Time Line

1
Time Line
Middle Ages (450-1450)

• Rome sacked by Vandals 455
• Beowolf c. 700
• First Crusade 1066
• Black Death 1347-52
• Joan of Arc executed by English 1431

Part II The Middle Ages and Renaissance
2
The Middle Ages

• Period of wars and mass migration

Strong class distinctions

• Nobility castles, knights in armor, feasting
• Peasantry lived in huts serfspart of land
• Clergy ruled everyone only monks literate

Part II The Middle Ages and Renaissance
3
The Middle Ages
Architecture

• Early Romanesque

• Late Gothic

Visual Arts

• Stressed iconic/symbolic, not realism

Late Middle Ages saw technological progress
Part II The Middle Ages and Renaissance
4
Chapter 1 Music in the Middle Ages

• Church dominates musical activity

• Most musicians were priests

• Women did not sing in mixed church settings

Music primarily vocal and sacred

• Instruments not used in church

Chapter 1
5
Gregorian Chant
Was official music of Roman Catholic Church

• No longer common since Second Vatican Council

Monophonic melody set to Latin text
Flexible rhythm without meter and beat
Named for Pope Gregory I (r. 590-604)
Originally no music notation system

• Notation developed over several centuries

6
The Church Modes
Otherworldly soundbasis of Gregorian Chant
Different ½ and whole steps than modern scales
Middle Ages and Renaissance used these scales

• Some Western Music uses these scale patterns

• What Do You Do With a Drunken Sailor?Dorian mode
• When Johnny Comes Marching HomeAeolian mode

Chapter 1
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Listening

• Alleluia Vidimus stellam
• (We Have Seen His Star)
• Listening Outline p. 68
• Brief set, CD 147
• Listen for Gregorian Chant (Latin language)
• Many notes per syllable of text
• Monophonic texture
• Ternary formA B A

Chapter 1
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Chapter 1 Music in Nonwestern Cultures
Characteristics of Nonwestern Music
It reflects its supporting culture

• Frequently linked with religion, dance and drama

• Often used to communicate messages and relate
  traditions

Chapter 1
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Oral Tradition
Frequently transmitted by oral tradition

• Music notation far less important than in western
  culture

• Many cultures do not have a music notation
• When they do, it serves as a record, not for
  teaching or performance

Chapter 1
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Improvisation

• Improvisation is frequently basic to the music

• Improvisation usually based on traditional
  melodic phrases and rhythmic patterns

Chapter 1
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Voices
Singing usually main way of making music
Vocal approach, timbre, and techniques vary
throughout the world

• Nasal sound
• Strained tone

• Throat singing
• Many others

Chapter 1
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Music in Society

• Music permeates African life from religion,
  entertainment, and magic to rites of passage

It is so interwoven into life that the abstract
word music is not used by many peoples
Chapter 2
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Closely associated with dancing in ceremonies,
rituals, and celebrations

• Dancers frequently play and sing while dancing

Music is a social activityeveryone joins in
No musical notationpassed by oral tradition
Chapter 2
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Elements of African Music
Rhythm and Percussion
Complex rhythms and polyrhythms predominate
Dancers choose to follow any of the various
rhythms
The body used as an instrument

• Clapping, stamping, slapping thigh/chest

Chapter 2
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Vocal Music
Wide variety of sounds, even within a single piece

• Call and response extremely common

Percussion ostinato frequently accompanies singers
Short musical phrases repeated to different words
Chapter 2
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Texture
Often homophonic or polyphonic

• This is unlike most nonwestern musics

Same melody often sung at many pitch levels
Chapter 2
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Listening

• Ompeh
• Song from central Ghana
• Claude Debussy
• Listening Outline p. 411
• Brief Set, CD 466
• Music of the Akan-speaking peoples in Ghana.
• Listen for Call and response
• Solo vocalist and chorus
• Percussion ensemble

Chapter 2
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Time Line
Renaissance (1450-1600)
Guttenberg Bible 1456 Columbus reaches
America 1492 Leonardo da Vinci Mona Lisa
c. 1503 Michelangelo
David 1504
Raphael School of Athens 1505
Martin Luthers 95 Theses 1517 Shakespeare
Romeo and Juliet 1596
Part II The Middle Ages and Renaissance
19
The Renaissance
Rebirth of human learning and creativity
Time of great explorers
Humanism
Fascination with ancient Greece and Rome
Part II The Middle Ages and Renaissance
20
The Renaissance
Visual art becomes more realistic

• Mythology is favorite subject
• Nude body, as in ancient times, is shown

Weakening of the Catholic Church
Education and literacy now status symbol

• Result of invention of printing press

Part II The Middle Ages and Renaissance
21
Chapter 2 Music in the Renaissance

• Church choirs grew in size (all male)

Rise of the individual patron

• Musical center shifted from church to courts
• Court composers wrote secular and sacred music

• Women did not sing in mixed church settings

Chapter 2
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Musicians higher status and pay than before

• Composers became known for their work

Many composers were Franco-Flemish

• Worked throughout Europe, especially in Italy

Italy became music capital in 16th century

• Other important centers Germany, England, Spain

Chapter 2
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Characteristics of Renaissance Music

• Words and Music

Vocal music more important than instrumental
Word painting/text painting
Chapter 2
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Texture
Polyphonic
Primarily vocal - a cappella

• Instruments, if present, doubled the vocal parts

Rhythm and Melody
Rhythm flows and overlaps

• Composers less concerned with metrical accents

Smooth, stepwise melodies predominate

• Melodies overlap rhythmically between voices

Chapter 2
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Secular Music in the Renaissance

• Madrigal

• Intended for amateur performers (after dinner
  music)

• Extensive use of text painting

• Printed in part-book or opposing-sheet format

Printing
Printing

• Originated in Italy

• English madrigal lighter and simpler

Printing
Printing
Chapter 2
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Listening

• As Vesta was Descending (1601)
• by Thomas Weelkes
• Vocal Music Guide p. 87
• Brief Set, CD 162
• Follow text (English) throughout song
• Note text painting
• Pitches rise on ascending
• Pitches fall on descending
• Running down
• Two by two, three by three, all alone

Chapter 2
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Time Line
Shakespeare Hamlet 1600 Cervantes Don
Quixote 1605 Jamestown founded 1607 Galileo
Earth orbits Sun 1610 King James
Bible 1611 Newton Principia Mathematica 1687 Wi
tchcraft trials in Salem, Mass. 1692 Defoe
Robinson Crusoe 1719 Swift Gullivers
Travels 1726
PART IIITHE BAROQUE PERIOD
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The Baroque Style

• Time of flamboyant lifestyle

Baroque style fills the space
Visual Art

• Implies motion

• Note pictures p. 93

• Busy

• Note pictures p. 94

PART IIITHE BAROQUE PERIOD
29
The Baroque Style
Architecture

• Elaborate

• Note picture p. 95

Change in approach to science

• Experiment-based, not just observation

• Inventions and improvements result

PART IIITHE BAROQUE PERIOD
30
Chapter 1 Baroque Music

• Period begins with rise of opera

• Opera a play with speaking parts sung

Period ends with death of J. S. Bach
The two giants Bach and Handel
Other important composers

• Claudio Monteverdi
• Henry Purcell

• Arcangelo Corelli
• Antonio Vivaldi

Chapter 1
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Period divided into 3 phases

• Early 1600-1640

• Rise of opera

• Text with extreme emotion
• Homophonic to project words

Chapter 1
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Period divided into 3 phases

• Early 1600-1640

• Middle 1640-1680

• New musical style spreads from Italy throughout
  Europe

• Use of the church modes gives way to major and
  minor scales
• Rise of importance of instrumental music

Chapter 1
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Period divided into 3 phases

• Early 1600-1640

• Middle 1640-1680

• Late 1680-1750

• Instrumental music becomes as important as vocal
  music

• Elaborate polyphony dominates
• Most baroque music we hear comes from the Late
  Baroque

Chapter 1
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Chapter 2Music in Baroque Society

• Music written to order

• New music, not old-fashioned, was desired

Courts

• Music and musical resources indicated affluence

Court Music Director

• Good prestige, pay, and other benefits

• Still considered a skilled servant

Chapter 2
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• Some aristocrats were musicians

Church music was very elaborate

• Most people heard music only in church

Some, though few, public opera houses
Music careers taught by apprenticeship

• Orphanages taught music as a trade

Chapter 2
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Characteristics of Baroque Music

• Unity of Mood

• Expresses one mood per piece

Rhythm

• Rhythmic patterns are repeated throughout

Melody

• Opening melody heard again and again

Dynamics

• Volumes constant with abrupt changes

Texture

• Late baroque mostly polyphonic
• Extensive use of imitation

Chapter 1
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Chords and the Basso Continuo

• Emphasis on way chords follow each other

• Bass part considered foundation of the harmony

• Basso Continuo bass part with numbers to
  represent chord tones

• Similar to modern jazz and pop fake book
  notation

Words and Music

• Text painting/word painting continues

• Words frequently emphasized by extension through
  many rapid notes

Chapter 1
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Chapter 5 The Elements of Opera

• Drama sung to orchestral accompaniment

Text in opera is called libretto

• Music is written by a composer
• Libretto is written by a librettist

Opera can be serious, comic, or both
Chapter 5
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Two primary types of solo songs

• Recitative presents plot material

• Aria expresses emotionusually a show-off
  vehicle for the singer

Other types of songs in opera

• Duet
• Trio

• Quartet

• Quintet, etc.

• Allows for conversation between characters
• Three or more singers make up an ensemble

Chapter 5
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• Chorus groups of actors playing crowd parts

The prompter and the prompters box
The orchestra pit
Preludes Instrumentals that open opera acts
Modern questions concerning text in opera

• Translation of text and effects upon text painting

• Supertitlesprojection of text above the stage

Chapter 5
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Chapter 7 Claudio Monteverdi

• Italian, early baroque composer

Wrote first great operatic work, Orfeo
Worked last 30 years at St. Marks in Venice

• Composed both sacred music and secular music for
  the aristocracy

Only three of his twelve operas still exist
Chapter 7
42
Listening

• Tu Se Morta from Orfeo (Orpheus, 1607)
• Claudio Monteverdi
• Vocal Music Guide p. 119
• Brief Set, CD 171
• Listen for Homophonic texture
• Rhythmically free vocal line
• Use of text painting

Chapter 7
43
Time Line
Freud Interpretation of Dreams 1900 Einstein
special theory of relativity 1905 First World
War 1914-1918 Russian Revolution
begins 1917 Great Depression begins 1929 Hitle
r appointed chancellor of Germany 1933 Second
World War 1939-1945 Atomic bomb destroys
Hiroshima 1945
PART VITHE TWENTIETH CENTURY AND BEYOND
44
Time Line
Korean War 1950-1953 Crick Watson
structure of DNA 1953 Vietnam War
1955-1975 President Kennedy assassinated
1963 American astronauts land on moon
1969 Dissolution of the Soviet Union
1991 Mandela elected president of South Africa
1994 Terrorist attacks in U.S. 2001 War
in Iraq began 2003
PART VITHE TWENTIETH CENTURY AND BEYOND
45
Characteristics of Twentieth-Century Music
Tone Color
Unusual playing techniques were called for

• Glissando, flutter tongue, col legno, extended
  notes

Percussion use was greatly expanded

• New instruments were added/created

• Xylophone, celesta, woodblock,

• Other instruments typewriter, automobile brake
  drum, siren

Chapter 1
46
Music not written for choirs of instruments

• Composers wrote for timbres, or groups of
  soloists

• Unusual groupings of instruments for small
  ensembles

• Orchestra scoring also reflects this trend

Chapter 1
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Harmony
Consonance and Dissonance
Harmony and treatment of chords changed

• Before 1900 consonant and dissonant

• Opposite sides of the coin

• After 1900 degrees of dissonance

Chapter 1
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Rhythm
Rhythmic vocabulary expanded

• Emphasis upon irregularity and unpredictability

• Shifting meters

• Irregular meters

• Polyrhythm

Chapter 1
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Melody
Melody no longer bound by harmonys notes
Major and minor keys no longer dominate
Melody may be based upon a variety of scales, or
even all twelve tones

• Frequent wide leaps

• Rhythmically irregular

• Unbalanced phrases

Chapter 1
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Chapter 18 Jazz

• Developed in the United States

• Began around 1900 in New Orleans
• Originally music for bars and brothels
• Early practitioners primarily African-American

Main characteristics

• Improvisation
• Syncopated rhythm
• Steady beat
• Call and response

Originally performance music not notated
Tremendous impact on pop and art music
Chapter 18
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Jazz in Society

• Geographical center has moved around

Originally music for dancing

• Listening forms later developed

• No longer associated with unfashionable lifestyle

• Colleges now offer bachelor and graduate degrees
  in jazz

Chapter 18
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Roots of Jazz
Blend of elements of several cultures

• West African emphasis on improvisation,
  percussion, and call and response techniques

• American brass band influence on instrumentation

• European harmonic and structural practice

Ragtime and blues were immediate sources
Chapter 18
53
Blues
Vocal and instrumental form
Twelve-measure (bar) musical structure
1 2 3 4 5 6 7 8 9 10 11 12
I
IV
I
V
I
Three-part vocal structure a a b

• Statementrepeat of statementcounterstatement

Chapter 18
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Listening
Performance Profile Bessie Smith,
vocalist Listen for performers interpretation
that includes clear diction, powerful round
sound, and bent notes

• Lost Your Head Blues (1926)
• Performed by Bessie Smith
• (Smith known as Empress of the Blues)
• Vocal Music Guide p. 375
• Brief Set, CD 457
• Listen for Strophic form
• Twelve-bar blues form
• Three-part (a a b) vocal structure
• Trumpet answers vocalist (call and response)

Chapter 18
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Chapter 20 Rock

• Developed in mid-1950s

• First called rock and roll, later shortened to
  rock

Common features

• Vocal

• Hard-driving beat
• Featured electric guitar

• Made use of heavily amplified sound

Grew mainly from rhythm and blues

• Also drew influences from country and western

Incorporated new technologies as they came
available
Chapter 20
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Development of Rock

• Early performers included

• Chuck Berry

• Little Richard

• The Platters

• Bill Haley and His Comets

• Rock Around the Clock

• Elvis Presley (King of Rock and Roll)

Chapter 20
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1960s
Rock by black performers called soul

• James Brown, Ray Charles, Aretha Franklin

Motown blended RB with mainstream music

• Diana Ross the Supremes, Stevie Wonder,

1964 US tour by the Beatles, an English group

• More English groups followed The British Invasion

• Rolling Stones, The Who,

• Beatles most influential group in rock history

Chapter 20
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Elements of Rock
Tone Color

• Guitar-based, small core performance group

• Two guitars, bass guitar, drum set, keyboards

• Usually a singer/instrumentalist

• Occasionally other instruments (horns, strings,
  etc.)

Frequent vocal effects (shout, scream, falsetto)
Chapter 20
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Rhythm
Almost always in 4/4 meter

• Simple subdivision of beats

• 1 2 3 4 , 1 2 3 4 ,

• Late-70s 80s more rhythmically complex

• Result of polyrhythmic influences of African
  music

Chapter 20
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Form, Melody, and Harmony

• Two commonly utilized forms

• Twelve-bar blues form

• Thirty-two-bar A A B A form

Short, repeated melodic patterns
Usually built on modes, not major/minor
Harmonically simple

• Usually three or four (or fewer) chords

• Often uses chord progressions that were rare in
  earlier popular music

Chapter 20
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Listening

• Lucy in the Sky with Diamonds (1967)
• from Sgt. Peppers Lonely Hearts Club Band
• The Beatles
• Sgt. Pepper was rock setting of unified song
  cycle (13 songs). Wide range of instruments,
  influences, and styles.
• Listening Guide p. 400
• Lucy in the Sky, third song in cycle, has three
  sections A B are gentle in triple meter, while
  C strongly contrasts and is in quadruple meter.

Chapter 20
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Time Line
Monroe Doctrine 1823 Hugo Hunchback of Notre
Dame 1831 Dickens Oliver Twist 1837 Dumas The
Three Musketeers 1844 Poe The
Raven 1845 Darwin Origin of
Species 1859 American Civil War 1861-1865 Twa
in Huckleberry Finn 1884 Bell invents
telephone 1876
PART VTHE ROMANTIC PERIOD
63
Romanticism (1820-1900)

• Stressed emotion, imagination, and individualism

Emotional subjectivity basis of arts
Favorite artistic topics

• Fantasy and the supernatural

• Middle Ages/concept of chivalry and romance

• Architecture revived Gothic elements

• Nature as mirror of the human heart

Period of the Industrial Revolution

• Resulted in social and economic changes

PART VTHE ROMANTIC PERIOD
64
Chapter 1 Romanticism in Music

• Many important Romantic composers

Franz Schubert
Bedrich Smetana Antonin Dvorák Peter
Tchaikovsky Johannes Brahms Giuseppe
Verdi Giacomo Puccini Richard Wagner
Robert Schumann Clara Schumann Frederic
Chopin Franz Liszt Felix Mendelssohn Hector
Berlioz
Chapter 1
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Continued use of classical period forms

• Much individual alteration and adjustment

Greater range of tone color, dynamics, and pitch
than in classical period
Expanded harmonycomplex chords
Chapter 1
66
Characteristics of Romantic Music
Individuality of Style
Composers wanted uniquely identifiable music

• Worked to find their own voice

In romantic music, it is far easier to identify
individual composers through listening
Chapter 1
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Expressive Aims and Subjects
All approaches were explored

• Flamboyance, intimacy, unpredictability,
  melancholy, rapture, longing,

Romantic love still the focus of songs and operas

• Lovers frequently depicted as unhappy and facing
  overwhelming obstacles

Dark topics draw composers
Chapter 1
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Colorful Harmony
Chords built with notes not in traditional keys

• Chromatic harmony

Harmonic instability a consciously used device

• Wide use of keys
• Frequent and rapid modulation

Chapter 1
69
Expanded Range of Dynamics, Pitch, and Tempo
Dynamics ff, pp expanded to ffff and pppp
Extremely high and low pitches were added
Changes in mood frequently underlined by
(sometimes subtle) shifts in tempo

• Rubato slight holding back or pressing forward
  of tempo

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Forms Miniature and Monumental
Some composers went on for hours

• Required hundreds of performers

Others music lasted only a few minutes

• Written for a single instrument

Composers wrote symphonies, sonatas, string
quartets, concertos, operas, and many other
classically traditional works
Chapter 1
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Chapter 2 Romantic Composers and Their Public

• Demise of the patronage system

• Composers regarded themselves as free spirits
• Decline in aristocratic fortuneNapoleonic wars

New urban classes and new musical topics
Music conservatories founded in Europe and U.S.
Public was entranced by virtuosity
Chapter 2
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Private music-making increased

• Piano became fixture in most homes

Composers and audience came from the same social
class
Few composers were financially successful

• Most supported themselves through performing,
  teaching lessons, and/or authoring

Chapter 2
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Chapter 3 The Art Song

• Composition for solo voice and piano

• Accompaniment integral part of the song

Linked to vast amount of poetry in this period

• Composers interpret poems, mood, atmosphere and
  imagery into music

• Mood often set at beginning with piano
  introduction and summed up at end with piano
  postlude

Chapter 3
74
Strophic and Through-Composed Form
Strophic form repeats music for each verse
Through-composednew music for each verse
Sometimes modified strophic form used
The Song Cycle
Group of songs unified in some manner

• Storyline or musical idea may link the songs

Chapter 3
75
Chapter 4 Franz Schubert

• Born in Vienna (1797-1828)

Early Romantic composer
Prodigious output

• When eh was 18 years old, he wrote 143 songs

• At 19 years of age, he wrote 179 works

• Included two symphonies, an opera, and a mass

Not financially successful

• His symphonies were not performed until after his
  death

Chapter 4
76
Schuberts Music
Wrote over 600 songs

• Also symphonies, string quartets, other chamber
  music, sonatas, masses, operas, and piano works

• The Unfinished Symphony only two movements, not
  four

Chapter 4
77
Listening

• Erlkonig (The Erlking 1815)
• Franz Schubert
• Vocal Music Guide p. 223
• Brief Set, CD 312
• Based upon narrative ballad with supernatural
  topic by Goethe
• Listen for Through-composed form
• Piano portrays galloping horse
• Different characters have their notes pitched
  at different levels to emphasize dialog
• Dramatic ending

Chapter 4
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Chapter 11 Johann Sebastian Bach

• German, late baroque composer

Organist and violinist

• Deeply religious (Lutheran)
• Worked in sacred and secular positions

• Weimar, Cothen, Leipzig

Large family
Chapter 11
79
Known during lifetime as keyboardist, not composer

• Master of improvisation

Almost unknown outside Germany
Baroque style going out of fashion during his
lifetime

• Bachs music fell from use following his death

Chapter 11
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Bachs Music
Wrote in every form except opera

• Compositions recognized for technical mastery

• Highpoint of polyphony combined with harmony
• All music majors study Bachs compositions

His extensive instrumental works indicate the new
importance of instrumental music
Wrote music exploring musical concepts

• Art of the Fugue demonstrates potential of this
  form

• Six suites for solo cello demonstrates cello
  techniques

• Well-Tempered Clavier explores new method of
  tuning

Chapter 11
81
Chapter 13 The Chorale and Church Cantata

• Lutheran church service was social event of the
  week

• Lasted four hours with one-hour sermon
• Music was major part of worship service
• Congregation participated in singing chorales

Chapter 13
82
Chorale hymn tune with German text
Cantata

• Multi-movement church work for chorus, soloists,
  and orchestra

• Vernacular religious text

• Resembled opera in its use of choruses,
  recitatives, arias, and duets

Chapter 13
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Listening

• Cantata No. 140 Wachet Auf, Ruft Uns Die Stimme
• (Awake, A Voice Is Calling Us-1731)
• Johann Sebastian Bach

Based upon a chorale tune that was then over
130 years old Listening Guide p. 135 Brief
Set, CD 245 Listen for Vernacular (German)
text A A B form
Chapter 13
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Listening

• Cantata No. 140 Wachet Auf, Ruft Uns Die Stimme
• (Awake, A Voice Is Calling Us-1731)
• Johann Sebastian Bach

First movement Chorus and Orchestra Listening
Guides pp. 136-138 Basic Set, CD 239 Listen
for Vernacular (German) text Chorale tune
basis Polyphonic Ritornello form
Chapter 13
85
Listening

• Cantata No. 140 Wachet Auf, Ruft Uns Die Stimme
• (Awake, A Voice Is Calling Us-1731)
• Johann Sebastian Bach

Fourth movement Tenor Chorale Vocal Music
Guide p. 139 Basic Set, CD 239 (Brief Set, CD
212) Listen for Scored for tenors,
violins/violas in unison, and basso
continuo Chorale tune basis Ritornello form
Chapter 13
86
Listening

• Cantata No. 140 Wachet Auf, Ruft Uns Die Stimme
• (Awake, A Voice Is Calling Us-1731)
• Johann Sebastian Bach

Seventh movement Chorale Vocal Music Guide
p. 140 Basic Set, CD 245 (Brief Set, CD
215) Listen for Chorale tune
basis Homophonic, instruments double
voices Simple/tunefulcongregation could join
in
Chapter 13
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Chapter 14 The Oratorio

• Like opera

• Large-scale work for chorus, soloists, and
  orchestra
• Contains arias, recitatives, ensembles

Unlike opera

• No acting, scenery, or costumes
• Based upon biblical stories

Not intended for religious services

• Commonly performed today in both churches and
  concert halls

Chapter 14
88
Chapter 15 George Frederic Handel

• Born in Germanysame year as Bach

• Not from musical family

• Father wanted him to be a lawyer

Studied music in Germany, then to Italy to study
opera, finally England to work

• Became Englands most important composer

• Wrote many operas in London

• Had own opera company

• Worked as composer, performer, and impresario

• Buried in Westminster Abbey

Chapter 15
89
Handels Music
Wrote in every baroque form

• Bulk of his work in oratorios and operas

• Favored Old Testament stories as topics for
  oratorios

His music has more changes in texture than Bachs
Extensive use of changing moods

• Shifts between major and minor keys

• His arias showcase virtuoso singers abilities

Chapter 15
90

• The Messiah (1741)
• George Frederic Handel

2½ hours of music written over a period of 24 days
Premiered to wide acclaim during a trip to Ireland
Poorly received in England until a performance to
benefit an orphanage
Topic Prophesies about Christ, his birth, and
death
Text drawn from Biblical passages
Chapter 15
91
Listening

• The Messiah (1741)
• George Frederic Handel

• Evry Valley Shall Be Exalted
• Aria for tenor, strings, and basso continuo
• Vocal Music Guide p. 144
• Brief Set, CD 210
• Listen for Opens and closes with string
  ritornello
• Extensive text painting

Chapter 15
92
Listening

• The Messiah (1741)
• George Frederic Handel

• For unto Us a Child is Born
• Chorus, strings, and basso continuo
• Listening Guide p. 147
• Basic Set, CD 251
• Listen for Joyful musical mood
• Subdued dynamics until forte outburst
• Extensive text painting

Chapter 15
93
Listening

• The Messiah (1741)
• George Frederic Handel

• Hallelujah Chorus
• Vocal Music Guide pp. 146-147
• Brief Set, CD 211
• Listen for Mixture of monophonic,
  polyphonic, homophonic textures
• Words and phrases repeat over and over

Chapter 15