Map Eeeh Eeee

8/21/2019 Map Eeeh Eeee

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UNIT IIIMUSIC OF THE

CLASSICAL PERIOD(1750-1820)


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CLASSICAL PERIOD IS ALSOCALLED THE AGE OF REASON.THE PERIOD BETWEEN1750-1820 WAS MARKED B

THE RISE OF THE LOWER ANDMIDDLE CLASSES IN ADEMOCRATIC SPIRIT WHICH

ASSERTED ITSELF IN THEFRENCH RE!OLUTION ANDTHE NAPOLEONIC WAR.


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IN MUSIC" THE TERM CLASSICALREFERS TO THE PERIOD WHICH

E#TENDS ROUGHL FROM THEDEATH OF $.S. BACH IN 1750 TOTHE DEATH OF BEETHO!EN IN

1827. BECAUSE CULTURAL LIFEWAS DOMINATED B THEARISTOCRAC" THE ART WAS

SUBSER!IENT TO THE RULINGCLASS AD BECAME ELEGANT"FORMALI%ED" RESTRAINED" AND

IMPERSONAL.


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CLASSICAL CONCEPTS INCLUDE

RESTRAINT" CLARIT" OB$ECTI!IT"BALANCE" AND CONFORMITWHICH RESULTED IN AN

IMPERSONAL AND RELATI!ELUNEMOTIONAL STLE.LEADING COMPOSERS OF THEPERIOD INCLUDE MO%ART" HADN"

AND BEETHO!EN& IMPORTANTARTISTS ARE GOA" DA!ID" INGRESAND COMPLE .


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F'*+,*S, G'*+

B FRANCISCO GOA

S3 Romanticism

T3*4+63 Oil

D+3,+, height:71cm (28 in) width:58cm (22.8 in)

G3' NationalGallery o !rt"#ashington" $%" &'!


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CLASSICAL

STYLE


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I 933'" *,,+* 6,+* * 3:3,*'+3: , 339" 9'*3;6" :'3=, :3'3" =+4 ;'363 6,3 ;'+':: : **33':. T43*'3,*3:-:3*'3,*3: +:3 :3?3>3:+ *', 43 :+* 3?3, ; 43'63 ,3. A *493 ; 3>4,+,

;' >>4+* 4>4+* 3@6'3* 3 ;6:.*,,+* 3:+3, =3'3 63;6 : 3, '333'" 3?3 43 9 +,'63

*>,++, =3'3 ;3 ;+3.P4',3, =3'3 ?3' '396' : ; 43,3 394. T+ =, '+' *4':,.


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SONATA

ALLEGRO FORM


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'. !&* %!+,$R!*


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ST. PAULS CATHEDRAL HAS HADA CHOIR SINCE THE EARL 1THCENTUR. THE FIRST CHOIRMASTER

WAS ONE FREDERICK PETERS ANDHE LED A MI#ED-!OICE CHOIR ATTHE CATHEDRAL THE SINGERSWERE HIS BROTHER AND TWO

SISTERS" TOGETHER WITHANOTHER TWO MEN ACCOMPANIEDIN EACH CASE B THEIR OWN TWOSISTERS" MAKING A TOTAL OF

EIGHT SINGERS IN ALL (THREE MENAND SI# WOMEN).


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T43 , 39' ;' +, '93 ;'4 +, ?3' ;3 6,3: , 43


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+R,, ',%-ON' O 'ON!!

!**,GRO OR/


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-n which the theme are stated0 contains therincial things0 in the simle classical

strctre" there are only two or three themes.

1. ,3osition


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4 rincial theme in the tonic 6ey.

4 'ordinate theme in a related 6ey sch as thedominant or relatie ma9or.

4 %losing theme also called codetta0 seres to ringthe e3osition to a close.


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'ome ,3amles o ,3osition:,3amle 1

irst theme o +aydn;s 'onata in G/a9or" +o. 12.%reated y +yacinth (tal6) ?@:?8" 17$ecemer 2?1? sing 'ielis 5.

http://en.wikipedia.org/wiki/User:Hyacinthhttp://en.wikipedia.org/wiki/User_talk:Hyacinthhttp://en.wikipedia.org/wiki/User_talk:Hyacinthhttp://en.wikipedia.org/wiki/User:Hyacinth


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,3amle 2

'tart o second s9ect ($ ma9or) o

+aydn;s 'onata in G /a9or" +o. 1B.


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2. DE!ELOPMENTI =4+*4 43433, '3:3?3>+9& '

4 43 433, 3 :3?3>3:;3 :6+9

3= 3,.


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SOME E#AMPLES OFDE!ELOPMENT

D3?3>3 H:, S +G M'" H. #!I G1" I" .2-5.

http://en.wikipedia.org/wiki/Musical_developmenthttp://en.wikipedia.org/wiki/Joseph_Haydnhttp://en.wikipedia.org/wiki/Hoboken-Verzeichnishttp://en.wikipedia.org/wiki/Hoboken-Verzeichnishttp://en.wikipedia.org/wiki/Joseph_Haydnhttp://en.wikipedia.org/wiki/Musical_development


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. R3*>+6+

! restatement o the e3osition0 allthree sections in original tonic 6ey.


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P'+*+> 433

S6':+3 433

C,+9 433


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Recaitlation +aydn;s 'onata in G

/a9or" +o. 8?

,3amle o recaitlation:


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MO%ART ANDTHE SONATA


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W;99 :36, M'#olgang amades /oCart

(175B17@1) was considered ymany as the greatest msical

genis o all time. +e was achild rodigy and was already

comosing msic and layingthe iolin and harsichord asthe age o De. !t the age o

1A" he had written sonatas"concertos" symhonies"

religios wor6s" an oera Eaand the oeretta Fastien and

astienneH. /oCartIs msic isclear" delicate and simle.


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'ome o hiscomositions:

/oCart %oncerto or lte and+ar A. Rondea !llegro


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#olgang !mades /oCart 'inonia

%oncertante Jr =ioline" =iola ndOrchester A. resto


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"/oCart was one o thecomosers who wrote

many sonatas it is a ieceor one or two

instrments sch as theiano sonata" Ktes

sonata or sonata or Kte

and iano.


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IT IS USUALLY IN THREE OR

FOUR MOVEMENTS:

-. ast sally in a sonata allegroorm

--. 'low

---. ast sometimes in a minet

and trio orm

-=. ast sally in a sonata allegro

orm or a rondo orm


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HADN AND THESMPHON


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F' $,3>4 H:

ranC Loseh +aydn (17A218?@) wasorn in !stria to a oor amily. +estarted to teach himsel to comosemsic y stdying the wor6s o othercomosers. +e sered as $irector o/sic to the ,sterhaCy amily or A?years. +e was 6nown as a gentleman andest 6nown or his symhonies. +e wasale to comose oer 1?? symhonies.+e deeloed the symhony into a long

orm or a large orchestra or it wasdring the classical eriod when theorchestra" or it was dring the classicaleriod when the orchestra eoled withits section o strings" woodwinds"rasses" and ercssions.


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'ymhony No. 1?1 in $ ma9or(+oo6en 1M1?1) 2nd moement:

he %loc6 (%hamer !rrangement)

'ome o his %omositions

F+, %*O%H


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iano 'onata No.B2 +o.


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! symhony is a sonata or

orchestra and has Pmoements.


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I. FAST AND LI!EL-

SONATA ALLEGRO FORM&USUALL IN DUPLEMETER.

II. SLOW- ANDANTE&SONATA FORM (ABA)"

THEME AND !ARIATIONOR RONDO FORM.


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III. FAST- MINUET DANCESTLE TRIPLE METER.

I!. FAST AND GA- SONATAFORM OR RONDO FORM&

USUALL IN DUPLEMETER.


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T43 C,,+*

C*3'


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instrmental and orchestra. he soloinstrment can e a iano" iolin"

trmet" or any instrment. -t iscomosed i three moements. -tIs li6ethe sonata and symhony e3cet that theminet moements is omitted. Near theend o the Drst moement or sometimesin other moements as well is thecadenCa. -tIs a section or the solo

instrment alone" consisting o rilliantirtoso material which dislays thetechniQe o the erormer.


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ORCHESTRA


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he three moements are:

-. astin sonata allegro orm withe3ositions o theorchestra and then y

the soloist.

--. 'low sometimes the cadenCa is inthe second moement.

---. ast


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M6,+* ;

B334?3


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L6:=+9 ! B334?3


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*&$#-G =!N ,,+O=,N (177?1827) #!'

ORN -N G,R/!N O ! !/-* O /&'-%-!N'!N$ '&$-,$ /&'-% ! !N ,!R* !G,. +,#!' ! !*,N,$ -!N-' !N$ %O/O',R

!N$ #!' R,%OGN-S,$ !' +, FR-N%, O!** %O/O',R'H. ,=,N - +, ,G!N O GO$,! -N +, ,!R 17@B +, #!' '-**$,,R/-N,$ O %O/O', /&'-%. !/ONG +-'

%O/O'--ON' !R, A2 'ON!!'" 21 ',' O=!R-!-ON'" @ '/+ON-,'" %ON%,RO'" !N$%+OR!* /&'-%.


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S3 ; B334?3,

=', '3

4 he ith 'ymhony

4 /oonlight 'onata O. 27 No 1A

4 he athtiQe 'onata


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C,,+* O>3'

-/*-,' ! +,RO-% OR


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-/*-,' ! +,RO-% OR

R!G-% $R!/!. +-' #!'

OR/,R* %!**,$ O,R!',R-! (',R-O&' O,R!) ORGR!N$ O,R!. +-' -N$O O,R! ,/*O'/+O*OG-%!*

%+!R!%,R'.


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K+:, ; O>3'

he term opéra comique is


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O>3' C+63 (F'*3)e e opé a co que s

comle3 in meaning and cannotsimly e translated as comicoera. he genre originated in theearly 18th centry with hmoros

and satirical lays erormed atthe theatres o the aris airs whichcontained songs (vaudevilles)" withnew words set to already e3istingmsic. he hrase opéra comiqueen vaudevilles or similar was otenalied to these early stage wor6s.-n the middle o the 18th centry"comosers egan to write originalmsic to relace the vaudevilles"nder the inKence o the lighter

tyes o -talian oera.

A:'J E'3,M:3,3 G'J' André Ernest Modeste Grétry, themost famous composer of opéra

comique before the French

Revolution

",RN,'%O $R!//!

http://en.wikipedia.org/wiki/Vaudeville_(song)http://en.wikipedia.org/wiki/Vaudeville_(song)


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,RN,'%O " $R!//!%O/-%O" $-=,R-/,NOG-O%O'O" ,%. - -',',%-!** !''O%-!,$ #-+

$,=,*O/,N' -N N!*,' -N +, -R' +!* O +, 18+%,N&R" #+,N%, -'O&*!R- 'R,!$ O

RO/, !N$ NOR+,RN -!*.- #!' ! -R'%+!R!%,R-S,$ ,=,R$!',-NG'" *O%!* $-!*,%'"!N$ '-/*, =O%!* #R--NG

(+, !''O &O -' +,!''O%-!,$ =O-%, ,)" +,/!-N R,T&-R,/,N ,-NG%*,!R $-%-ON !N$ !%-*-#-+ !,R.

OPERA BUFFA

(ITALY)

/oCart;s he /arriage oigaro is a amos oera Ea.

OCCASIONALL NEWL

BALLADOPERA(18THCENTURY

http://en.wikipedia.org/wiki/Napleshttp://en.wikipedia.org/wiki/Basso_buffohttp://en.wikipedia.org/wiki/Patter_songhttp://en.wikipedia.org/wiki/Patter_songhttp://en.wikipedia.org/wiki/Basso_buffohttp://en.wikipedia.org/wiki/Naples


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COMPOSED.ONE OF THE EARLIEST AND THEMOST FAMOUS OF BALLADOPERAS ISTHE BEGGAR’S OPERA (1728)"WHICH IS AT ONCE A SPOOF ONITALIAN SERIOUS OPERA AND ASATIRE ON THE MORALIT OFCONTEAMPORARPOLITICIANS. ITS TE#T IS B

$OHN GA " WITH MUSICADAPTED B $OHN PEPUSCH. ITHAD MAN IMITATORS. OTHERCOMPOSERS ADAPTING ORWRITING MUSIC FOR BALLADOPERAS INCLUDEDTHOMAS ARNE" CHARLESDIBDIN" STEPHEN STORACE"AND" IN THE 1TH CENTUR"SIR HENR BISHOP.

BALLAD OPERA (18TH CENTURY

ENGLISH COMIC OPERA)

T43 B399', O>3'1 +, : >3' + 4'33 *,

='+3 + 1728

$4 G =+4 6,+*'' 3: 4

CONTEMPORARENGLISH BALLAD OPERASINGSPIEL (GERMAN)

http://www.britannica.com/EBchecked/topic/58570/The-Beggars-Operahttp://www.britannica.com/EBchecked/topic/429776/operahttp://www.britannica.com/EBchecked/topic/227376/John-Gayhttp://www.britannica.com/EBchecked/topic/450924/John-Christopher-Pepuschhttp://www.britannica.com/EBchecked/topic/450924/John-Christopher-Pepuschhttp://www.britannica.com/EBchecked/topic/35706/Thomas-Arnehttp://www.britannica.com/EBchecked/topic/161971/Charles-Dibdinhttp://www.britannica.com/EBchecked/topic/161971/Charles-Dibdinhttp://www.britannica.com/EBchecked/topic/567493/Stephen-Storacehttp://www.britannica.com/EBchecked/topic/567493/Stephen-Storacehttp://en.wikipedia.org/wiki/The_Beggar's_Operahttp://en.wikipedia.org/wiki/Ballad_operahttp://en.wikipedia.org/wiki/John_Gayhttp://en.wikipedia.org/wiki/Johann_Christoph_Pepuschhttp://en.wikipedia.org/wiki/Johann_Christoph_Pepuschhttp://en.wikipedia.org/wiki/John_Gayhttp://en.wikipedia.org/wiki/Ballad_operahttp://en.wikipedia.org/wiki/The_Beggar's_Operahttp://www.britannica.com/EBchecked/topic/567493/Stephen-Storacehttp://www.britannica.com/EBchecked/topic/567493/Stephen-Storacehttp://www.britannica.com/EBchecked/topic/161971/Charles-Dibdinhttp://www.britannica.com/EBchecked/topic/161971/Charles-Dibdinhttp://www.britannica.com/EBchecked/topic/35706/Thomas-Arnehttp://www.britannica.com/EBchecked/topic/450924/John-Christopher-Pepuschhttp://www.britannica.com/EBchecked/topic/450924/John-Christopher-Pepuschhttp://www.britannica.com/EBchecked/topic/227376/John-Gayhttp://www.britannica.com/EBchecked/topic/429776/operahttp://www.britannica.com/EBchecked/topic/58570/The-Beggars-Operahttp://www.britannica.com/EBchecked/topic/50485/ballad-operahttp://www.britannica.com/EBchecked/topic/50485/ballad-opera


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ENGLISH BALLAD OPERA AND THE FRENCHOPRA-COMIUE (BOTH

OF WHICH STIMULATEDITS DE!ELOPMENT)" THESINGSPIEL ROSE TOGREAT POPULARIT INTHE LATE 18THCENTUR. ITS SUCCESSWAS PARTL CAUSED BA REACTION BCOMPOSERS AND

AUDIENCES AGAINSTTHE ARTIFICIALCON!ENTIONS OF THETHEN DOMINANTITALIAN OPERA.

SINGSPIEL (GERMAN)

#olgang !mades /oCart (center)attending a erormance o his

'ingsiel"Die Entf!run" aus dem#erail" in erlin in 178@

http://www.britannica.com/EBchecked/topic/50485/ballad-operahttp://www.britannica.com/EBchecked/topic/429835/opera-comiquehttp://www.britannica.com/EBchecked/topic/429835/opera-comiquehttp://www.britannica.com/EBchecked/topic/50485/ballad-opera


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MO%ART WAS THE FOREMOSTOPERA COMPOSER DURING THE

CLASSICAL PERIOD. HE MADE THESMPHON ORCHESTRA AS ANINTEGRAL PART OF THE OPERA.HIS CHARACTERS ARE REALHUMANS WITH FEELINGS ANDEMOTIONS. HE ESTABLISHED ABALANCE BETWEEN THE DRAMATICAND MUSICAL ELEMENTS.


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BAROUE ANDRENAISSANCE PERIOD

UNIT I!

3 3', ' - '3 + 4


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BAROUE PERIOD (100-1750)3 3', ' '3

*3*+?3 = , 43 '63>3'+:. T43 =': '63Q *3 ;' P'6963,3 =': '*Q=4+*43, >3' =+4 '396' ,4>3.B'63 +, 3' ; ,63'*4. T43 '63' ; ;'*3 =, +9

L6+, #I!" C'=3 '63: E9: :>33' 43 9'3 9?3'3: R6,,+. T43'+,*'* 4: :+3'3 *66'3 ;'43 +::3 *,,. O>3' =, *'33: ,

3= ;' : >3';'3: ;' 43>6+* ?+,4 ,*3 +3 =:. I 3*3 43 ;?'+3 :+?3',+; 43 '+,*'*. M+::3 *,,3,

943'3: =34 : >=3' + 43+'


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I3'3,+9 >3',++3,

+?3: + 4+, >3'+:. G'33, + ,*+3*3 +*6:33= : H'?3"

+3'3 : M+ ++3'6'3" : + 'R3':" B3'++ :

'63',. I 6,+*" 43 =3:+9 *>,3', =3'3 4 S3,+ *4 :

G3'93 F'3:3'+* 4:3.


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BASSO CONTINUOT43 39++9 ; 43 B'63 >3'+:=, '3: 43 33'93*3 ; 43, ,9. T4+, ,9 =, **>+3: ,, +,'63 ,6*4 , 43 ?+ :3

9" : 3' 3': +,'63"43 4'>,+*4':. T43 **>+3>'" =4+*4 +, *3: ,, *+6 '3, ; 6,+*

;' >3' +,'63 >+3*3,.


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T43 ,,>' +,

>3: 43 ?+ :39" ,+@

,'+93:+,'63": 434' +,:+'3*3: 3+>'?+,3:

43

B*4 : 4+, *,


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B*4 : 4+, *,

Lohann 'eastian ach(1B85175?)

H3 =, 43

3:+9*>,3' ; 43'63 >3'+:.H3 '694

'63>>4 +,6'+ : 43>3'+: *,3,

=+4 4+, :34 +1750. H3*>,3:+,'636,+* ,6*4 ,


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%antata came rom the -talian word F%antareHwhich means Fo singH. -t is a comosition orocalist" instrmentalist" and chors. -t is asedon a oetic" narratie" either religios or seclaro a lyric or dramatic natre. he chrch cantatawas so secial signiDcance in germany as it wassed in the *theran chrch serice. *i6e theoera" it consist o arias" recitaties" dets" andchorses and oten emloys chorale melodies

and te3t. ! chorale is a hymn tne associatedwith German rotestantism. -t is characterriCedy a hold ater a hrase.

%antata


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HANDEL AND HIS ORATORIS

G


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George rederic6 +andel(1B85175@)

Georgerederic6+andel (1B85

175@) was theother greatDgre in

aroQe msic.+e was orn inGermany tsent most o

his lie in othercotries. -n*ondon" heconceied the

idea o


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!n oratorio is a orm o dramatic msiccinsiting o an oertre" arias" recitatie"

chorses" and ensemles. -t came rom anitallian word which means For a lace orayerH" and set to a lidretto o sacred orserios style. -t is erormed in concert style

withot costme " scenery" and action.Greater emhasis is gien to a chors and atesto (narrator) is oten emloyed .

T43 '9 4'>,+*4':


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T43 '9" 4'>,+*4':": 43' '63

+,'63D6'+9 43 '63 >3'+:"+,'63 6,+* 9'3=

>>6'. T4+, 3: 43:3?3>3 ; 3=+,'63 ;', : 3=

+:3>3:3 +,'63,3," + 43 +>'?33 ;+,'63," 6 43'*43,' =, 3


62/82

C?+*4':

L63

R3*':3'


63/82

P+>3

O'9O'9

T'6>3

!+ D3G


64/82

T43 9'33, :3?3>3 ; '9 6,+*

>*3 + G3' + 43 3 : 184 *36'+3,. A9 43 6,:+9 *>,3',=43'3 B6@346:3" >*43 : $.S. B*4. A43' +>' +,'63 :6'+9

43 B'63 P3'+: +, 43 4'>,+*4':= ?'+3 ; 3, C?3*+(F'3*4)" C?+*3 (I+)" *3(G3') : ?+'9+ ( ,3'+,'63 ; E+34 E9:). 43

4'>,+*4': >':6*3, 3 3, ;,'+9, 4 '3 >6*3: 3*4+*=43 3 +, :3>'3,,3:. +, ,'+9 '3>6*3: 6+, +,3: ; 3+9 ,'6*3:

43', +3 43 >+. T43 >'3,,6'3

.I 4, ,3?3' ,3


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I 4, ,3?3' ,3; >+>3, =+4?'+9 394,.

S3 ; 43 3'3: ;3'43 '9, ; 4

>3'+:. H3'3 + 43P4++>>+3," =34?3 3@>3;'63 '9=4+*4 =, 6+=43 B*4 =, ,++?3. I +, 43 S

A96,+.

ie Organ


66/82

D*3 ,6+3 : B'63,


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T43 '63 ,6+3(, *3: >'+)

*,+,, ; ,3'+3,; :*3, :3'+?3:

;' ,*+ ' *6':*3, ; 43 +3.

T4+, :*3 6,+*


68/82

A9 43 >+ :*3, '3 439?3 ( +3)" 6',3 (

+3)" >+,3" +63">,,3>+3:" + V +3.I '63 6,+*" 43 3' ,=, ;3 6,3: ;' ,6+3 ; :*3

?33,. T4+, =, = , 43, :3 *3'Q (*43',). I *,+,, ; 43 ;6',+* :*3 ?33,.!nother aroQe sonata is the Fsonata

da chiessaH (chrch sonata) whichconsists o seeral moement oten odanceli6e character. he asic orm isslow" ast" slow" ast.


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he or rincial o dances othe aroQe site are:

4 !llemande ( german ) moderately ast in dle time

4 %orante ( rench ) in trile meter with the reQentdotted rhythm

4'araande ( sanish ) in slow trile time" also withdotted rhythm


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C*3'

G',,


71/82

T43 , +>' ;' ; '*43,'6,+* + 43 '63 >3'+: +, 43

**3' 9',,. I 3>, '*43,' *,++9 + ; ,'+9,=+4 9'6> ; ,3?3' ,+,'63, *3: 43 **3'+ +>>,++ 43 =43 '*43,'"*3: '+>+3 ' 6+.

-t has three moements:

ast'lowast

!n e3amle o a concerto grosso is the F


72/82

!n e3amle o a concerto grosso is the randenrg concerto F o Lohann 'eastianach.

Othercomosers o

this 6ind omsic wereGeorgerederic6 +andeland !ntonio=ialdi (1B78

I

G3'93

F'3:3'+*H:3

A+ !+?:+

A ,>3 **3' 9',,Q


73/82

A ,>3 **3' 9',,G'6> M3,6'3,D+*,

R+>+3 1-8;

C*3'+ 1-

;

R+>+3 5-8>

C*3'+ 1-

>

T6+ 5-8;

C*3'+ 1-2


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RENAISSANCE PERIOD (150-100)

R3+,,*3 3, '3+'4Q


75/82

R3+,,*3 3, '3+'4Q" ,3*6' '3+'4 ;' 3 :3+943:=+4 +;3" 3 =3'3 393' 3' 43 *6: 6 43 =':. T4+, =,43 +3 =43 :+,*?3'3: 443 =': +, '6:. I ,*+3*3"

;6, >3',++3, =3'3 G+3: C>3'+*6,& I '," 4+, =, 43+3 ; M+*4393" L3': :?+*+ : R>43& I 6,+*&

P3,'+" T4, M'3" M*46: D6;.

T43 '3+,,*3 39 + + :

9':6 ,>'3: ?3' 43 =3,3'E6'>3 =':. T43 6,+* =, 6,+3 43 ?+,6 '," ,>*+6," 339"*3:" >'>'+3:" : =+4

,


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,R-O$:

S+ G3'93 : T43 D'9 R>43

St. George and the Dragon is asmall cainet ainting y the -talian

+igh Renaissance artist Rahael"15?P15?B" now in the

National Gallery o !rt in #ashington"

M L+, L3':

http://en.wikipedia.org/wiki/Cabinet_paintinghttp://en.wikipedia.org/wiki/Italyhttp://en.wikipedia.org/wiki/High_Renaissancehttp://en.wikipedia.org/wiki/Raphaelhttp://en.wikipedia.org/wiki/National_Gallery_of_Arthttp://en.wikipedia.org/wiki/National_Gallery_of_Arthttp://en.wikipedia.org/wiki/Raphaelhttp://en.wikipedia.org/wiki/High_Renaissancehttp://en.wikipedia.org/wiki/Italyhttp://en.wikipedia.org/wiki/Cabinet_painting


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M L+, L3':

he Mona Lisa (Monna Lisa or LaGioconda in -talian0 La Joconde in rench) isa hallength ortrait o a woman y the -talian artist *eonardo da =inci" which has eenacclaimed as the est 6nown" the mostisited" the most written aot" the most sng

aot" the most arodied wor6 o art in the

/adonna and child y /ichelangelo

http://en.wikipedia.org/wiki/Italian_Renaissancehttp://en.wikipedia.org/wiki/Leonardo_da_Vincihttp://en.wikipedia.org/wiki/Leonardo_da_Vincihttp://en.wikipedia.org/wiki/Leonardo_da_Vincihttp://en.wikipedia.org/wiki/Leonardo_da_Vincihttp://en.wikipedia.org/wiki/Leonardo_da_Vincihttp://en.wikipedia.org/wiki/Italian_Renaissance


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y g

he Madonna of Bru"es is a marle scltre y/ichelangelo o /ary with the inant Less

./ichelangelo;s deiction o the Madonna and

C!ild diEers signiDcantly romearlier re resentations o the same s ect which

http://en.wikipedia.org/wiki/Michelangelohttp://en.wikipedia.org/wiki/Mary,_mother_of_Jesushttp://en.wikipedia.org/wiki/Jesushttp://en.wikipedia.org/wiki/Madonna_and_Childhttp://en.wikipedia.org/wiki/Madonna_and_Childhttp://en.wikipedia.org/wiki/Jesushttp://en.wikipedia.org/wiki/Mary,_mother_of_Jesushttp://en.wikipedia.org/wiki/Michelangelo


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MUSIC OF THE

RENAISSANCE PERIOD


80/82

O3 ; 43 +>' 3?3,:6'+9 '3+,,*3 =, 43

+?3+ ; >'++9 : >>3' +150. M6,+* =, +>'>' + 43 +?3, ; 43 6>>3' :

+::3 *,,3,. T43 ++ ,+9: > +,'63 =, +>' ,,3.

R3+,,*3 6,+* +, >>4+*: ;3 +??3, 9'3 :3 ;+++. T43 +>' ;','3 43 3 : 43 :'+9. A


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he olar instrment dring

the renaissance is the lte. -t isa 1Bstringed instrment andlayed y lc6ing. he lte has

a secial 6ind o notation calledtalatre. -t is sed as soloinstrment or layed y a groo layers laying dance ieces.

-t is also sed as anaccomaniment to a song.

,nd o /sic o the %lassical eriod and


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,nd o /sic o the %lassical eriod andaroQe and renaissance eriod

!yla !ngela '. %han Lasmine !. !raos

!3'+3 C. C'>6

3 N+*3 B. C'+,,

+3 A B. !+,>3',

*awrence '. ernae

B333 F3 A6+

M+63 D3 G6

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