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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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Elements of Baroque Music -
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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Elements of Baroque Music -
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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Elements of Baroque Music -
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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Elements of Baroque Music -
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