Note: This page is no longer in any way
affiliated with International School Manila. I'm leaving it up
because my feedback has been that others have found it useful.
Check out the rest of my website, and current interests and activities,
at Grolsons.com
AAAforSuccess . Workshop / website for Self Esteem and Success Skills:
Accept, Aim, Act!
IT: International Teacher . Website (still in formation) meant to be a useful
resource for US teachers overseas.
IBMusic Lecture Notes for International Baccaulaureate Music
Course (1998-2000) which Patrick taught at ISM.
DISCUSSIB
MUSIC TOPICS on the new WEB BOARD! (1/26/2003)
RECOMMENDED RESOURCES
Offered in association with Amazon.com.
If you buy any of the following at
Amazon.com by clicking from here, this site will receive a small
comission (which may help keep it up and running!) Don't worry,
you still get Amazon's great price and service.
(I could put in a lot of nifty graphics,
but that might slow things down for folks with slower connections.)A
History of Western Music, Sixth Edition Donald J. Grout,
Claude V. Palisca. Still, THE music history book, this new
edition is a lot more engaging than the "revised edition"
I remember from college.
Last updated: March 30,
2000 (still transferring data from index cards, notes, and other
sources)*
SEPTEMBER 2002 NOTE: *Now
that I am (temporarily, semi) retired, I will have some time
to work on this site. Check out my other work (and more current
areas of interest) at: AAAforSuccess (for information
on my life/success skills workshops) and IT:
International Teacher. (which I hope will eventually be a
very useful site for international educators). You may look forward
to a further organization of this site...eventually. Unfortunately,
the IB Music Curriculum is likely reorganizing faster than I
am. Still, I get frequent e-mail from students and teachers who
find this area useful, so I'll keep it around just for now. Best
wishes!
MMA = Kamien: Music, An Appreciation
NS = The Norton Scores
NAWM = Norton Anthology of Western Music
NRAWM = Norton Recorded...
EOM = The Enjoyment of Music
MFOT = Music For Our Time
MUSIC HISTORY IB Time Band 4 (1550 - 1700)
Preface: The Middle Ages
Gregorian Chant [ex: Haec Dies PMG “Gregorian
Chant #16/NS Vol I p1]
Secular songs and dances-monophonic: troubadours
(s.Fr) and trouveres (n.Fr) - aristocratic poet/musicians
[Adam de la Halle Robins m’aime NRAWM
CD1#20/PMG NAWM Vol I p 36]
Ars Nova (1300) Guillaume de Machaut (French
c1300-c1377) more flexible rhythm, more polyphonic, fuller harmony.
[Mass: Agnus Dei NRAWM CD1#56/PMG NAWM vol
1 p 82]
The Renaissance: (1450 - 1600)
The Era:
Rebirth of learning and culture, expressly
the ideas of ancient Greece and Rome.
Age of exploration and discovery: Christopher
Columbus, Vasco da Gama, Ferdinand Magellan.
Advances in science and astronomy. Copernicus.
Gunpowder, the printing press. scientific inquiry. Humanism.
Leonardo Da Vinci. the Renaissance man: scholar,
painter, sculptor, inventor, scientist, musician.
Visual art: perspective, realistic portrayal
of the human figure, portraits, nude sculpture.
Botticelli (Birth of Venus 1480) [PMG MAA
p 108]
Donatello (David 1400’s) [EOM p 84]
Michalangelo (David 1504) [MAA p109]
Da Vinci (Madonna and St. Anne 1500’s)
- compare with Medieval madonna.
[MAA plates]
It’s a veritable who’s who: Lorenzo
de Medici (Machiavelli), Lucrecia Borgia, Erasmus, Luther, Galileo,
Cervantes, Marlowe, Shakespeare. Gutenberg, Petrucci.
Composers:
Ockeghem (Neths. c.1430-1495)
Josquin des Prez (Neths.c1440-1521)
Orlando d’ Lassus (Neths. 1532-1594)
Thomas Tallis (English c1505-1585)
William Byrd (English1543-1623)
Thomas Morley(English c.1557-1602)
Dowland (English 1553 - 1626)
Weelkes (English 1576 - 1623)
Palestrina (Italian c1525 - 1594)
G. Gabrieli (Italian 1552 - 1612)
Monteverdi (Italian 1567 - 1643)
Style:
Form imitation, homorhythm, cantus firmus,
text-dominated forms
Melody relatively conjunct, contrapuntal
lines, word painting
Tone Color families or consorts of instruments,
blend
Harmony interval of the third; firmly
regulated treatment of dissonance
Rhythm smooth regular flow, or restless.
Dance music strongly metrical, but in general complex interlocking
phrases without emphasis on meter. Syncopation.
Genres:
mass - settings of the mass ordinary; this
is where composers showed off their virtousity.
[Palestrina: Pope Marcellus Mass, Credo
NRAWM CD 1#14-18/ PMG NAWM vol 1 p 200/listening guide in PMG
MFOT p 155]
motet - polyphonic vocal work set to a sacred
Latin text. More opportunity for experimentation in expressing
different texts. [Josquin: Tu solus, qui facis mirabilia NRAWM
CD2 # 23-26 / PMG NAWM p 111]
chanson - Fr. for song. Our meaning here: French
secular polyphonic song of the 14 - 16 centuries. [ Claude
Le Jeune (c1600): Revecy venir du printans NRAWM CD2#61-69/no
score]
madrigal - secular polyphonic vocal work for
4 to 6 voices; imitative sections contrast with chordal ones;
intimately tied to the text, with word painting evident; avoids
fixed form. Sung at upper middle class social gatherings. Began
in Italy and moved to England. [Italian: Willaert, Aspro core
e selvaggio e cruda voglia, NRAWM CD2#42-46/PMG NAWM vol 1 p
242] [English: Farmer, Fair Phyllis PMG Quink English Madridgals#12/NS
vol 1 p75]
Instruments:
crumhorn - capped double reed instrument with
soft but very reedy tone.
cornett - instrument made of wood or ivory,
with a cup shaped mouthpiece.
lute - fretted, plucked string instrument with
bent neck; strings tuned in pairs.
sackbut - a mellow, softer precursor of the
modern trombone.
rackett - low pitched double reed instrument;
coiled lengthy tube in a small box.
recorder - wooden, just like the plastic one
you played in grade school.
shawm - harsh loud precursor of the oboe.
viol - bowed stringed instrument with a fretted
neck; six strings tuned a fourth apart w/a major third in the
middle. (A d g b e’ a’). Held upright in front of player.
Vocabulary
ayre - air, or song - a type of English madrigal.
Often printed in three directions so performers could sit around
a table.
a cappella - the ideal of Renaissance vocal
music. Unaccompanied.
academy - a “learned society” for
the purpose of furthering the arts, literature, or science.
ballett - like a madrigal but dance-like, strophic,
homophonic and with falala refrain.
cantus firmus (Medieval) - chant or chant fragment
on which polyphony is based.
consort - different pitched family of like
instruments.
chorale - Protestant hymn; tunes frequently
used as cantus firmi.
canzona - instrumental counterpart of the chanson.
cori spezzati - divided choirs; often associated
with the widely seperated choir lofts of St. Marks in Venice.
Gabrieli was the master of the polychoral motet.
fauxbourdon - Dufay compositional technique
for 3 voices using the interval of a 6th; creating basically
1st inversion triads.
frottola - Italian secular precersor of the
Madrigal. Lighter.
lied - here, German polyphonic song of the
late Middle Ages and Renaissance.
pedal point - sustained note in the bass, over
which harmonies move.
word painting (or tone painting) - intimate
link between text and music, sometimes subtle, sometimes obvious.
“As Vesta Was Descending” forms a descending line melodically.
The Early and Middle Baroque: Early
Baroque (1600-1650) / Middle Baroque (1650-1700)
The Era:
Portugese barroco, an irregularly shaped pearl,
much used in jewelry. Pejorative intent!
bizzare, unnatural, strained. Excess.
Conquest of the New World.
Thirty Years War 1618-38; bloody, nominally
between the Catholics and Protestants. Least affected was Italy;
hence that is where most of the artistic growth occured.
Monarchies. Louis the XIV “I am the state”
The Sun King; imitators everywhere.
Patronage of the arts
Galileo (1564 - 1642) - telescope; book defending
Copernicus; Papal inquisition public recant “Nevertheless
it does move.”
Newton (1642-1727) - clockwork universe
Visual art:
Fills the space; fills the canvas. Detail,
depth and ornamentation. Action and movement.
Bernini, Rubens, Rembrandt
Style:
Form: imitation, ritornello, binary,
ternary; variation. Unity of mood. Doctrine of affections.
Melody: Long spun phrases with much
ornamentation; disjunct motion (triad leaps)
Tone Color: Once established remains
throughout (unity of mood). Texture: 1st monody, then a re-flowering
of polyphony w/ homophonic sections to emphasize text. Use of
terraced dynamics.
Harmony: Major-minor tonality. V-I cadence
standard. Common practice. Sequence and imitation as well as
chordal texture.
Rhythm: Continuity of rhythm. Repeated
patterns. Forward drive is rarely interrupted.
Composers:
Claudio Monteverdi (Italian 1567 - 1643)
Girolamo Frescobaldi (Italian 1583-1643)
Heinrich Schütz (Germany 1585 - 1672)
Lully (France 1632 - 1687)
Henry Purcell (English c1659 - 1695)
Arcangelo Corelli (Italian 1653 - 1713)
Couperin (French 1668 - 1733)
(The masters of the late Baroque, in Time Band
III: Handel, Bach, Vivaldi)
Genres:
Cantata - means “sung.” Small scale
Italian secular song; early Baroque monody to Bach’s full
blown Lutheran church cantata in several movements with aria,
recitative, and chorus.
Opera - sung drama. Monteverdi is the 1st important
composer of Opera.
Oratorio - sung drama on a Biblical or moral
story; without action, scenery, or costumes.
Organ music- toccata - fugue - chorale based
pieces - mass
Sontata - means “sounded” or “played.”
Sonata de chiesa and de camera. Trio sonata for 2 melody instruments
plus continuo.
Suite - evolved from the dance pairings of
the Renaissance. Instrumental; several contrasting dance movements.
Covered in more depth in Time Band III.
Vocabulary:
aria - song from an opera
arioso - more songlike than recitative but
not as formal as aria.
bel canto - literally “beautiful singing”
equal temperament - tuning applied to keyboard
instruments by the late Baroque; divided the octave into 12 equal
semitones, making all keys “equal.”
castrati - ouch. One of those Baroque extremes.
basso continuo - bass line and melody supplied,
insides or harmony implied. Kind of like a jazz lead sheet.
ground bass - ostinato in the bass. IE in Monteverdi’s
opera.
major-minor tonality - emerged during the Baroque.
By 1699, it’s there. We have been moving toward it.
monody - accompanied expressive solo song of
the early Baroque. Vittoria is a great example.
The Camerata - small Renaissance academy seeking
to rediscover the expressive power of Greek music. Led to monody.
terraced dynamics - changing dynamics by addition
and subtraction of players.
ostinato - a favorite device of Baroque and
20th C composers.
patronage - Courts and monarchs. Also churches.
recitative - imitation of speech in opera.
secco (dry) and accompagnatio.
ritornello - the energizer bunny of compositional
technique.
sinfonia - instrumental piece to introduce
and opera or cantata
virt
Time Band IV REPRESENTATIVE WORKS (in-depth
study):
Set Work: Giovanni Gabrieli (1552 - 1612) Sonata
Pian e Forte from Sacrae Symphonae, published 1597
Essentially a double-chorus Venetian motet
for instruments.
One of the first instrumental ensemble pieces
printed which designates particular instrument for each part:
One of the earliest instrumental ensemble pieces
in which dynamics are specified.
The instrumentation of the two choirs affected
dynamics as well (cornett is essentially a loud instrument and
viol is essentially a soft one).
Further, terraced dynamics occur as the choirs
play individually and together.
Nephew of Andrea Gabrielli; succeded him as
organist at St. Mark’s Basilica in Venice in 1585; remained
there until his death.
A transitional figure between the late Renaissance
and the early Baroque.
John Farmer (d1601): Fair Phyllis (1599)
English madrigal
Light English madrigal. Good examples of tone
painting.
We don’t have much on Farmer. He published
only one madrigal book, following the tradition of Thomas Morley’s
light four voice madrigals. “Fair Phyllis” is the best
know.
Italian composer. Most of his life was spent
in Rome, where he wrote chamber cantatas in a style that lasted
for over a century. His Latin oratorios, of which Jephtha is
best known, are among the earliest extant examples of true oratorio.
Famous as a teacher, he had among his pupils Alessandro Scarlatti.
OTHER ILLUSTRATIVE WORKS FOR LISTENING:
Band IV Listening Tape
Side One
1) Set Work: Giovanni Gabrieli: Sonata Pian’
e Forte, , from Sacrae Symphoniae.. Performed by London
Brass Ensemble in 2 choirs of 4 voices: flugelhorn, 2 tenor trombones,
bass trombones; trumpet, alto trombone, 2 tenor trombones.
2) Gregorian Chant: Graduale: Haec dies
3) Organum: Hans Sachs: Alleluia Justus
ut palma
4) Notre Dame style: Perontin: Sederunt
- Gradual for St. Steven’s Day
5) Mass: Palestrina: Pope Marcellus Mass,
Agnus Dei.
6) Motet: Orlandus Lassus: Tristis est anima
mea
7) Lied: Heinrich Isaac: Innsbruck ich muss
dich lassen
8) Frottola: Marco Cara: Io non compro piu
speranza
Side Two
1) Italian Madrigal: Claudio Monteverdi: Cruda
Amarilli
2) Chanson: Claudin de Sermisy: Tant que
vivray
3) Ballett: Thomas Morely Now Is the Month
of Maying
4) English Madrigal: John Farmer: Fair Phyllis
5) Opera: Monteverdi, Orfeo Prologue
and Act II excerpts
Bonus Tracks:
6) Josquin: El Grillo
7) Praetorius: Terpsichore “Courante”
8) Praetorius: Terpsichore “Volte”
9) Morley: Those dainty daffadillies
IB Time Band 3 (1700-1800)
The High Baroque: (1700-1750)
The Era:
Portugese barroco, an irregularly shaped pearl,
much used in jewelry. Pejorative intent! Bizzare, unnatural,
strained. Excess.
For most (90%) of the population--peasants
and laborers, life was still “short, nasty and brutish.”
War, famine and plague.
Conquest of the New World. Raw materials =
Growing merchant class
Thirty Years War 1618-48; culmination of 100
years of war, bloody, nominally between the Catholics and Protestants.
Europe’s “first” world war. Least affected was
Italy; hence that is where most of the artistic growth occured.
Monarchies. Louis the XIV (reigned 1643-1715)
“I am the state” The Sun King; imitators everywhere.
Versailles.
Hapsburg King Leopold, Veinna, Schonbrunn
Prussia (eastern Germany) King Frederick William
Patronage of the arts
Important Figures:
Galileo (1564 - 1642) - telescope; book defending
Copernicus; Papal inquisition public recant “Nevertheless
it does move.”
Newton (1642-1727) - clockwork universe. Principia
(1687) based upon math and experiment, not “speculation”
Visual art:
Fills the space; fills the canvas. Detail,
depth and ornamentation. Action and movement.
Bernini (1598-1680), Rubens (1577-1640), Rembrandt
(1606-1669).
A complex mixture of rationalsism, sensuality
, materialsism, and spirituality.
“The Age of Enlightenment”
John Locke Essay Concertning Human Understanding
(1690); the infant is a tabula rasa
Denis Diderot (1713-1784) Encycopedie editor,
symbolized the desire of scientists and thinkers to define and
expand the base of knowledge
Samuel Johnson undertook a massive “Dictionary
of the English Language”
Francois Votaire (1694-1778)
fairness and justice; satirical attacks on
the abusses of power
twice thrown in the Bastille as a result of
angering nobles
rejected God of the church; professed belief
in a deity based on reason rather than faith
Scientists and philosphers continued to reflect
and write, whether supported,opposed, or ignored by royalty (who
were all trying to imitate Louis XIV).
In England, there was an upsurge of amatuer
orchestras during the late Baroque, who played for their own
enjoyment; but on the Continent: church, wealthy patrons, or
towns. Hence: chamber music from house musicians.
Style:
Form: Unity of mood (doctrine of affections)
constant throughout piece or section. Regular!
Melody: Creates a feeling of continuity;
same melody heard again and again; expansion, unfolding, unwinding
of melody “Fortspinnung” . Sequence. Ornamented. Not
always easy to sing or remember. “Instrumental” melodies.
Tone Color : Texture: late Baroque composers
gloried in POLYPHONY! Just like visual art, fills the space!
Terraced dynamics. Largest ensemble tended to be about 20. Tone
color tended to be unimportant (unspecified instrumentation,
free substitution) (The basso continuo provides a constant “wash
of sound”)
Harmony: Dominant --> tonic relationship
arises. Basso continuo. New emphasis on VERTICAL structure. Beginning
of the “common practice period.” Regular, rapid harmonic
rhythm. composer theorist Jean-Philippe Rameau.
Rhythm: Continuity of rhythm. Beat is
very important. Like a “motor”. Constant meter.
Composers:
Johann Sebastian Bach (German 1685-1750)
Born in Eisenach (family of professional musicians;
trained by father and older brother). Was not so famous in his
own day. Organist @Arnstadt (03-07), Mühlhausen (07-08),
court organist and concertmaster for the duke of Weimar (08-17),
music director for prince of Cöthen (17-23) and cantor at
St. Thomas Church in Leipzig (23-50)
Blended German French and Italian styles; wrote
music for his immediate use in each position.
Exemplified the mature Baroque.
George Frideric Handel (German [English] 1685-1759)
Dominco Scarlatti (Italian 1685-1757)
Antonio Vivaldi (Italian 1678-1741)
His main post: Pio Ospedale della Pieta, an
amazing institution of orphan girls (as many as 6000!)
Was prolific, as there was no such thing as
a "standard repertoire" in Vienna at the time: the
public expected new works each season.
Known today primarily as an instrumental composer,
but in his time was also successful at opera and church music
His concertos: clear form, memorable melodies,
rhythmic energy, contrasts in timbre and texture. Usually FSF
with the outer movements displaying soloist virtuosity and ritornello
form. Slow mvt usually aria like (and elevated in importance
compared to previous composers)
Influenced Bach
Jean-Philippe Rameau (French 1683-1764)
First known as a theorist and only later as
a composer. Early training and positions as an organist.
Published Traite de l’harmonie in
1722 which made his reputation
Patron was Alexandre Jean Joseph Le Riche de
la Poupliniere (nobleman, tax collector, avid patron of music)
His patronage allowed Rameau to write opera in Paris.
Rameau’s theoretical works were important:
He posited the chord as the basic unit in music, derived it from
the overtone series, suggested that it maintained its identity
and root when inverted. He established tonic, dominant, subdominant
as the pillars of harmony
Genres:
Vocal:
Opera - It. for "work" dramatic stage
composition, multi-act. Emotion is sung.
Oratorio - Like an opera without costumes or
staging: Composition for solo singers, chorus and instruments,
usually dramatic, and usually on a biblical or religious subject.
Cheaper to produce than opera. Ask Handel.
Cantata - Literally, "sung" (It.)
Think of Spanish, cantar, to sing. Contains recitative,
and aria. Compare to "sonata."
Instrumental:
Fugue:
Subject: main theme, (usu. head, middle, tail)
Countersubjects: lines sung against the subject
Episodes: take place between entries of the
subject; thematic material may be drawn from subject or countersubject,
or be new.
Stretto: overlapping entries of the subject.
Suite (varied dance movements all in the same
key) AB form (each dance)
German allemande duple moderate
French courante triple moderate
Spanish sarabande stately triple
(optional minuet, gavotte, bourree or passepied
English gigue (jig) lively 6/8
Sonata - sonare (It.) to play an instrumental
work; usu. in several movements for one or two solo instruments.
chamber sonata (camera) dance suite for at
home
church sonata (chiesa) more serious, several
movements for church use.
Trio sonata (2 vlns plus continuo equals 4)
Concerto -- concertare=”to contend with”
(2 dissimilar masses of sound)
Concerto Grosso (alternation between small
group and larger group)
Concerto Ripieno (concerto for orchestra)
Solo Concerto (violin the major one): Three
movements F-S-F.
The operatic Overture
French (slow-fast; fast loosely fugal)
Italian (fast(not fugal)-slow/lyrical-fast
dance like) (hey, its a concerto!)
Improvisiation - in the realization of figured
bass (basso continuo) and in cadenzas.
Vocabulary:
arpeggio - a broken chord
binary form - AB: tonic -->dominant / dominant
-->tonic, or tonic -->relative major and back
concertino - the soloists of a concerto grosso
cadenza - improvisitory solo passage; display
of virtuosity, before final cadence (before coda) of a solo concerto
circle of fifths - progression of the downward
fifth II-V-I.
da capo aria - ABA form aria
doctirne of affections - (Affectenlehre) an
attempt by Baroque theorists and composers (Johann Mattheson)
to codify the means of expressing emotions in music by imparting
convetional meaning to certain keys, tempi, rhythmic patterns,
and even to intervals. Once created, melodic figures or motives
were then spun out throughout a movement or section of a piece
in accordance with the Baroque musico-dramatic practice of presenting
one affection at a time.
harmonic rhythm - the rate or pattern of harmonic
change
hemiola - alteration of two of triple meter
at two different metrical levels.
libretto - “book” the text (story)
of an opera.
ornaments - addition of mostly stereotyped
melodic figures (trills, appogiaturas, mordents, etc.) by performer
(improvisation), composer or editor.
overture - an introductory instrumental movement
played at the beginning of an opera, stage play, oratorio or
suite. A concert overture, on the other hand, is an independent
compoosition.
passicaglia - a variation form based upon an
ostinato theme usually heard in the bass.
pedal point - sustained note in the bass, over
which harmonies move.
scordatura - any non-standard tuning of a stringed
instrument.
stretto - overlapping of subject entries in
a fugue.
ternary form - three part form, normally ABA.
thoroughbass - a system wherby a keyboard player
improvises chords over a given bass line by means of symbols
(numbers and accidentals) placed beneath the staff. (figured
bass, basso continuo). Fills in, or realized the harmony.
Instruments:
high trumpet
oboe
recorder
pipe organ
string family
The Classical Era (1750-1830)
The Era:
The Age of Enlightenment (see above)
Important Figures:
Visual art:
Style:
Form:
Melody:
Tone Color :
Harmony:
Rhythm:
Composers:
Christoph Willibald Gluck (German 1714-1787)
CPE Bach (German 1714-1788)
JC Bach ( German 1735-1782)
Franz Joseph Haydn (Austrian 1732-1809)
at age 29 entered into service for prince Anton
Esterhazy, in 1761; when he died Prince Nicholas Esterhazy became
Haydn's patron, a post Haydn held for most of his life.
compose at prince's request (esp. baryton solos
and ensembles)
Nicholas died in 1790, his son Anton didn't
care for music, disbanded the orchestra and gave Haydn a pension
Haydn went to London (London Symphonies)
Anton's son Nicholas II brought him back, for
prestige, but didn't expect much of him
Instrumental Music:
Symphonic form: most were Allegro-Andante-Minuet
and Trio-Allegro; first movements in Sonata form
Symphonies, String Quartets, Keyboard Sonatas
Vocal Music
Operas (many Italian comic operas...now rarely
heard)
Church music: six festive Masses for Princess
Esterhazy's nameday
Oratorios: The Creation, The Seasons (late
works)
Wolfgang Amadeus Mozart (Austrian 1756-1791)
Ludwig van Beethoven (German 1770-1827* we’ll
cover in time band II)
Genres:
Sonata
Symphony
String Quartet
Concerto
Opera
Vocabulary:
Alberti bass - broken chord accompaniment (named
after Domenico Alberti, who used it frequently.
canon - like a round, to put it simply
coda - the closing section of a large scale
work. (tail). Harmonically, a final prolongation of the tonic
harmony.
empfindsamer Stil - expressive (more robust
than style gallant) German style of the early Classical period.
Changes of mood and dynamics.
intermezzo - 17th and 18th century type of
comic opera in two parts inserted between the acts of an opera
seria
minuet and trio - usu. third movement of a
symphony or string quartet. A dance in triple meter, (minuet)
followed by another (trio); then the first returns. ABA.
orchestra - the classical orchestra was four
voices of strings, plus pairings of wind instruments (oboe, clarinet,
bassoon, horn) and timpani. Smaller than the Romantic orchestra,
or our orchestras today.
opera buffa - light, comic opera. Italian,
sung throughout. Opposite of opera seria, which was no laughing
matter at all.
sonata form; exposition recapitulation development
-- so important they have their own section below.
Sturm und Drang - literally Storm and Stress
(from the title of a 1776 play: which was part of a later
literary movement. Esp. the emotional, agitated, minor-key
character of some of Haydn's symphonies from 1768-74 (his later
symphonies were happier...)
style gallant - light, homophonic early 18th
century music, free treatment of counterpoint. Fr. for elegant.
theme and variations - well, there is a theme,
see, and then, like after, variations. On the theme. Get it?
Instruments:
The orchestra -
Sonata Form:
Introduction
Exposition (A)
1st subject in tonic key; bridge to
2nd subject usu. V (dominant) or III (relative
major) if key is minor
(Note subject may consist of several musical
ideas. 1st subject is usu. vigorous; 2nd is more tuneful. The
exposition is most often repeated)
Development (B)
Many changes of key
All material fair game
builds tension, dramatic conflict reaching
a climax when the music heads for
Recapitulation (A)
1st subject in tonic key (altered bridge to)
2nd subject now also in tonic key
Coda
Time Band III REPRESENTATIVE WORKS (in-depth
study):
Set Work: Clarinet Concerto, K. Mozart
Vivaldi: Concerto Grosso in G Minor, Op 3 No
2 [NAWM #78]
Vivaldi Concerto Grosso, Op. 3, No. 2: II
Allegro
Beg Meas Section Tutti/Solo Melodic Key
14 Rit T a gm
17 Rit T b gm
20 Rit T c gm
23 Epi S d gm
27 Rit T b gm
30 Rit T c gm
33 Epi S d gm
37 Epi S e gm
41 Epi S f gm
45 Rit T a dm
48 Rit T b dm
51 Rit T c dm
54 Epi S g dm
70 Rit T b dm
74 Rit S a gm
77 Epi T h gm
So then the overall form is ritornello with
four tutti sections alternating with solo material. The third
of the four tuttis is in the key of d minor; the rest are in
g minor.
There are three major thematic units; the first
a 16th note descending-ascending scalar passage; the second a
syncopated jumping passage accompanied by a repeating ascending
16th note climbing figure; and the third an inverted counterpoint
of the second.
Haydn: Symphony No. 56 in C Major 1st Movment
[NAWM 97]
Bach Cantata Wachet auf BWV 140 [NAWM 83]
Beethoven: Sonata Pathetique [NAWM 104]
IB Time Band 2 (1800-1900)
The Late Classical Era
Beethoven (1770-1827)
One of the first to insist on being treated
as an artist rather than a servant
Transitional figure: classical forms, romantic
ideas: sought to express his own feelings
Economy of material; laboriousness of work
-- sketchbooks
Bio: Born in Bonn, was taught by his father
(who drank, and wanted B. to be another Mozart)
Three periods:
1st :to 1802 (assimilation of the Classical
Style) up to 3rd Symphony
Studied with Neefe, Haydn
Established his reputation as a pianist in
Vienna
Had wealthy patrons who paid him to stay, but
also published music
Piano Sonatas: debt to Clementi and Dussek:
economy of material, symphonic breadth, sudden changes of harmony,
dynamics, texture, and mood
2nd : 1803-16 (new path: intensified and expanded
the Classical Style; individual voice) 4th thru 8th
Eroica: 3rd Symphony in Eb Major (dedicated
to Napolean, but later he tore up the dedication); Unprecidented
length and complexity; several unusual features: lots of melodic
ideas in the 1st mvt; the main theme is like a person in a drama,
struggling and finally triumphing; horns enter “too early”
in the recap: these features were carefully planned, the sketchbooks
show
Fidelio, his only opera
Symphonies 4-8 all show contrasting character
3rd : to 1827 (less accessible) 9th, string
quartets
introspective and experimental: blurred phrase
and section divisions; improvisitory character, instrumental
recitative; fugal textures in developments; sonority, wide spacing,
dense textures; unusual numbers and kinds of movements String
Quartet in C# Minor (NAWM 107]
Ninth Symphony (1824)
Troubled personal life
up to 1815, peaceful and prosperous, on the
whole
Deafness
began in his 20’s
Heiligenstadt Testament (1802)
as it progressed, pressed him into isolation,
made him suspicious of even his friends
from 1818, clinically deaf: conversation books,
130 survive
ill health, (unfounded) apprehensions of poverty
family problems
no wife, one true love, a married woman, his
immortal beloved, whom he would never possess (she offered, he
declined)
brother Karl died of tuberculosis, protracted
legal battle for custody of his nephew, finally won, but was
a lousy parent--the kid attempted suicide, and Beethoven finally
gave up.
Works: 9 symphonies, 5 piano concertos 16 string
quartets, 32 piano sonatas etc. Compare to Mozart and Haydn’s
prolific output.
The Romantic Era (1830-1900)
The Era
The wake of the French Revolution: Napolean
(Beethoven’s 3rd)
Conflict between the individual and society:
Tess of the Durbervilles, Les Miserables, Anna Karenina, Oliver
Twist.
The illness of the century: hope and optimism
give way to doubt and disenchantment (all people were not free
and equal after all)
A related theme: escapism; strangeness and
wonder; “anywhere but here, anytime but now...” (Dumas,
Hawthorne, Poe)
Visual Art:
The same themes as literature
Delacroix, Goya
Impact on music and musicians: end of patronage/court
composers, transition to public patronage (and poverty and suffering
of artists)
Individuality, originality important! (Note
the musical voice of Beethoven, Brahms, etc.)
Style
There is more continuity than contrast between
the Classical and Romantic eras; the difference is one of degree
; Romantic music is more individual in expressing feelings and
transcending convention.
In many ways composers were in the shadow of
Beethoven, his legacy and influence were deep.
Form: Expanded forms, and miniatures;
asymetrical phrases
Melody: Singable melody
Tone Color : Expanded orchestration,
emphasis on timbre, solo instruments, explorations of extremes
of range and dynamics.
Harmony: Expressive -- more dissonance
and chromaticism than before
Rhythm: Rubato, or “robbed time”,
cross-rhythms and macro-rhythms, accelerandi and ritardandi
*Nationalism:
Composers
Franz Schubert (1797-1828), Austrian
almost 1000 works in his short (31yr) life,
including 600 lieder.
Robert Schumann (1820-56), German
Was going to be a concert pianist, but injured
his right hand (on a contraption he designed to improve his finger
strength, the story goes).
Wrote about music in his Neue Zeitschrift
für MusiK using the imaginary characters of Florestan,
Eusebius and Raro to reflect different sides of his own personality.
Wanted to marry Clara, daughter of his piano
teacher, but Weick opposed it vehemently. They did marry, however.
Brahms a close friend (?) esp. to Clara after
Robert went insane.
Johannes Brahms (1833-97), German
Frederec Chopin (1810-49), Polish/French
Franz Liszt ((1811-86), Hungarian
symphonic poems (he was the 1st to use the
term) His symphonies are also programmatic
Influenced Wagner
Clara Schumann (1819-96), German
Felix Mendelssohn (1809-47), German
adhered to Classic forms, with themes reminiscent
of foreign lands (Italian and Scottish Symponies)
Hector Berlioz (1812-69), French
Symphonie Fantasique(1830)
a musical drama, whose words are written in
a program handed out to the audience
central theme: idee fixe --fixation)
stands for the woman with whom the artist is infatuated and appears
in every movement.
colorful orchestration: influenced later composers
Richard Strauss (1856-1949), German
Giuseppe Verdi (1813-1901), Italian
Richard Wagner (1813-83), German
Peter Tshaikovsky (1840-93), Russian
Anton Dvorak (1841-1904),
Genres
Vocal
Song: The Lied
Strophic form
Through composed
Modified strophic
The song cycle
Large Choral Works
Romantic Opera
Instrumental
Symphony
Concerto
Form:
1st Movement: Allegro
Sonata Form, with double exposition
Exposition: themes 1 and 2, orchestra
Themes 1 and 2, solo instrument
Development
Recapitiulation
Cadenza (solo instrument alone)
Coda
2nd Movement: Slow and lyrical
ABA form most common
3rd Movement: Very fast
Sonata or Rondo, usually
Ballet
Program Music esp the Symphonic Poem
Instruments / The orchestra
The piano: better, (improved soundboard, overstringing
- bass strings cross over others) stronger, faster (double escapement)
Chopin
Liszt
Vocabulary
absolute music - (not programmatic)
bi-modal - draws upon major and minor modes
of the same tonic
cross-rhythm - simultaneous use of conflicting
rhythmic patterns or accents
cyclic principal - unification of a large scale
work by recurring themes (as in Beethoven 5)
leitmotif - theme or motive which represents
a character, emotion, idea, or object. Compare to Baroque Doctine
of Affections. Wagner.
nationalism - regional melodies, themes, flavors
appearing in musical composition
nocturne - lyrical character piece for piano
(Chopin)
polonaise - festive Polish dance in moderate
triple meter (Chopin)
rubato - melody freedom over fixed accompaniment
thematic transformation - the recurring theme
changes its mood and character.
Time Band II REPRESENTATIVE WORKS (in-depth
study):
Set Work: Kinderscenen, Robert Schumann
Beethoven: Sonata Pathetique Op. 11 for
piano (Finale, Allegro) [NAWM 104]
Beethoven: Eroica Symphony (No. 3) (1st
Movement)
Schumann: Trout Quintet
Schumann: Erlkonig
IB Time Band 1 (1900-present)
The Twentieth Century (1900-2000)
The Era
Technological explosion, scientific advances,
two World Wars, the nuclear bomb, mass availability (inevitability)
of music in everyday life.
Major Composers:
John Philip Sousa (American,1854-1932)
Claude Debussy (French, 1862-1918)
Ralph Vaughan Williams (English 1872-1958)
Maurice Ravel (French, 1875-1937)
Charles Ives (American, 1874-1954)
Sergei Rachmaninoff (Russian, 1873-1943)
Arnold Schoenberg (Austrian, 1874-1951)
Bela Bartok (Hungarian, 1881-1945)
Igor Stravinsky (Russian, 1882-1971)
Edgar Varese (French 1883-1965)
Anton Webern (Austrian, 1883-1945)
Alban Berg (Austrian)1885-1935)
Sergei Prokofiev (Russian,1891-1953)
Aaron Copland (American, 1900-1990)
Dmitri Shostakovich (Russian, 1906-1975)
Elliott Carter (American 1908-)
Oliver Messiaen (French, 1908-1992)
John Cage (American, 1912-1992
Benjamin Britten (English, 1931-1976)
Leonard Bernstein (American, 1918-1990)
Karlheinz Stockhausen (German, 1928-)
George Crumb (American, 1929-)
Krzysztof Penderecki (Polish, 1933-)
Steve Reich (American, 1936-)
Philip Glass (American, 1937-)
Style:
Form Continued use of most older principles
of form.
Tone Color Exploitation of extremes
in texture and timbre, exploration of electronic and synthesized
sounds.
Harmony Emancipation of dissonance.
Unresolved, or new resolutions of dissonance, atonality, polytonality,
pantonality, clusters, stacked chords, quartal harmony.
Rhythm Extremes of tempo, changing meter,
cross-rhythms, polyrhythms, irregular accents
Genres
Impressionism - term borrowed from painting.
“Objective.” Whole tone scales, parallel chord movement,
unresolved dissonance, especially seventh and ninth chords. “Shimmering,
floating quality.”
Expressionism - extremely subjective approach
of Schoenberg, Berg and Webern. “Art should express the
inner consciousness of its creator rather than external reality,”
thus, extremes, distortion, exaggeration.
Primitivism - the deliberate evocation of primitive
power through insistent rhythms and percussive sounds, as in
Stravinsky’s Rite of Spring.
Neoclassicism - emotional restraint, balance
and clarity, a return to forms and stylistic features of the
18th century.
Nationalism - late Romantic trend, deliberate
use of folk music and themes to give music a distinct national
flavor.
Avant-garde - on the leading edge of a change
in style.
Vocabulary
aleatory - chance music; element of composition
left to the performer
atonality - absence of key or tonal center
bitonality - two clearly established tonalities
occuring simultaneously
glissando
serial music
microtone
minimalism
Moog synthesizer
musique concrete (Fr.)
ostinato
pentatonic
polychord
polyrhythm
polytonality
retrograde
quartal harmony
Sprechstimme (Ger.)
tone cluster
whole tone scale
Time Band I REPRESENTATIVE WORKS (in-depth
study):
African Sanctus
The Rake's Progress
Petroushka
The Rite of Spring
The Firebird
Wozzack
A Survivor from Warsaw
Different Trains
Music for 18 Musicians
Concerto for Orchestra
Music for Strings, Percussion and Celesta
Ancient Voices of Children
Pierrot lunaire
Poeme Electronique
World Music
Music of The Andes
Set Culture: IB Music Exam
Recording: (World Music Network The Andean
Selection) The Music of The Andes: The Rough Guide RGNET 1009
Text: The Rough Guide to World Music
Supplemental Reading: Appropriate entries in
The New Harvard Dictionary of Music
Geography: The area populated by the
Andean Indians; the boundries of the old Inca Empire. Modern
Ecuador, Peru, Bolivia, Argentina and Chile.
History: Indigenous culture (numerous
ethnic groups, each w/own language and culture conquered by Spanish
in the 16th century. They spoke an unwritten language; difficult
to know much about the sound of their music. Drums and flutes
as bg for vocal display; could last entire day during festivals.
String instruments were unknown. Since conquest, a blending of
traditions: Native, Spanish and African (the Spanish brought
slaves).
Vocabulary:
Anhemitonic - lacking semitones
Chicha - fermented maize beer which has lent
its name to a popular Andean fusion: traditional highland huayno,
cumbia (popular Columbian dance music) and rock.
Conjunta - group.
Cuzco - Peruvian city, the old Inca religious
and political capital. A center for Andean music.
Hocket - as in medieval music, a technique
where bits (even single notes) of the melody are passed among
players in alternation.
Huayno - a social dance of preconquest origen,
usu. in moderate to lively duple meter, binary in structure,
with short, syncopated, anhemitonic-pentatonic melodies. Displays
characteristic bimodality resulting from the alternation of tonal
centers a minor third apart.
Huayla - a type of Peruvian dance music.
Mestizo - a person of mixed ancestory, here,
native American, European and African.
Nueva Canción - “new song”
developed in the 1960’s in Chile and Argentina. Political.
A love song, chronicle and weapon.
Quechua - a language, a people, the descendants
of the Incas.
Yaraví - slow sad song (form dating
from preconquest times), often in triple meter, with characteristic
Andean anhemitonic and pentatonic bimodal melodies. Text usually
deals with lost love, in Spanish and Quechua.
Further definitions (less important):
Aymara - The language and culture of one of
the oldest civilizations known to man, who inhabited the area
of Lake Titicaca. Successful resistance to domination by the
Incan empire allowed the Aymaran people to retain their language
and much of their culture through the ages.
Chuspa - Indigenous, woven bag usually used
to carry the coca leaf and llijilla.
Cueca - A coquettish dance from the Colonial
Period. Roots are in the Zamba-Cueca of Argentina. Also known
as Reodelada (slide) in Chile, Marinera in Peru and La Chilena
in Mexico. Each country has its own distinctive style and choreography.
Campesino - Rural dweller, country person,
Indian. In 1952, after the agrarian revolution of theMNR, the
term Indio (Indian) was changed in official matters to campesino,
in hopes of improving the attitude of city dwellers towards their
rural counterparts.
Morenada - A dance recalling the African slaves
brought by the Spanish to work the silver mines of Oruro and
Potos”. The richly decorated colorful costumes represent
the wealth of the slave owners. The protruding eyes and tongue
convey the fatigue and soroche (altitude sickness) suffered by
the slaves.
Pe–a - A meeting place in the village
where inhabitants gather to play. In the cities it refers to
a cafe or club where folk music is performed.
Polleras - The skirts worn by native women.
There are successive layers of polleras on the women dancers
of the Waka Waka.
Quechua - The language and culture of the descendants
of the people conquered by the Incas.
Quena or Kena - A pre-Colombian period resonant,
notched, cane flute traditionally made of stone clay or the bone
of a condor. From the word khena meaning many holed thing.
Salte–a - An oven baked pastry traditionally
served between 10:00 AM and Noon. Generically known as empanada.
The source of the recipe comes from a woman who lived inPotos’,
Bolivia, then travelled to Salta, Argentina and again returned
to Potos’. Hence, a Bolivian pastry with an Argentine name.
Saya - A dance that has its roots in African
heritage and folklore of the African-Bolivian Yungas people of
La Paz, Bolivia. This dance is actually a more metropolitan version
of dances performed today in Yungas communities thrghout Bolivia.
Socavan - The deepest part of a mine shaft.
Tinku - A stylized dance of ritual confrontation
between two communities usually in the region of North Potos”,
Bolivia. The dance is a mock fight between the two communities
which ends when a warrior from either side is felled and mortally
wounded.
Waka Waka - Waka means cow, or bull in Quechua.
The Waka Waka is a dance combining the colonial element of the
Spanish conquistadors’ bull fight with the tradition of
the multi-pollera clad milk maid who can still be found walking
their cows from door to door selling fresh milk.
Instruments:
Antara (aka zampoños) - panpipes of
cane or clay. Modern panpipes have a full scale, but traditional
ones had only part so more players were needed to pick out a
tune in hocket style. (Siku - Aymara word (Antara in Quechua)
for the family of wind instruments consisting of various lengths
of bamboo tubes arranged from smaller to largest and tied together
in single file. Traditionally, two people shared one set of instruments
alternating notes betweenthe players to produce the melody. The
most popular sikus is commonly called the zampo–a.)
Charango - An instrument originally made from
an armadillo (whose hair if it grows long after its dead is good
luck....though not for the armadillo); affectionately known as
a Bolivian potato bug to people in Texas, most professional quality
charangos are vegetarian versions, sans armadillo and made of
wood.
Latin percussion instruments - hand drums,
gourds
Quena - type of vertical (notched-end) flute
of the Andes. Made of cane, 25-50cm long, has five or six finger
holes and a thumb hole. Modern versions are often made out of
PVC pipe.
Toyos - A large, deep-sounding pair of sikus
measuring up to four and one-half feet in length.
Style
Form - dance forms prevalent; the huayno
is binary.
Melody - descending phrases repeated
in pairs, within an anhemitonic framework.
Tone Color - characteristic instruments
are breathy winds (strings were unknown before the conquest),
such as panpipes and notch end flutes, percussion, plucked strings
(guitars and harps). Vocals in traditional music are often a
high whining falsetto.
Harmony - highly characteristic and
often modal, oscillating between triads built on tonal centers
a minor third apart. Polyphony is often in parallel thirds, fourths
or fifths, with a melodic and rhythmic independence among parts.
Rhythm - triple meter is common, lilting
dance rhythms, syncopation. Insistent.
Artists:
Awatiñas
Inti Illimani
Víctor Jara
Emma Junaro
Picaflor de los Andes
Rumillajta
Works:
Tempestad (3’01”) Savia Andina
Em tonality; heavy pentatonic feel, but the
f# is certainly present
Lilting (swing or compound meter)
quadruple meter though, with a lot of syncopation
very active bass line, although simple harmonically
Intro (string tremelo) min thirds
A panpipes lilting upbeats (4 meas phrase repeated)
B flutter ascending panpipes (4 meas phrase
repeated)
A
B
C plucked strings (harp) duet
Intro
A
B
A doubled voice (lower) joins
B slight cres. at end.
Te Recuerdo Amanda (2’33”) Victor
Jara
Best loved song of this Chilean singer-songwriter-revolutionary,
a simple, beautiful, intense aching love song.
Triple meter
D mixolydian/D major
Texto y música de Víctor Jara
Canción-vals
Te recuerdo, Amanda,
la calle mojada,
corriendo a la fábrica
donde trabajaba Manuel.
La sonrisa ancha,
la lluvia en el pelo,
no importaba nada,
ibas a encontarte con él.
Musical Geography
Rome
St. Peter's
Paris
Venice
Musical center of Europe during the late
Baroque and Classical Eras
St. Mark's
1613: Montiverdi appointed choirmaster (retained
post until his death 30 years later)
Pio Ospedale della Pieta
Vivaldi’s main post
Vienna
Mass Thru The Ages
A possible in-depth project or point of departure
for an extended essay:
major, minor and perfect / augmented and diminished
compound intervals
practice naming intervals
practice hearing intervals
inverting intervals:
prime becomes octave
second becomes seventh
third becomes sixth
fourth becomes fifth
fifth becomes fourth
sixth becomes third
seventh becomes second
octave becomes prime
major becomes minor (and visa versa)
diminished becomes augmented (and visa versa)
TRIADS (now we are cookin’)
stacked thirds
diatonic triads (use no accidentals)
for minor use harmonic minor (use the raised
7th scale degree)
memorize:
major: I, ii, iii, IV, V, vi, vii°
minor: i, ii°, III+ or III,
iv, V, VI, vii°
Primary triads: (MAJOR IN A MAJOR KEY)
Tonic --> fifth above is Dominant; fifth
below is sub-dominant
Tonic is inactive; chord of repose
Dominant and sub-dominant tend to progress
to tonic (active)
Secondary triads: (MINOR AND DIMINISHED IN
A MAJOR KEY)
Mediant-->halfway between the tonic and
dominant (3rd scale degree
Sub-mediant-->halfway between the tonic
and sub-dominant (6th scale degree)
supertonic (above the tonic)
leadingtone (leads to tonic; 1/2 step below)
(subtonic) whole step below tonic: not diatonic.
Basic progressions:
OPENING:
I-V
I-IV
(I) IV-V
COMPLETION
V-I
IV-I (PLAGEL)
V-I
Associations of primary and secondary triads:
I ~ iv
IV ~ ii
V ~ iii, vii°
Triads in Root Position: Doubling and Spacing
figured bass (common in Baroque; now used to
study theory)
figures refer to the interval above the lowest
note
#, b, /: accidentals applied to the upper notes
are shown in the figured bass; accidentals applied to the lowest
note (or its duplication one or more octaves above) are not indicated.
triad in root position requires no figuration
slash raises 1/2 step
accidental w/o a number refers to the third
four part texture
so prevailent in the common practice period
soprano, alto, tenor, bass
learn the ranges (approximate)
soprano: d1 - g2
alto: g - c2
tenor: d - f1
bass: F - c1
Soprano, treble clef stems up
Alto, treble clef stems down
Tenor, bass clef stems up
Bass, bass clef stems down
Doubling: for now, we double the root
Spacing
close: the upper three voices are as close
together as possible
open: a tone of the triad can be placed between
each adjacent pair of upper voices (skip one)
Voice Leading
similar motion - same direction not same interval
parallel motion - same direction same interval
(does not usually take into account quality)
parallel P5 and 8VE, also P1, forbidden!
contrary motion - voices move in opposite direction.
Can cause hidden fifths and octaves
oblique motion - one voice remains stationary
and the other moves in either direction
Avoid melodic A2’s and A4’s
Stepwise is best (retain common tones, even)
Nonharmonic tones
Passing tones (connect two harmony notes)
Neighbor tones / auxilliary (decorate a single
harmony note)
may be made by superimposing a third upon a
triad: but did not originate that way.
the seventh first appeared as a melodic non-harmonic
tone
the first harmonic dissonance
functions as a V, except not usually as the
cadential chord in a half cadence
resolves to I; leading tone goes up, seventh
usu. goes down (2nd inversion is the exception)
because it contains both the fourth and seventh
scale degrees, any given dom 7th can exist in ONLY ONE KEY and
is therefore the strongest possible implication of a KEY.
Diminished sevenths (now here is something
interesting...)
stacked minor thirds--symmetrical
has dominant function (like a dominant ninth
with the root omited),
each can resove to FOUR DIFFERENT TONICS
there are only three, as far as actual pitches
go
thus, very useful for modulation, obviously.
Non-Dominant Sevenths
Secondary Dominants
Modulation
Other interesting chords
Neapolitan
Altered Dominants
Diminished Sevenths
Ninth, Eleventh, Thirteenth Chords
Jazz
Sources:
History:
Grout, Palisca: A History of Western Music,
5th Ed.
