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
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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

• O Successores (You Successors)
• Hildegard of Bingen
• Listening Guide p. 70
• Brief Set, CD 150
• Chant
• Originally written without accompaniment
• This recording includes a dronelong, sustained
  notes
• Note extended range of melody
• Written for nuns by a nun (to be sung in convent)

Chapter 1
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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
9
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
10
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
11
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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Sacred Music in the Renaissance

• Two main forms

Motet

• Short polyphonic choral work
• Latin text usually overlaid with vernacular text
• Often borrows lowest voice part from a chant

Massthe Catholic worship service

• Long work that includes five main parts of service

• Kyrie
• Gloria
• Credo

• Sanctus
• Agnus Dei

Chapter 2
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Josquin Desprez
1440-1521 (contemporary of Columbus da Vinci)
Wrote both sacred and secular music

• Worked with the Papal Choir in Rome
• Worked for King Louis XII of France

Leading composer of his time famous while alive

• His work influenced other composers
• Was highly praised by Martin Luther

Chapter 2
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Listening

• Ave MariaVirgo Serena
• Josquin Desprez
• Vocal Music Guide p. 82
• Brief Set, CD 156
• Listen for Four voices
• Polyphonic imitation
• Overlapping voice parts

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
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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
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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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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 3 The Concerto Grosso and Ritornello
Form

• Concerto Grosso

• For small group of soloists and orchestra

• Multi-movement work

• Usually 3 movements

• Fast
• Slow (usually quieter)
• Fast (sometimes dance-like)

Chapter 3
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• Ritornello

• Frequently used in first and last movements of
  concerto grosso

• Theme repeatedly presented in fragments

• Contrast between solo sections and tutti

Chapter 3
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Listening

• Brandenberg Concerto No. 5 in D major
• First movement
• Johann Sebastian Bach
• Listening Outline p. 105
• Brief Set, CD 163
• For string orchestra and group of soloists
• Soloists flute, violin, and harpsichord
• Ritornello form

Chapter 3
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Time Line
Seven Years War 1756-1763 Louis XVI in
France 1774-1792 American Declaration of
Independence 1776 French Revolution 1789 Napole
on first French consul 1799 Napoleonic
Wars 1803-1815 Goethe Faust 1808 Austin
Pride and Prejudice 1813
PART IVTHE CLASSICAL PERIOD
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The Classical Era

• Scientific advances changed world view

• Faith in the power of reason
• Undermining of traditional authority

• Social organization
• Religious establishment

• Age of Enlightenment

• Rise of the middle class worker

Visual Art

• Moved away from ornate Baroque style

PART IVTHE CLASSICAL PERIOD
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Chapter 1 The Classical Style

• Transition to Period 1730-1770

C.P.E. and J.C. Bach were early pioneers
Music and visual arts stress balance and structure
Three main composers

• Joseph Haydn
• Wolfgang Amadeus Mozart
• Ludwig van Beethoven

Chapter 1
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Characteristics of The Classical Style

• Contrast of Mood

• Contrast both between and within movements

Flexibility of rhythm

• Multiple rhythmic patterns in a piece

Texture

• Mostly homophonic, but with frequent shifts

Chapter 1
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Melody

• Tuneful, easy to sing, folk/popular-based

Dynamics

• Emotions expressed in shades of dynamics

• Use of gradual dynamic changes
• Related to development of the piano

End of the Basso Continuo
Chapter 1
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The Classical Orchestra

• Standardization of instrumentation

Increase in size of orchestra

• Still smaller than that of today

Composers made use of various timbres available

• Instruments not treated as all equal, as in the
  Baroque
• Melodies move around between instruments

Chapter 1
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Chapter 10 Joseph Haydn

• 1732-1809early and mid-classical period Austrian
  composer (long life)

Talent recognized early

• At age eight was sent to Vienna to be a choir boy

• Dismissed from schoolvoice changed
• Worked in Vienna and continued studies

Esterhazy familys composer for 30 years

• Employment status as skilled servant

• Became famous in Europe at this time
• Moved to Vienna at Princes death

Made concert trips to London
Prolific composer
Chapter 10
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Haydns Music

• Pioneer in development of classical forms

• Both Mozart and Beethoven were influenced by Haydn

Made use of folk music in serious compositions
104 symphonies, 68 string quartets

• Possibly invented the string quartet form

Extensive output in other forms

• Piano sonatas
• Piano trios

• Divertimentos
• Concertos

• Operas
• Masses

Chapter 10
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Classical Forms

• Instrumental works usually in multi-movement form

Frequently four movements

• FirstFast
• SecondSlow

• ThirdDance-related
• FourthFast

Multi-movement works for instrumental groups

• Symphonyfor orchestra
• String quartettwo violins, viola, and cello
• Sonatausually for one or two instruments

Chapter 1
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Chapter 4 Theme and Variations

• Single part formno large contrasting B section

• ( A A A A)

Basic idea presented, then repeated over and over

• Each repeat alters (varies) the musical idea

• Each variation is about the same length as the
  original idea

• Variations may alter melody, harmony, rhythm,
  dynamics, timbre, or all of these

Chapter 4
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Listening

• Symphony No. 94 in G Major, 1791
• (Surprise Symphony)
• Franz Joseph Haydn
• Second Movement
• Listening Outline p. 166
• Brief Set, CD 232
• Listen for Theme and variations form
• Surprise chord near beginning

Chapter 4
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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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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 7 Frederic Chopin

• Polish-born musician (1810-1849)

Early to mid-romantic composer
Went to Paris at age 21

• Europes romantic period artistic capital

Wrote almost exclusively for piano

• Made extensive use of piano pedals

Composed mostly for chamber concert

• Avoided concert halls

Affair with Aurore Dudevant (a.k.a. George Sand)
Chapter 7
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Chopins Music
Developed personal style at early age

• Not program music, but evokes an image

• Unique harmonic style influenced others

Most of his pieces are elegant miniatures
Chapter 7
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Listening

• Nocturne in E Flat Major, op. 9, no. 2
• Frederic Chopin (1830-31)
• Listening Outline p. 232
• Brief Set, CD 326
• Nocturne (night piece)slow, lyrical, intimate
  piece for piano
• Listen for Expressive, emotional presentation
  with subtle shifts in tempo and dynamics
• Note pedal notation on printed music (p. 233)

Chapter 7
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Chapter 18 Richard Wagner

• German (1813-1883)

Mid- to late-romantic composer
Studied in Germany

• Later moved to Parisdid not work out

• Returned to Germany, ran into trouble

• Finally settled and succeeded in Munich, Bavaria

Lived large off of othersran up debts
Wrote in many styles, famous for opera
Chapter 18
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Wagners Music
His works were large, full-blown affairs
No recitatives and ariasjust non-stop music
Adapted idee fixe to leitmotif approach
Huge orchestrations for operas

• Requires big voices to be heard

Chapter 18
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Listening

• Die Walkure (The Valkyrie, 1856)
• Richard Wagner
• Act I Love scene (conclusion)
• Storyline of the Ring Cycle and this scene (p.
  279)
• Vocal Music Guide p. 282
• Brief Set, CD 41
• Listen for Huge production, large orchestrations
• Big, powerful voices required
• Use of leitmotif for people, places,
  things, and ideas

Chapter 18
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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
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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
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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
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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 8 Arnold Schoenberg

• Born in Vienna (1874-1951)

First to completely abandon the traditional tonal
system

• Father of the twelve-tone system

Schoenberg was Jewish when the Nazis came to
power, he was forced to leave came to America

• Taught at UCLA until his death

Chapter 8
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Schoenbergs Music
Atonality

• Starting 1908, wrote music with no key center

The Twelve-Tone System

• Gives equal importance to all twelve pitches in
  octave

• Pitches arranged in a sequence or row (tone row)

• No pitch occurs more than once in the twelve-note
  row in order to equalize emphasis of pitches

Chapter 8
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Chapter 10 Anton Webern

• Born in Vienna, 1883-1945

Schoenbergs other famous student
His music was ridiculed during his lifetime
Shy family man, devoted Christian

• Shot by US soldier by mistake near end of WWII

Chapter 10
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Weberns Music
Expanded Schoenbergs idea of tone color being
part of melody

• His melodies are frequently made up of several
  two-to-three-note fragments that add up to a
  complete whole

• Tone color replaces tunes in his music

His music is almost always very short
Chapter 10
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Listening

• Five Pieces for Orchestra (1911-1913)
• Third Piece
• Anton Webern
• Listening Outline p. 333
• Brief Set, CD 428
• Listen for Lack of traditional melody
• Tone color washes over the listener
• Dynamics never get above pp

Chapter 10
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Chapter 16 Musical Styles since 1945

• Many societal changes since WWII

• Instant communication has altered the world
• Constant demand for novelty

Chapter 16
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Characteristics of Music Since 1945
Increased use of the twelve-tone system
Serialismtwelve-tone techniques extended Chance
music that includes the random Minimalist music
with tonality, pulse, repetition Deliberate
quotations of earlier music in work
Chapter 16
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Characteristics of Music Since 1945
Return to tonality by some composers
Electronic music Liberation of sounduse of
noiselike sounds Mixed media New concepts of
rhythm and form
Chapter 16
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Musical Quotation
Since mid-1960s
Represents conscious break with serialism
Improves communication with audience

• Quoted material conveys symbolic meaning

Frequently juxtaposes quoted material with
others, creating an Ives-esque sound
Return to Tonality
Parallels quotation in implying other styles
Chapter 16
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Listening

• Concerto Grosso 1985
• (To Handels Sonata in D Major for Violin and
  Continuo, First Movement)
• Ellen Taaffe Zwilich (b. 1939)
• Listening Outline p. 368
• Brief Set, CD 451
• Quotation music, each of its five movements uses
  material from first movement of the Handel piece
• Listen for Use of quoted material
• Continuo part, as in baroque period
• Terraced dynamics to imply baroque

Chapter 17