History of Music Musical works and their composers are usually described as belonging to a specific era These terms

ms serve as a sort of shorthand to tell us that the music shares aspects of style with other pieces written at roughly the same time. These eras of music, however, relate to more than just the sounds of the pieces. They reflect broad changes in society and culture Antiquity / Medieval Period (450 1450) Historical Themes The Spread of Christianity The Christian religion began as an underground sect of messianic Judaism in the first century C.E. Its practitioners were first persecuted, then tolerated; finally Christianity was accepted as the official religion of the Roman Empire. After the fall of the Western Empire, it emerged as the central unifying force in medieval Europe. The development of a European culture After the fall of the Roman Empire in the fifth century, the former Roman lands were ruled by various barbarian lords. These lands were eventually united by the Frankish kings, culminating in the crowning of Charlemagne (742-814) as Holy Roman Emperor. The influence of Islamic culture As the followers of the prophet Mohammed (570?632) expanded their territory through the Middle East and the Mediterranean, they preserved and built on the knowledge of the ancient Greeks and Romans. Through conflict (the Crusades) and coexistence (the multicultural Iberian Peninsula), Europe gained much from its contacts with this rich culture

Saint Gregory is credited with organizing the huge repertory of chant that developed during the first centuries of the Christian church, hence the term Gregorian chant. He was pope from 590 to 604, and the Medieval era continued into the 1400s, so this period consists of almost a millennium's worth of music. The Beginning of Musical Notation As in many non-Western cultures, music in early medieval Europe did not have a system of notation. It was not until perhaps the ninth century that a basic system of notation was developed. Notating music was a difficult and time-consuming process. It was only in the cathedrals and monasteries that such work could be done on a regular basis. Therefore, nearly all the music preserved (until the twelfth century) was written for the church. The advent of notation also produced a markedly stable body of music, one of the features of Western musical culture. The Birth of Polyphony Music that has two or more independent melodies woven together. Descriptions of polyphonic singing date back to the ninth century, but the practice actually began earlier in improvised performances. Polyphony is a distinctive feature of Western music. Its development became the primary focus for composers from the thirteenth century on. Complex polyphony demanded specialized training for composers. The composition of plainchant was primarily an activity of the monastery and convent, but by the fourteenth century, composers were more often members of the university-trained elite of the church. This change explains, in part, the lack of female composers of polyphony.

Musical Context The Music of the Church Music was an integral part of Christian worship. The daily liturgy provided innumerable texts, all set to music in the style we call Gregorian chant. The church served as an important patron of the arts, specifically of music Throughout the period, the majority of composers were associated with and supported by the church.

Musical Styles Plainchant / Plainsong the only type of music allowed in Christian churches. music = individuals = spirituality / reflection music that consists of only one melodic line without accompaniment. -> monophonic No actual composers

Polyphonic music where two or more melodic lines are heard simultaneously, did not exist (or was not notated) until the 11th century. Unlike chant, polyphony required the participation of a composer to combine the melodic lines in a pleasing manner. Although most Medieval polyphonic music is anonymous--the names of the composers were either lost or never written down at all-there are composers whose work was so important that their names were preserved along with their music. GUILLAUME DE MACHAUT Hildegard Revelations Von Bingen, Heavenly

A change in the views of the earth and the cosmos Christopher Columbus (1451?-1506) and Ferdinand Magellan (c.1480-1521) expanded Europe's view of the world. The astronomical studies of Nicolaus Copernicus (1473-1543) -- later championed by Galileo Galilei (1564-1642) -- called into question the old earth-centered view of the universe.

Musical Context Increased Interest in Humanist Learning The arts became an important measure of learning and culture. Music moved from the science of number to an expressive art viewed as an equal to rhetoric. The rise and rapid spread of music printing increased access to music and books about music. Increased Patronage of Music The rich courts and civic governments of the Renaissance supported music to a degree not previously seen. This level of musical support was also provided by the religious institutions of the day. Territorial Expansion and Increased Wealth As a result of colonial expansion, great wealth flowed into European cities and courts. Travel and the resulting musical exchange became a driving force for the creation of a more international musical style. The composers of the Renaissance concerned themselves with three different areas of music: Sacred music: Composers continued to work with the older forms such as the motet and Mass. It is in this music that we find the clearest international style. Secular music: Composers created new forms that reflected national trends, such as the Italian madrigal and the French chanson. Instrumental music: The rise of music printing encouraged the spread of instrumental music for amateurs, and more specific types emerged. During this time, artists and musicians produced works that displayed more artistic freedom and individualism. Their art forms rediscovered the ancient Greek ideals

The rise of Secular Music o o o 14 century : composers began to create music with non-religious themes Freer forms Guillaume de Mauchaut who wrote both sacred and secular music
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Composers Pope Gregory- Gregorian Chants Saint Augustine Boethius- Important Theorist Hildegard von Bingen (1098-1179) Perotin (c. 1155-1377) Guillaume de Machaut (c. 1300-1377) John Dunstable (c. 1385-1453) Guillaume Dufay (c. 1400-1474) RENAISSANCE (1450 1600) Historical Themes A rebirth of Classical learning The rediscovery and re-evaluation of writings of the ancient Greeks and Romans suggested a "rebirth". Nineteenth-century historians seized on the idea to create our present image of "The Renaissance". The gradual change from the feudal system to the modern state Starting in northern Italy, the hierarchical state -- led by either the urban bourgeoisie or despotic nobles -replaced the fluid and often chaotic feudal system of the Middle Ages. For this reason, some historians refer to the Renaissance as the Early Modern Era.

Imitation was a method that composers used to make elaborate music more coherent and to give the listener a sense of arrangement. one melodic line shares, or "imitates" the same musical theme as a previous melodic line

MOTET a type of form separate part of sacred music. It is not part of the mass. Text comes from other stuff. Accompanied by instruments Isorhythmic Motet- rhythmic pattern repeated over and over by the instrument

Imitative polyphony can be easily heard in the music of Byrd, Gibbons, and Gabrieli. GIOVANNI DA PALESTRINA SALVE REGINA Monteverde Orfeo 04 Muse Onor

Form Sacred forms music was used for worship mass was a popular form a mass is a church service (from Catholicism) all music is written for the theme of the service Kyrie- The first part of a mass Kyrie is Lord have mercy, Christ have mercy, Lord have mercy (Forgive me) Gloria- The second part of the mass. (Godis great) Credo - The third part of a mass. (Statement of beliefs.) Sanctus- The fourth part of a mass Holy, Holy (bread and wine turn into Christs blood.) Agnus Dei- The fifth part of a mass -lamb of God -(Have mercy) Communion Benedictus- The sixth part of a mass Go in peace. (Youre OK)

HYMN- another type of sacred form -sung by congregation -homophonic -Secular form -Madrigal -basically English -polyphonic -sung after feast

- a type of secular vocal music composition, written during the Renaissance and early Baroque eras. Throughout most of its history it was polyphonic and unaccompanied by instruments, with the number of voices varying from two to eight, but most frequently three to six. Composers Palestrina wrote a ton of music (c. 1525-1594) some people think he was the greatest composer of the Renaissance Monteverdi He did a lot of instrumental work. He laid the ground work for Opera. Gesualdo Most people thought he was possessed by Satin (1560-1613) extremely ahead of his time not afraid to use dissonance Giovanni Gabrielli (c. 1554-1612) John Dowland (1563-1626) Orlando Gibbons (1583-1625)

SACRED FORMS MASS plain song mass- composers rewrite monophonicchant into polyphonic setting (add parts) -parody mass- composers take any existing music and put it into a polyphonic setting. -cantus firmus- one melody or chant was used for everything in the whole mass

BAROQUE PERIOD (1600 1750) The increasing importance of scientific investigation Scientists such as Galileo Galilei (1564-1622) and Isaac Newton (1642-1727) broke away from the older model of science, whose purpose was the proof of an a priori assumption. Instead, through observation and experimentation, scientists devised hypotheses about why things happened. The culmination of royal despotism A small group of leaders (kings, queens, and emperors) wielded enormous power in Europe. Such was their power that Louis XIV (1638-1715) was to declare, "L'tat 'est moi" ("I am the state"). Development of the New World The English, French and Spanish holdings in the New World continued to supply Europe with wealth. But as the generations passed, colonists began to feel a growing allegiance to their new homes. Ultimately, such feelings would lead to the independence of these lands. Artificiality and marvelous effect were valued in the arts Sculptors, building on the techniques of artists such as Giovanni Bernini (1598-1680), found ways to create the illusion of energetic and even violent movement in their works. Painters created larger and more crowded canvases. Virtuosity was highly prized in all the arts.

Johann Sebastian Bach (1685 1750) Summer Finale from the Four Seasons, Antonio Vivaldi Johann Sebastian Bach - Toccata E Fuga (BWV 565) CLASSICAL MUSIC 1750 1825

Historical Themes The Industrial Revolution New developments in the means of production led to increases in material goods and wealth. As production was centralized, urban society became more central to life in Europe and the Americas. The philosophy of the Enlightenment This world view placed an emphasis on the natural rights of people, and on the ability of humans to shape their own environment. Writers such as Jean Jacques Rousseau (1712-1778) and Voltaire (16941778) helped shape these ideals. The political ideals of republican government The Enlightenment's emphasis on the individual led to the elevation of the individual's role in political life. The idea of the social contract lay behind two of the most momentous events of the period, the American and French Revolutions.

Musical Context Art and "Nature" People's view of the nature of this world, and of their relationship to it, was undergoing fundamental change. Political theories saw people as free agents in the world, with a nature that, if not fundamentally good, was at least not fundamentally bad. The concept of "natural" became an important component in artistic thought. The Social Role of Music Improved economic conditions -- fostered by better production methods -- yielded more goods and greater wealth. "The pursuit of happiness" was available to a broader class of society. Music began to be seen as "an innocent luxury". European composers reacted to increased demand for music. The Concept of Nature in the Arts The "unnatural" and "artificial" gestures of Baroque painting and sculpture were replaced with "natural" ideals of simplicity and balance.

Musical Context A Time of Experimentation Musicians embraced the idea that music could move the listener in a real and physical way. Opera, with its blend of music and drama, was the full realization of this ideal. In instrumental music, no less than in opera, composers experimented with ways of creating impressive effects. Expanding Roles for Music Music continued to be used as an important tool of statecraft. The new and extravagant styles served as a rich adornment to religious services in both Catholic and Protestant traditions. Music, especially opera, was as an important source of entertainment to the growing merchant and landed classes.

Composers Claudio Monteverdi (1567 1643) Henry Purcell (1659 1695) Antonio Vivaldi (1678 1741)

Allegorical subjects in art and literature were cast aside in favor of "real" people and situations, and the genre of the novel was born. In music, simplicity, balance and an interest in real emotions were critical for the composer.

Ludwig Van Beethoven (1770-1827) - regarded as the father of modern music Symphony # 40, Wolfgang Amadeus Mozart Symphony No. 5, Ludwig Van Beethoven ROMANTIC ERA (1825 - 1900)

Styles CLASSICAL SONATA o o The basic structure in which composers wrote instrumental music. applied to solo sonatas, chamber music, symphonies, and concertos.

Historical Themes The increasing role of science in defining a worldview The skepticism resulting from by a clearer understanding of the world and humanity's place in it changed the way people thought of themselves and society. Charles Darwin's (1809-1882) The Origin of the Species is one example of the new attitude. A growing autonomy for the arts More and more, art was removed from functional roles and came to be appreciated for its aesthetic worth. The art of the past became increasingly revered, and our modern notions of the "artist" and of the "fine arts" were born.

* musical compositions of this time contained three or four movements, each with its own special characteristics. THE SYMPHONY o Another important form of instrumental music was the symphony, which blossomed during the 18th century The basic form of the classical symphony was the Italian overture, called sinfonia. It was an orchestral composition arranged in three movements (fast-slow-fast)

Musical Context Increased Interest in Nature and the Supernatural Romantic artists saw nature in a less idealized way than the artists of the Classical period had. The natural world was considered less a model of perfection and more a source of mysterious powers. Romantic composers gravitated toward supernatural texts and stories. Schubert's Erlking and Berlioz' Symphonie fantastiqueare two good examples. The Rise of Program Music Music began to be used to tell stories, or to imply meaning beyond the purely musical. Composers found ways to make their musical ideas represent people, things, and dramatic situations as well as emotional states and even philosophical ideas. Nationalism and Exoticism Composers used music as a tool for highlighting national identity. Instrumental composers such as Bedrich Smetana made reference to folk music and national images (as in The Moldau), while operatic composers such as Giuseppe Verdi set stories with strong patriotic undercurrents.

The style of the Classical era is marked by many of these ideals, and it is reflected in a number of musical elements: Simpler textures: Homophonic textures (usually melody and accompaniment) became the standard. Contrapuntal texture was used sparingly, and for specific purposes. Simpler melodies: Classical melodies usually fall into even phrases, and often were organized into symmetrical "question and answer" structures. Many composers found inspiration in folk melodies. The piano: The piano, with its ability to produce gradations of dynamics, became the most important solo instrument for Classical composers. Simple, rational forms: Simple two- and three-part forms became the essential building blocks of all Classical forms, especially the Sonata Allegro form.

Composers John Gay (1685-1732) Franz Joseph Haydn (1732-1809) Wolfgang Amadeus Mozart (1756-1791) Regarded to be the greatest child prodigy the world has ever known

Composers took an interest in the music of various ethnic groups and incorporated it into their own music. Composers also wrote works based on stories of exotic lands and people. Changing Status of Musicians A composer was no longer dependent for income on the steady employment by nobility but relied instead on the support of the public and the patronage of individuals. Music was seen less as an occupation and more as a calling. Specialized training institutions (conservatories) replaced the apprentice system of the church and the court. Women found more opportunities for musical expression, especially as performers, but social and cultural barriers still limited their participation as composers.

20

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CENTURY MUSIC (1900 present)

Historical Themes Phenomenal changes in technology We live in a century that has moved from the earliest automobiles to supersonic jets and space travel. Science has progressed at a rate unthinkable to earlier generations. We have learned how to eradicate some of the most dangerous of diseases, and to predict and control the forces of nature. We possess the technological ability to control nearly every aspect of our lives. And we also have developed the tools to end all life in an instant. The advent of instantaneous global communication

Musical Context Ambivalent Attitudes toward the Musical Past Some composers have made the conscious decision to distance themselves from the styles and values of the past. Claude Debussy said: "The century of the airplane ought to have its own music." Other composers have just as consciously tried to return to some aspects of the past, especially the elements of the Classical style. A Widening Gap between "Art" and "Popular" Music Popular music, especially jazz, country and rock, became the central musical focus of the majority of people in the Western world, and its reach covers the globe. Composers in the "art" traditions have come to be seen as less relevant in day-to-day life. Composers whose music has become more and more complex have widened the gap between art and popular music. The Advent of Sound Recording The distribution of music made possible by recording was instrumental in the growth of popular styles. Recordings have changed the way we listen to music. Works from all musical periods are available at any time. The techniques of recording and audio production have become important musical elements in their own right.

Musical Style Dynamic range is wider, and there is a larger range of sound. There is a greater variety of instruments, including improved or newly-invented wind instruments. Melodies are longer, more dramatic and emotional. Tempos are more extreme Harmonies are fuller, often more dissonant. Formal structures are expanded. These are often determined by the programmatic content of the piece.

Composers Brahms, Johannes (1833-1897) Chopin, Frederic (1810-1901) Schubert, Franz (1797-1828) Nikolai Rimsky-Korsakov (1844 1908) Flight of the Bumblebee (from The Tale of Tsar Saltan) Nocturne in C Sharp Minor, Frederic Chopin Wedding March, Richard Wagner

The Birth of a World Music Culture Western music, popular as well as art traditions, has become a world language. At the same time, Western musicians have become more and more interested in the music of other cultures. Western composers with non-Western ancestry have likewise sought out the music of their heritage. Non-Western ideas have enriched Western styles and have been accepted enthusiastically. In the age of global communication, a new "world music" style is starting to emerge. This style freely mixes elements from multiple cultures and is not dependent on the heritage of its creator.

Musical Style MUSICAL STYLE All sounds are possible (even no sounds). New instruments and the sounds of popular music have changed the soundscape of the twentieth century. Contrapuntal textures prevail in art traditions. Popular traditions are centered on homophonic textures. Rhythmic language can be enormously complex. Melodies can be long and abstract or reduced to small gestures. Any harmonic combination is possible. Composers have made use of extreme dissonance as well as microtonal intervals. Form can be controlled to an almost infinite degree, or it may be the result of improvisation and chance. MUSIC 20TH CENT Duke_Ellington_-_02__September_Song Mind Education, Misty Eyes