Survey
* Your assessment is very important for improving the workof artificial intelligence, which forms the content of this project
* Your assessment is very important for improving the workof artificial intelligence, which forms the content of this project
Antiquity: BCE-476 AD Medieval Era: 476-1420 Renaissance: 1420-1600 The Baroque Era 1600-1750 Copyright © 2006 Jacksonville High School, Christopher D. Howard This information may be used and reproduced for educational purposes as long as proper credit is given. Music of the Baroque Baroque (Fr.): Barocco (It.)—Imperfect Pearl Name given for flamboyant and extra characteristics Term not applied to music until 1919 by Curt Sachs, German Musicologist Baroque History Age of Absolutism-Absolute Rule (Driven by Divine Right)-Louis XIV <France> set the standard Subjects to the Crown Many courts were built as a symbol of wealth Peter I “The Great” of Russia also known for establishing a system of great power through Absolutism. Baroque History-Thirty Years’ War Thirty Years’ War (1618-1648) Germany (fought here), France, Spain, Sweden, Denmark, Holland and several countries of the Holy Roman Empire ended by Treaty of Westphalia France comes out on top (shoots foot with repeal of Edict of Nantes)… Edict of Nantes (1598): Agreement between French Catholics and Protestants to not kill each other. Louis XIV Called the “Sun King”—Because he thought he was the center of the universe Exclaimed “I am the state!”—Divine Right Led France through several military conflicts Pro-Arts: patronized Jean-Baptiste Lully (French composer) Revoked Edict of Nantes, causing 500,000 Protestants to migrate elsewhere (Holland, Prussia and N. America) causing decline in French stability—Lack of laborers. Louis XIV--Palais De Versailles Built lavish palace—Versailles Moved French government from Paris to Versailles Adorned in Gold—Played host to fireworks, tournaments, dramas ballets and operas. England Avoided Absolutism because of the Magna Carta of 1215— Everybody works together and no one has complete power Went through several Kings during this time period: King Charles I (1625-1649) Oliver Cromwell (1649-1660)-Commonwealth (Eventual Dictatorship) King Charles II (1660-1685) King James II (1685-1688) “Glorious (Bloodless) Revolution”ousted absolutist-inclined, proCatholic Queen Mary (Daughter of James II) and William of Orange (1689-1702) The Scientific Revolution The Catholic Church (and much of Europe) believed that the earth was flat and that it was the center of the universe. Nicolaus Copernicus (Polish Astronomer, 14731543) Believed the Earth was round and that the sun was the center of the universe. Works not published until 1543. The Scientific Revolution Tycho Brahe (Danish Astronomer, 1546- 1601) Mapped skies and orbits Johannes Kepler (German Astronomer, 1571- 1630) Supported Copernican view by using Brahe’s information Orbit elliptical not circular Protestant The Scientific Revolution Galileo Galilei (Italian Mathematician, 1564-1642) Also supported Copernican view Proved that the sun was the center (w/ telescope). Universal Laws of Physics Laws of Inertia—An object at rest will stay at rest and an object in motion will stay in motion unless acted upon by an external force…pendulum to clocks Catholic—Condemned by the Catholic Church and stood trial (and lost) under the Spanish Inquisition Father was a composer The Scientific Revolution Francis Bacon (English Philosopher and Scientist, 1561-1626) Empirical thought Helped develop Scientific Method Rene Descartes (French Philosopher and Mathematician, 1590-1650) “I think, therefore I am.” Question everything. The Scientific Revolution Isaac Newton (English Scientist and Mathematician, 1642-1727) Laws of Gravity Expanded on Laws of Planetary Motion Published Mathematical Principles of Natural History AKA Principia (1687) Developed Calculus through observations made in Principia Art and Literature of the Baroque Miguel de Cervantes (Spanish writer, 1547- 1616) Don Quixote Rembrandt Harmensz van Rijn (Dutch Painter, 1606-1669) Brilliant painter but difficult to work with—this explains the many self portraits. Rembrandt The Music Party (1626) Rembrandt Self Portrait (1629) Rembrandt Self Portrait (1660) Rembrandt Portrait of a Lady with an Ostrich-Feather Fan (1660) Glossary Magna Carta: (1215) Called the “Great Charter:” reluctantly signed June 15, 1215 by King John I as a result of the nobles’ revolt against higher taxes (to finance continuous wars). Document in England granting all English citizens basic rights and equal protection under the law. Edict of Nantes: (1598) Signed by King Henry IV (France) as a truce between the Roman Catholic and protestants, allowing Huguenots (French Protestants/Jean Calvin Reformed Church 1550) to retain control of the cites they occupied. Thirty Years War: (1618-1648) Civil war fought in Bohemia (area of Western Europe) involving most of Western Europe—fought from religious tensions between France and Germany. Ended with the Peace of Westphalia (confirmed the division between Roman Catholic and Protestant Territories). The Age of Absolutism: (1576) The rise of monarchies that claimed their right to rule through God. English, French, Russian and German examples. The Glorious Revolution: (1688) Bloodless revolution creating a limited monarchy. Parliament awarded the crown to William and Mary when James II fled. Political parties, the Cabinet and the office of the Prime Minister a result of this English Revolution. Oliver Cromwell and the Commonwealth: (1649-1660) Cromwell was a English military leader that lead the Puritans in the English War—n Parliament abolished the office of the monarch and the House of Lords, resulting in a commonwealth (state governed by elected people). Cromwell installed as Lord Protector from in 1653 The Scientific Revolution: (1600s-1700s) Europe and America were included in this widespread movement of scientific advancements in Chemistry, Astronomy, Navigation, Medicines. Advances helped bring about the Enlightenment. Music of the Baroque Overview Music of the Baroque Common traits: Unifying of mood (affect) Each piece conveys a single predominant mood throughout, with the intent of emulating or provoking that mood in the listener. DO NOT CONFUSE WITH COMPOSER’S SELF-EXPRESSION. Terraced dynamics Loud then Soft…Still no gradual changes Heavily ornamented Growing emphasis on formal aspects (construction) Music of the Baroque Introduction of Opera Constant competition between Catholic and Protestant Churches for “new” music. New New New…Caused music of earlier composers to be forgotten (even early composers of the Baroque) New musical forms Music of the Baroque Printed music for amateurs on the rise Music still characterized as memorized and improvised Public learned music through “audience participation” Shortcuts developed to save time in composition Music of the Baroque Seconda Prattica Music of the Baroque The Music world (not just the church) began to evaluate polyphonic practices Possible reasons: The Catholic Church had done so during the Renaissance sparking an interest in ‘clear’ polyphonic music During the Baroque, several concepts came back following: “What is Old is NEW, Again.” Renaissance composers began using harmonies that did not make sense. Music of the Baroque Baroque composers went back to the thought that the Text was the most important aspect (melos) and other aspects of the song were built around that text. The music was intended to assist in provoking the desired response from the text Polyphony survived, but now with fewer moving lines and a clearer “melody” HOMOPHONY IS BORN!!! Florence Camerata (Florence, Italy) (camerata means club or society) Group of interested music advocates (including poets, musicians and nobleman) that gathered to discuss revisions of music Included (among others): Vincenzo Galilei (Galileo’s father, composer, ?-1591) Giulio Caccini (composer, 1545-1618) GIacopo Peri (composer, 1561-1633) Florence Camerata -The intermedi Major contribution: intermedi of La Pellegrina (“The Pilgrim Woman”)-(a traditional Greek-style play written for and performed at the wedding of Ferdinando de’ Medici in 1589) Traditional Greek in both subject and text vs. music relationship (Based on Greek Mythology) The intermedi were between the acts of the play and are now called “entr’actes,” or “intermezzos” These intermedi exemplified the “new, old” polyphonic style The Second Practice Music of the Baroque is termed seconda prattica (“second practice”) distinguishing it as different from the prima prattica (“primary” or “first” “practice”) of the Renaissance Main factor: Solo voice is perceived and conceived as the Main voice with instrumental accompaniment, rather than the vocal line fitting within the polyphonic texture as an equal to the instrumental parts Compositional Styles/Genres of the Second Practice- Basso Continuo Basso Continuo (“Continuing Bass”) An accompaniment foundation supplied for solo voice Single bass line, performer is responsible filling out inner voice 4 main voices—Bass, Tenor, Alto, Soprano Figured bass-numbers or “figures” given by composer to performer to fill out inner parts Improvisation-still key performance element Compositional Styles/Genres of the Second Practice- Basso Continuo Instruments were not stated specifically Solo, usually voice Bass line often doubled Inner voices played by any instrument that could play multiple notes/chords (harpsichord…) Compositional Styles/Genres of the Second Practice- Basso Continuo Support for the vocal line is described two ways: Chordal: vertical (up and down) Contrapuntal: horizontal (left to right) Compositional Styles/Genres of the Second Practice- Basso Continuo Composers began to rely heavily on performers and “wrote” less down Shortcuts include tablatures (tabs)—pictures and symbols used to indicate what fingers to put down to play a given note or set of notes (chord). Other shortcuts: figured bass, expected ornamentation This gave the composers the opportunity to compose more music (since they did not have to fill in the inner parts) Instrumental techniques and vocal techniques developed simultaneously. Mixed with this “easier” style of composition, the revitalization of the Greek Drama, the focus on text…OPERA emerged. OPERA is Sung Drama Compositional Styles/Genres of the Second Practice-Mondody Monody: Solo voice accompanied by basso continuo Monodies within the Second Practice showed more rhythmic continuity (overall connection) Rhythm of the second practice became more defined (easily distinguishable barlines) This is due to the now present weak and strong beats (vs. the First Practice “Equal” Beats) Polyphonic music still exists: now seen with many more a capella (of the chapel….no accompaniment) groups. Comparison RENAISSANCE BAROQUE Style Prima Prattica Remnants of Prima Prattica and new Seconda Prattica Text Poorly represented Great focus on meaning and projection Texture Polyphonic-Equal voices Still Polyphonic (in concept) Mostly Homophonic Rhythm tactus-infrequently-changed steady pulse Fixed meters with expected strong and weak beats Melody Lyrical and not virtuosic Greatly virtuosic (flashy) Harmony Modal Tonal Form Paratactic (each section with new theme) Paratactic and Syntactic (interrelated themes) Instrumentation Vocal mostly a cappella Instrumental and vocal interchangeable Instruments and Vocal parts conceived intentionally More concrete differences between vocal and instrumental Antiquity: BCE-476 AD Medieval Era: 476-1425 Renaissance: 1425-1600 The Baroque Era 1600-1750 Vocal Music Vocal Music: Italy The Madrigal Still basically the same principle as before. CALLED: Concertato Madrigal Big name in composition of this style: Claudio Monteverdi. Early works displayed Renaissance style, later works Baroque (w/ continuo). Vocal Music: Claudio Monteverdi Transitional composer (Lifespan straddled Renaissance and Baroque periods). He understood and used both the prima and seconda pratticas. Career divided into two parts: Mantua and Venice Mantua: court of the Gonzaga Dynasty. Wrote what was requested by the court, including first two operas: Orfeo (1607) and Ariadne (1608). Venice: San Marco Basilica-very prestigious position. (p. 204-205) Vocal Music: Claudio Monteverdi Wrote with technique called “ground bass.” Virtually an ostinato for the bass—a repeated figure. Musical Example Zefiro torna e di soavi accenti (“The west wind returns with soft accents). Pause: p. 201-202 Vocal Music: Italy Artusi-Monteverdi Controversy Giovanni Artusi attacked Monteverdi’s use of dissonance in a document entitled, “The Artusi; or, On the Imperfections of Modern Music.” The specific piece that Artusi referred to was Cruda Amarilli Monteverdi responded with a document (at the beginning of Book 5 of his Madrigals) entitled, “The New Practice; or, The Perfection of Modern Music.” Monteverdi’s response shared Monteverdi’s view that dissonance was acceptable, especially when attempting to portray the text. Vocal Music: France The air de cour (“courtly air”) shared the same ‘transitional’ characteristic as the madrigal, starting out polyphonic and a cappella and then gradually moving toward the monodic approach with continuo. (similar to concertato madrigal) Vocal Music: France Jean-Baptiste Lully: (1632-1687) Italian Born, French citizen at early age. Worked for Louis XIV 1652: Becomes ballet dancer 1661: Appointed superintendant of music at French Court 1662: Appointed music master to the French royal family 1672: Establishes patent to establish Royal Academy of Music (and sole authority to write and perform all opera in France). Died of Gangrene (after stabbing foot during a rehearsal) Vocal Music: Germany Heinrich Schütz: (1588-1672) Born exactly 100 years before Bach. Another Transitional composer mastered by first and second practice. Brought Seconda Prattica north of the Alps Mostly composed sacred music, associated with the Lutheran Church. Composed the first German Opera after adapting recitative for the German language. Worked in Dresden Music of the Baroque Focus works and composers… George Frederic Handel German-born composer and violinist (1685-1759) Was born in the same year, within 100 miles of Bach—but they never met Started law school in 1702 (left after a year) Moved to Italy in 1706, then back to Italy (in service of the Elector of Hanover) in 1710. Handel worked in England, where the elector eventually gained the throne (George I, 1714) Appointed director of Royal Academy of Music George Frederic Handel Became a British subject in 1727 Known for composing only a few operas (most famous Rinaldao, 1711) Also composed, oratorios, cantatas, Anthems (for the Catholic, Lutheran and Anglican Churches) Buried in Westminster Abbey (England) Handel was a German composer writing Italian operas in England!!! Handel’s Water Music Premiered in 1717 on the Thames River, London, England…on a Barge…hence “Water” Music. Orchestral 3 Suites King George I threw a big party (on a barge)—asked Handel to provide the “musical entertainment” (on a second barge) Handel’s Messiah Oratorio Premiered in Dublin, Ireland in 1742 At English premiere, King George II was so excited by “For the Lord God Omnipotent Reigneth,” that he stood up. (Hallelujah Chorus from Messiah) (English custom…the King stands=you stand) Now, it is tradition to stand during this portion. Johann Sebastian Bach German-born composer, keyboardist, violinist, etc. (March 21, 1685-July 28, 1750) His obituary (published 6 days later) read, “The loss of this uncommonly able man is uncommonly mourned by all true connoisseurs of music.” Music had been the family trade for four generations—Bach had little choice Worked as and organist Johann Sebastian Bach 1703 Worked as and church organist (Arnstadt) 1707 Worked at a larger church…still as an organist (Mulhausen) 1708 Appointed court organist and chamber musician (later concertmaster) to the Duke of Weimar Bach later asked to be relieved of duty—the angered Weimer imprisoned Bach for nearly a month before allowing him to leave 1717 Music Director court of Anhalt-Cothen 1722 Cantor of St. Thomas’s School in Leipzig Johann Sebastian Bach-BWV Works are catalogued by the BWV system BWV means: Bach-Werke-Verzeichnis or Bach Work Listing Catalogued by Wolfgang Schmieder Bach’s Brandenburg Concertos Six Concertos Concertos for chamber orchestra, works based on an Italian Concerto Grosso style Finished in 1721 and presented to the Margrave (The lord or military governor of a medieval German border province) of Brandenburg as a gift The Margrave never thanked Bach for his work--or paid him Bach’s Passions Passion-The Story of (the Crucifixion of) Christ Good Friday, 1729, Leipzig (St. Thomas’ Church) St. Matthew’s Passion, BWV 244 was premiered (nearly 4 hours long) St. Matthew Passion is the Gospel account of St. Matthew of the Passion of Christ Oratorio (w/ recitative, solos, chorus) Calls for large group (2 choirs, each w/ their own orchestra, several vocal and instrumental solists) Also wrote a Passion according to the Gospel of St. John, 1730 Bach’s Well-Tempered Clavier, The best known of Bach's clavier works is the famous set of preludes and fugues called The Well-Tempered Clavier. Part I (Book 1) was completed at Cöthen in 1722, and Part II (Book 2) was completed at Leipzig around 1740. Each part consists of twenty-four preludes and fugues, one prelude and one fugue in each of the twelve major and minor keys. Bach’s Toccata and Fugue in D minor, BWV 565 Written for organ, “king of instruments” (Bach) Freely constructed piece w/ virtuoso passages and an improvisatory style (ABA) Toccata presented, then followed by a fugue (VERY popular Baroque instrumental compositional genre) and then the Toccata is hinted (ABa’) Bach’s Goldberg Variations (1742, BWV 988) Another encyclopedic work Series of 30 Variations Canon, Fugue, and other musical forms of the Baroque Aria presents the melody (which is varied throughout) in the bass Antonio Vivaldi Known as the “Red Priest,” b/c of his red hair. Worked much of his life in a girl’s orphanage. Wrote over 400 concertos, 40 operas (seria), 12 motets Wrote The Four Seasons A series of 4 concertos All have 3 movements: fast-slow-fast Vivaldi also wrote a series of sonnets (poems) to be read in conjunction with the performance of the concertos as narration. Source Bonds, Mark Evan. A History of Music in Western Culture. Upper Saddle River: Pearson Education, Inc., 2003.