Time Line

1
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
2
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
3
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
4
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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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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The Baroque Orchestra

• Based on violin family of instruments

Small by modern standards
Varying instrumentation

• Combinations of strings, woodwinds, brass,
  percussion (tympani)

Nucleus was basso continuo unit
Composers specified instrumentation

• Timbre was subordinate to melody, rhythm, and
  harmony

Chapter 1
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Baroque Forms

• Instrumental music frequently made up of
  contrasting movements

• Movement a piece complete in itself, also part
  of a larger whole

• Performed with pause between movements

• Unity of mood within individual movements

• Movements often contrast with each other

Chapter 1
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Chapter 10 Antonio Vivaldi

• Late baroque Italian composer

Il prete rosso (the red priest)
Taught music at girls orphanage in Venice

• Girls performed at mass hidden behind screen

Wrote sacred and secular vocal and instrumental
music

• Best known for concerti grossi solo concertos
  for violin

• Solo concerto piece for single soloist
  orchestra

Famous as a virtuoso violinist composer
Chapter 10
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Listening
Performance Profile Jeanne Lamon-violinist/
conductor Listen for interpretation of tempo,
rhythm, and dynamics, use of decorative tones,
and attempt to keep a familiar piece fresh.

• La Primavera (Spring), Op. 8, No. 1,
• from The Four Seasons (1725)
• Antonio Vivaldi

First Movement Allegro Listening Outline p.
126 Brief Set, CD 21 Concerto for violin and
string orchestra Note Polyphonic texture
ritornello form Baroque program
music Descriptive effects (e.g., bird songs)
Chapter 10
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Listening
Performance Profile Jeanne Lamon-violinist/
conductor Listen for interpretation of tempo,
rhythm, and dynamics, use of decorative tones,
and attempt to keep a familiar piece fresh.
La Primavera (Spring), Op. 8, No. 1, from The
Four Seasons (1725) Antonio Vivaldi

• Second Movement Largo e pianissimo
• sempre (very slow and very soft throughout)
• Listening Guide pp. 127-129
• Brief Set, CD 26
• Concerto for violin and string orchestra
• Note Orchestra reduced to only violins and
  violas
• Descriptive effects (violas dog barking)

Chapter 10
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Listening
Performance Profile Jeanne Lamon-violinist/
conductor Listen for interpretation of tempo,
rhythm, and dynamics, use of decorative tones,
and attempt to keep a familiar piece fresh.
La Primavera (Spring), Op. 8, No. 1, from The
Four Seasons (1725) Antonio Vivaldi

• Third Movement Danza pastorale
• (Pastoral Dance)
• Listening Guide p. 129
• Brief Set, CD 27
• Concerto for violin and string orchestra
• Note Ritornello form alternates solo and tutti
  sections
• Descriptive effects (sustained notes in low
  strings to imitate bagpipes)

Chapter 10
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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
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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
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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
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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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Nationalism and Exoticism
Nationalism music with a national identity

• Uses folk songs, dances, legends, and history of
  a land

Exoticism intentionally implies a foreign culture

• Makes use of melodies, rhythms, and instruments
  associated with distant lands

• Frequently employed in operas with foreign
  settings

Chapter 1
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Program Music
Association with a story, poem, idea, or scene

• Understanding the music is enhanced through
  reading the program or viewing the associated work

• Though common in the romantic, concept had been
  employed for centuries previously

• E.g., La Primavera (from the Four Seasons) by
  Vivaldi

• Many Romantic composers were also authors

• Made possible a union of the arts

• Poets wanted their poetry to be musical
• Musicians wanted their music to be poetic

Chapter 1
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Expressive Tone Color
Composers tried to create unique sounds

• Blending of existing instruments
• Addition of new instruments
• Never before had timbre been so important

Enlarged orchestra allowed more instrument colors

• Classical 20-60 members vs. Romantic 100

• Orchestration came to be regarded as an art form

• Berlioz Treatise on Modern Instrumentation and
  Orchestration (1844)

Advances in instrument design allowed more color

• Valved brass instruments could now play melodies
• Piano design improved and range was extended

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
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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

Chapter 1
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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 10 Program Music

• Instrumental music associated with a story, poem,
  idea, or scene

• Non-program music is called absolute music

Usually performed with written explanation of the
piecea program
Chapter 10
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In the romantic period, program music was usually
for piano or orchestra
Common types

• Program symphony multi-movement/orchestral

• Concert overture\ modeled on opera overture

• Symphonic poem (or tone poem) one movement,
  orchestral, flexible form

• Incidental music for use before or during a play

Chapter 10
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Chapter 12 Nationalism in Nineteenth-Century
Music

• National identity grew during the romantic period

• Citizens, not mercenaries, now fought wars

• Bonds of language, history, and culture formed

• Led to unifications creating Germany and Italy

Composers deliberately gave their works
distinctive national identity

• Use of folksongs and folkdances

• Created original melodies with folk flavor

• Wrote operas and program music inspired by native
  history, legends, and landscapes

Strongest impact in countries dominated by music
of Germany, Austria, Italy and France
Chapter 12
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Listening

• The Moldau (1874)
• Part of the cycle Ma Vlast (My Country)
• Bedrich Smetana
• Symphonic poem depicting the main river that
  flows thorough the Bohemian (Czech) countryside
• Program notes p. 254
• Listening Outline p. 255
• Brief Set, CD 334
• Listen for Program material and how
  composer related it to the music

Chapter 12
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Chapter 11 Hector Berlioz

• French composer (1803-1869)

Mid-romantic period
Wrote unconventional music

• Passionate and unpredictable

Major award for Fantastic Symphony

• Autobiographicalprogram note, p. 248

Worked as music critic for support
One of the first of the great conductors
Chapter 11
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Berliozs Music
Imaginative, innovative orchestrations

• Required huge resources

Pioneered concept of idee fixe
As a pioneer, his work was not always understood
by his listening public
Chapter 11
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Listening

• Symphonie Fantastique (Fantastic Symphony)
• Hector Berlioz (1830)

Fourth Movement March to the Scaffold Program
notes p. 248 Listening Outline p. 249 Brief
Set, CD 330
Listen for Program material and how related to
the music Returning melody for idee fixe
Chapter 11
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Listening

• Symphonie Fantastique (Fantastic Symphony)
• Hector Berlioz (1830)

Fifth Movement Dream of a Witches
Sabbath Program notes p. 251 Listening Guide
p. 251 Basic Set, CD 534
Listen for Program material and how related to
the music Returning melody for idee fixe
Chapter 11