we offer you; come to our assistance, show us the Fruit of your womb!

The villancico• .Villancico: non liturgical, but played during religious

service; not Latin--in vernacular

• Songs of faith• Can be composed in many styles• Parodied African, Indigenous language, dances and music

• Later developed codified forms that were divorced from original parodies• “Guinea” etc.

“Tururu farara con son” Guinea villancico by Gaspar Fernandez, a Portuguese chapelmaster in Guatemala

• Accompanied on baroque guitar• Vocals parody (imitate) African singing• Imitates African musical elements

• Syncopation• Polyrhythm

• Polyphonic imitation

Tururu fara con son para san pura vira mia Si parida san Maria san ispañol su coraçon

Tururu farara with music for my pure, holy life Saint Mary, the Spanish saint of our heart

Sor Juana Ines de la Cruz (1651-1695)

• One of the few places a woman could excel in the Old and New worlds was in convent settings

• Poet, Historian, theologian, musician, composer

American BaroqueCharacteristics of European Baroque• Increasing instrumental music–even in church• Opera• Concertato style–sharing a melody, in alternation, between opposing

groups of instruments or voices• More homophony (related to opera, desire to hear, understand words)

Sluggishness of Americans to adopt European baroque

Criticisms of American style• .“Behind the times”–shallow criticism• Music as signifier of identity: music produced at that time was reflection of

identity

American music did adopt Baroque styles, but would be infused with the Worldview, aesthetics of Americans

Colonial Opera• Zarzuela—Spanish “light” opera

• Conventions of opera• New genre in 1600• Evolved into a scheme of recitative, aria, plus

instrumental, sometimes dance section.• First two operas in New World• La Purpura de la Rosa:Tomas de Torrejon• La Partenope

Manuel de Zumaya (1678-1755)Musical revolutionary• Celebren Publiquen (text in Brill)

• Polychoral villancico

• Compare to “Unto Us a Child is Born” from Messiah, G.F. Handel (1741)

• Baroque aesthetic• Concertato orchestral accompaniment• Lively tempo• Basso continuo• Humanistic outlook

Nineteenth Century Romanticism• Ignacio Cervantes: Cuban, 1847-1905

• Danzas Cubanas• Afro-cuban, Guajiro elements

• Tresillo, habanera, tango

• Manuel Ponce: Mexican• Romantic song: Estrellita (Lyrics in textbook)• Voice and orchestral accompaniment—homophonic• A B vocal structure, with instrumental repeat of melody• a b bc poetic structure—not quite classic copla (not octosyllabic)

Romantic Opera

Italia Romantic operas often explore exoticism

Antonio Carlos Gomez: Brazilian composer• Studied at conservatory in Rio de Janeiro • Traveled to Italy to study opera• Il Guaranay– primiered at La Scala in Italy, 1870

• Love story of Native chief and daughter of Portuguese explorer• at once exotic and nationalistic

The Twentieth Century: Nationalism in America

• Nationalism mirrored movements in Europe• Early ethnomusicologists collecting folk musics around the

world• Composers doing their own research• Every country creates nationalistic music• Merges folk and popular styles into “art” music

• modern aesthetic–harmonic language, instruments, forms with Native elements

• Afro-centric in countries where there was slave population

The Aztec Renaissance–Mexico• 1910 mexican Revolution spawns nationalistic pride• Reaction against European styles, esp Italian opera• Indianism, primitivism• Carlos Chavez: Looking for the “true soul” of the

indigenous Mexican• Certain intervals–minor thirds, perfect fifths• Imitation of conch shell trumpet• Example: Sinfonia India music of Yaqui, Seri tribes

• rattles, percussion• uneven rhythms• pentatonic scales, western harmony–bitonal

Brazil

Composers had been using popular songs for decades• Modinhas, choros, samba, maxixe—becomes basis for some

nationalist composers

Heitor Villa Lobos 1887-1959.Trained in European style by father but…

Became very interested in folk, indigenous music

Like Chavez and European composers, traveled to remote areas studying and collecting folk music

Traveled to Paris 1923-1930 (intermittently), trained in current practices

Villa Lobos, contImportant works: 9 Bachianas Brasileiras

• Loosely based on some aspects of Bach and baroque music, but mostly a very personal style

• Multi-movement • Different instrumentation: No. 5–eight cellos, soprano who hums part of

melody

• Example: Bachianas Brasileiras No. 2. • “O trenzinho do Caipira”–little train of Caipira• Western chamber group with brazilian instruments: reco-reco, ganza,

Chocalho

Programmatic: describes a trip VL took in 1931–steam engine picking up agricultural workers

Brazilian instruments• Ganza

Chocalho

Argentina• Nationalistic movement in early 20th

century• Draws from diverse cultures, areas of this

large country• Folk life, music• Legends of indigenous people• no large African population• indigenous population also small–killed off in

large numbers• vast plains made cattle ranching one of the

staples of rural life on the pampas

• Alberto Ginastera most important composer

Estancia Suite 1941: MalamboDepicts various activities of ranch life• Main characters: country girl who despises man from the city until he can

prove himself as hard-working as a country workman.• gaucho: horseman from plains

• 4 movements, Final dance Malambo: male competitive dance• •AA’B form, Malambo last part • •sesquialtera

Example: Gustavo Dudamel and Simon Bolivar Youth Orchestra• Venezuela: “El sistema”