musi 1000y general characteristics of medieval music liturgical notated music is mostly vocal...
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MUSI 1000yMUSI 1000y General Characteristics of Medieval Music
• Liturgical
• Notated music is mostly vocal
• Smooth, conjuct melodic contours
• Folk, dance, instrumental Secular song
MUSI 1000yMUSI 1000y General Characteristics of Medieval Music
• Syllabic
• Neumatic
• Mellismatic
MUSI 1000yMUSI 1000yAnon., Kyrie (plainchant)
• Monophonic
• Roman Catholic Mass
• Latin vs. Greek
•Three levels of organization
• Neumatic
MUSI 1000yMUSI 1000yBeatriz de Dia (late twelfth century)
Song, A chantar
• Troubadour
• Strophic
• Unrequieted love
• ABABAB structure
• Secular
MUSI 1000yMUSI 1000yPerotinus (c. 1170-c. 1236)
Viderunt Omnes (four-voic polyphony for the Cathedral of Notre Dame)
• Organum
• Monophony vs. polyphony
• Rich harmonies
• Rhythmic drive
MUSI 1000yMUSI 1000yGuillaume de Machaut (c. 1300-1377)
Secular song (roundeau) Douz Viaire Gracieus
• Roundeau
• Two contrasting sections
• Alternating meters
• Chromatic
• Instrumental accompaniment
MUSI 1000yMUSI 1000y General Characteristics of Renaissance Music
• Overall sound is much smoother and more homogeneous
• Strict and free imitation
MUSI 1000yMUSI 1000yVerantius Fortunatus (c. 530-609)
Plainchant hymn, Pange Lingua
• Strophic
• Tonic ‘E’ delayed until end
• Almost entirely syllabic
MUSI 1000yMUSI 1000yJosquin Desprez (c. 1440-1521)
Kyrie from the Pange Lingua Mass
• Point of imitation technique
• Overlapping cadences
• Paired imitaiton
• Mass ordinary
• Cantus firmus mass
• Three sections
MUSI 1000yMUSI 1000yPalestrina (c. 1525-1594)
Motet from the Song of Songs, Vineam Meam Non Custodivi
• 5 voices, 2 independent tenors
• Songs of Solomon
• Text/music rhythms match
• Word painting
• variety of textures
• exceptional blending of imitation and homophony
MUSI 1000yMUSI 1000yThomas Morley (1557-1602)
Two English Madrigals
• Highly imitative
• Word painting
• Secular
MUSI 1000yMUSI 1000yGiovanni Gabrieli (c. 1555-1612)
Canzona Duodecimi Toni
• Purely instrumental
• Brass choirs
• Antiphonal
• Overlapping cadences
• Dynamic contrasts
• Canzona rhythm
MUSI 1000yMUSI 1000y General Characteristics of Baroque Music
• Designed to be emotional
• More rigid formal design
• Modern tonality
• organization and control replace experimentaiton
• Rhythm vitality
• Strong bass line
MUSI 1000yMUSI 1000yJohann Sebastian Bach (1685-1750)
Prelude and Fugue in E minor
• Subject
• Counter-subject (Answer)
• Tonic vs. dominant
• Episode
MUSI 1000yMUSI 1000yJohann Sebastian Bach (1685-1750)
First Movement from Brandenburg Concerto No. 2 in F Major
• Set of six
• Three movt’s (fast-slow-fast)
• Solo vs. ripieno (full ensemble)
• Mottos fragmented, re-organized
MUSI 1000yMUSI 1000yGeorge Frederich Handel (1685-1759)
Serse, Act I, Sc. 1
• Operas and oratorios
• da capo aria
• Improvisation on A’
• Recitative accompagnato
• action vs. reflection
MUSI 1000yMUSI 1000yGeorge Frederich Handel (1685-1759)
Serse, Act I, Sc. 1
Tender, beautiful leaves
Of my beloved plane-tree,
May Fate prove kind to you.
May your cherished peace never be disturbed by thunder, lightning and storms,
Nor rapacious south wind profane you.
Frondi tenere e belle
Del mio platano amato,
Per voi risplenda il Fato.
Tuoni, lampi e procelle
Non v’oltraggino mai la cara pace
Ne giunga a profanarvi austro rapace.
MUSI 1000yMUSI 1000yGeorge Frederich Handel (1685-1759)
Serse, Act I, Sc. 1
Never was the shade
Of vegetation
More dear and friendly,
More sweet!
Ombra mai fu
Di vegetabile
Cara ed amabile
Soave più!
MUSI 1000yMUSI 1000y General Characteristics of Classical Music
• Balance and proportion
• Clarity and accessibility
• Simple, logical and clear harmonies
• Shorter phrases
• “Simpler” walking bass lines
MUSI 1000yMUSI 1000y General Characteristics of Romantic Music
• Dynamics extended, changes more frequently, less predictable
• Range of tempos extended, more frequent, more adjectives
• Melodies are longer, “yearning” quality, rubato
• Harmony explores further, modulations, chromatic
• Forms blur
MUSI 1000yMUSI 1000yRichard Wagner
Prelude and Liebestod from Tristan und Isolde
•LeitmotifLeitmotif
•Dynamic arch Dynamic arch formform
•NazismNazism
•Music dramaMusic drama
•ChromaticismChromaticism
•““yearning”yearning”
•BayreuthBayreuth
•Cadential Cadential blurringblurring
•TranscendentaTranscendental l
blissbliss
MUSI 1000yMUSI 1000yBedrich Smetana (1824-1884)
Symphonic Poem, The Moldau
• Tone poem
• Descriptive, programmatic music
• Nature
• Cyclic
• Orchestral colour expanded
MUSI 1000yMUSI 1000yPyotr Illyich Tchaikovsky (1840-1893)
First Movement from Symphony No. 4 in F Minor
• Highly lyrical
• Prominent Brass fanfare
• Reinterpretation of sonata allegro form
• Fate motive
• Unconventional key scheme
MUSI 1000yMUSI 1000yClaude Debussy (1862-1918)
Prélude à l’après-midi d’un faune
• Impressionism
• Symbolist poet Mallarmé
• Large orchestra
• Orchestral colouring
• Opening melody is sensuous, chromatic and vague
MUSI 1000yMUSI 1000y General Characteristics of 20th Century Music
• Tonality dissolves
• Melodies erratic, wide leaps, irregular rhythms and unexpected notes
• Rhythmic freedom
•Length is unpredictable
• Tone and colour experimentation
MUSI 1000yMUSI 1000yIgor Stravinsky (1882-1971)
Le Sacre du Printemps (The Rite of Spring), Opening Section
• Ballet
•Expressionism
• Pounding rhythms
• Clashing dissonances
MUSI 1000yMUSI 1000yAlban Berg (1885-1935)
Wozzeck, Act III, Scenes 3, 4, and 5
• Atonal
• borrows structures from the past
• Symmetrical
• Leitmotiv
• Music of extremes
MUSI 1000yMUSI 1000yBéla Bartók (1881-1945)
Fifth Movement from String Quartet No. 4
• Arch form
• Five movements
• Clashing chords, whirling melodies, asymmetrical rhythms
• Extreme dissonances