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Great Artistsand Musicians

By MARK AMMONS, D.M.A.

COPYRIGHT © 1996 Mark Twain Media, Inc.

ISBN 978-1-58037-975-5

Printing No. 1891-EB

Mark Twain Media, Inc., PublishersDistributed by Carson-Dellosa Publishing LLC

The purchase of this book entitles the buyer to reproduce the student pages for classroom use only. Other permissions may be obtained by writing Mark Twain Media, Inc., Publishers.

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© Mark Twain Media, Inc., Publishers

Great Artists and Musicians

ii

TAble of ConTenTs

Time Line ......................................................................................................................... iiiIntroduction .......................................................................................................................1

Art and Music: An Overview .............................................................................................2Medieval Art and Music ....................................................................................................4Guido d’Arezzo .................................................................................................................6Leonin and Perotin............................................................................................................8Guillaume de Machaut ....................................................................................................10Nicholas of Verdun ..........................................................................................................12The Limbourg Brothers ...................................................................................................14Renaissance Art and Music ............................................................................................16Guillaume Dufay .............................................................................................................18Giovanni Pierluigi da Palestrina ......................................................................................20Michelangelo Buonarroti .................................................................................................22Leonardo da Vinci ...........................................................................................................24Baroque Art and Music ...................................................................................................26Henry Purcell ..................................................................................................................28Johann Sebastian Bach ..................................................................................................30Rembrandt von Rijn ........................................................................................................32Claude Lorraine ..............................................................................................................34Classical Art and Music ..................................................................................................36Christoph Willibald Gluck ................................................................................................38Wolfgang Amadeus Mozart ............................................................................................40Jean-Antoine Watteau ....................................................................................................42Jacques-Louis David ......................................................................................................44Romantic Art and Music .................................................................................................46Robert Schumann ..........................................................................................................48Johannes Brahms ...........................................................................................................50Eugène Delacroix ...........................................................................................................52Realism and Impressionism in Art and Music ................................................................54Georges Bizet .................................................................................................................56Gustave Courbet.............................................................................................................58Claude Monet .................................................................................................................60Claude Debussy .............................................................................................................62Twentieth Century Art and Music ....................................................................................64Pablo Picasso .................................................................................................................66Igor Stravinsky ................................................................................................................68

Answers ..........................................................................................................................70Bibliography ....................................................................................................................75

Table of Contents



iii

TiMe linea.d. 80–1931

A time line helps us understand the order in which events occur. It also helps us keep historical events in sequence. The following time line illustrates the sequence of events that affected the history of music and art.

A = Architecture • M = Music • O = Other • P = Painting • S = Sculpture

80 Colosseum, Rome (A) 125 The Pantheon, Rome (A) 180 Equestrian statue of Marcus Aurelius (S) 200 Portrait of a Boy (P) 315 Colossal Statue of Constantine (S) 320 The Basilica of Constantine, Rome (A) 600 Lindisfarne Gospels (P)1181 Klosterneuburg Altar, by Nicholas of Verdun (S)1175 Leonin, master of Notre Dame school (M)1183 Perotin active at Notre Dame (M)1240 Motet becomes important type of polyphonic composition (M)1250 Period of ars antiqua (M); Notre Dame Cathedral, Paris (A)1300 Beginning of French ars nova (M)1330 Italian ars nova (M)1337 Outbreak of the Hundred Years’ War (O)1360 Notre Dame Mass, Guillaume de Machaut (M)1415 Very Rich Book of Hours of the Duke of Berry, the Limbourg Brothers (P)1453 End of Hundred Years’ War (O)1454 Gutenberg invents printing from movable metal type (O)1482 Adoration of the Magi, Leonardo da Vinci (P)1498 Ottaviano de Petrucci, first to print complete song collections from movable type (O)1504 David, Michelangelo (S)1505 Mona Lisa, Leonardo da Vinci (P)1517 Martin Luther begins Protestant reformation (O)1525 Giovanni Pierluigi da Palestrina born (M)1545 Council of Trent, reform of music in Catholic church (M)1546 St. Peter’s Cathedral, Rome, Michelangelo (A)1554 Giovanni Palestrina, first book of masses (M)1563 Establishment of the Church of England (O)1587 Claudio Monteverdi, first book of madrigals (M)1600 Euridice (musical drama), Jacopo Peri (M)1607 Orfeo (first opera), Monteverdi (M)1669 Paris Academy of Music founded (M)1685 Johann Sebastian Bach born; George Friederich Handel born (M)1704 St. John Passion, Handel (M)1712 Concertos, Op. 3, Antonio Vivaldi (1678–1741) (M)

Time Line



iv

1715 First opéra comique founded (M)1717 Pilgrimage to Cythera, Watteau (P)1722 The Well-Tempered Clavier, I, Bach (M) Treatise of Harmony, Rameau (M)1726 The Seasons, Vivaldi (M) New system of music theory, Rameau (M)1732 Franz Joseph Haydn born (M)1733 La Serva padrona, Giovanni Pergolesi (1710–1736) (M)1756 Wolfgang Amadeus Mozart born (M)1770 Ludwig van Beethoven born (M)1787 The Death of Socrates, David (P)1789 French Revolution (till 1794) (O) George Washington first president of the United States (O)1791 The Magic Flute (opera), Requiem, Mozart (M) First London Symphonies, Haydn (M)1792 The Pantheon, Paris, Soufflot (A)1793 The Death of Marat, David (P)1795 Paris Conservatory founded (M)1797 Franz Schubert born (M)1799 First Symphony, Sonata Pathétique, Beethoven (M)1800 Discovery of ultraviolet rays (O)1802 Napoleon made Consul for life (O)1806 Monticello, Virginia, Thomas Jefferson (A)1813 Richard Wagner born (M)1815 Invention of the metronome (M)1830 First railroad, Liverpool to Manchester (O)1838 Frederic Chopin, Delacroix (P)1849 The Stone Breakers, Courbet (P)1851 Opera and Drama (book), Wagner (M)1862 Claude Debussy born (M)1868 Scott Joplin born (M)1869 First American transcontinental railroad (O)1872 L’Arlésienne (opera), Georges Bizet (1838–1875) (M)1874 Impression: Sunrise, Monet (P) Arnold Schoenberg born (M)1879 Thomas Edison invents an improved incandescent electrical light (O)1883 Metropolitan Opera opened; Anton Webern born (M)1894 Prelude to the Afternoon of a Fawn (Impressionism), Debussy (M)1897 The Stars and Stripes Forever, John Philip Sousa (1845–1932) (M)1910 The Fire Bird, Igor Stravinsky (1882–1971) (M)1912 Pierrot Lunaire (Expressionism), Schoenberg (M)1913 The Rite of Spring, Stravinsky (M)1922 Schoenberg, method of composing with twelve tones (M)1925 Three Dancers, Pablo Picasso (P) Wozzeck, Alban Berg (1885–1935) (M)1931 The Persistence of Memory, Salvadore Dali (P)

Time Line



1

inTroduCTion

Music and art stand as two of the great pillars of civilization and culture. Through studying these two art forms, one can get a better sense of the cultural differences that existed long, long ago. However, as important as the art forms themselves are to understand-ing the lifestyles and cultures of ages past, the study of the actual artists and composers of these art forms will better serve us in our quest to understand the past. This activity book is designed to give brief and informative sketches of many of the great composers and artists who helped develop the styles of their respective art forms throughout the history of music and art. Included with the sketches are questions, scrambled word activities, and word search and crossword puzzles designed to reinforce the learning of important facts and concepts related to these important personalities.

—THE AUTHOR

Introduction



2

ArT And MusiC: An oVerVieW

Art and music, along with many of the other creative arts, share a similar if not parallel history. They both have foundations in ancient Greek and Roman history and both found their way through the rise of early Christianity and the Jewish heritage that preceded it. Throughout history, art and music have gone through changes and developments in style, the characteristics that set a type of music or art work apart from others. As the Roman Empire began to lose much of its power and influence, music and art, as well as science and literature, fell into what has been called the Dark Ages, a period of time in which there was very little growth and development. The Dark Ages, or Middle Ages as they are also called, ran from approximately a.d. 350 to 1450. Following the Middle Ages, a period of great growth and development in all areas of culture took place. This time of growth and development was called the Renaissance. In French, this term means “rebirth,” and indeed nearly all art forms were reborn. This time period lasted from approximately 1450 to 1600. The next style period in the history of art and music is known as the Baroque era, named after the style of art that developed around this time. The Baroque era lasted from approximately 1600 to 1725. Around the turn of the eighteenth century, an even more or-nate style of art and music known as the Rococo developed. It was short-lived and lasted only until about 1750. During that 50-year time span, a development and refinement of a new style termed the Classical occurred. This style harkened back to the Classical Roman and Greek art forms of more than 1,000 years earlier. The Classical era lasted until the beginning of the nineteenth century, at which time a new and more introspective style of art and music developed that came to be known as the Romantic. This style lasted through-out the nineteenth century. Toward the end of the nineteenth century, a style of art known as Impressionism began to dramatically affect the world of art and music. In response to Impressionism, the Germans initiated a style known as Expressionism. By the turn of the twentieth century, a variety of styles and approaches to both art and music coexisted. It is difficult to define the entire time period of the twentieth century in terms of a single art style or music style period. In general, it is referred to simply as the Twentieth Century period. As you will see, almost all of the style periods are reactions to the style periods that preceded them. You should also realize that the time periods are approximate. One period does not suddenly stop and another begin—the changes develop over a period of many years, often anywhere between 25 and 50 years on either side of the dates that have been given as the beginning and ending years of these style periods. So, let’s begin our journey through the history of music and art as we explore the lives and works of the artists and composers who helped develop the styles that we enjoy today.

Art and Music: An Overview



3

QuesTions

1. What two art forms share a parallel history?

2. List some historical foundations that art and music share.

3. What were the Dark Ages?

4. What type of period was the Renaissance?

5. What art forms did the Classical era hearken back to?

6. What is one characteristic of the Romantic style?

7. Do style periods change suddenly or over a long period of time?

8. When did the art style known as Impressionism occur?

9. What were the approximate years for the Baroque era?

10. What were the approximate years for the Middle Ages?

Art and Music: An Overview

Name Date



4

MedieVAl ArT And MusiC

From approximately a.d. 350 to 1100 Medieval art and music were generated from primarily monastic sources. This means that composers and artists were primarily asso-ciated with the Roman Catholic church and lived in monasteries. These monks or priests believed that the gifts that they were given in art and music were talents given by God, and therefore, any work that they composed or rendered artistically was meant to glorify God. Consequently, up until about 1100 the vast majority of art and music was provided by anonymous sources, meaning sources without specific names attached to them. Art is represented in the Middle Ages by two main styles: Romanesque and Gothic. The Romanesque style was generally believed to hearken back to the architecture of Rome and the early Roman Empire. The style featured round arches and blunt, heavy walls. The term Gothic referred to the new style that reflected the emerging independence of the middle class and the growing importance of women. It was viewed as the high point of Medieval art. Gothic architecture used pointed arches to achieve a more open and airy structure than the Romanesque style. Besides architecture, sculpture and stained glass windows used to ornament buildings and illumination used to ornament books were the major art forms of the Middle Ages. In music a similar background can be seen. From approximately 350 to 1100 the vast majority of music was monophonic, meaning a single melodic line without accom-paniment. This monophonic music was in the form of what is known as Gregorian Chant, named after Pope Gregory (590–604), who organized the chants into a specific order and had them published and communicated to churches throughout Europe and the Roman Empire, which had adopted the Roman Catholic tradition. Toward the end of the Middle Ages, however, polyphony began to be used in music. This was the use of more than one melodic line at the same time. By about 1100 changes were occurring in both art and music. In particular, we begin to see individual artists and composers ascribe their names to their works. The first major artist to do this was a sculptor known as Nicholas of Verdun. The first major composer to ascribe his name to his composition was Leonin of the Notre Dame school of music. Both Leonin and Nicholas developed unique approaches to their art forms that would set the stage for the dramatic changes that would come over the following 300 years. From approximately 1100 to 1450 an acceleration in both art and music can be seen. This can be viewed as laying the ground work for the Renaissance period that would follow. In the following chapters we will look at the lives of three musicians: Guido d’Arezzo, Guillaume de Machaut, and Leonin, and four artists: Nicholas of Verdun and the Limbourg brothers. These individuals represent many of the styles that were prevalent in Medieval art and music beginning in approximately 1100.

Medieval Art and Music

Gothic vaults with pointed arches allowed for a more open and lofty structure than the roman-esque style since they could be built higher.



5

CrossWord Puzzle

Medieval Art and Music

Use the clues below to complete the crossword puzzle about Medieval Art and Music. The answers may be found on the narrative page.

Name Date

ACross3. They write music.4. They paint and sculpt.5. They were God-given.7. The Pope is the head of this. (two words)11. Pope from 590 to 60412. Sources with no names attached14. Style of the Middle Ages that is not Romanesque15. brothers16. Period running from a.d. 350 to a.d. 1450 (two words)18. Used to ornament books

doWn1. school of music2. Used to ornament buildings (two words)3. Gregorian 6. Monks lived in these.8. Style of the Romans9. First major known composer10. Single melodic line without accompaniment13. First major artist to sign his works17. The Roman 19. The Romanesque architectural style featured round .

1

2 3

4

5 6

7 8

1312

9 10

11

14

15

16 17

18 19



6

Guido d’Arezzo

Guido d’Arezzo was born in approxi-mately 991 and died sometime after 1033. He was educated at the Benedictine abbey of Pom-posa. In 1025 he left the monastery because of disagreements with the other monks. They were apparently jealous of his superior skills. He was asked at this time to come to the town of Arezzo to teach at the cathedral school there. While Guido is not known to have composed any notable pieces, his main offering to music is in his developments in music theory, the study of how to combine notes and rhythms in an orderly and pleasing manner. In 1026 Guido wrote two famous treatises known as the Micrologus de disciplina artis mu-sicae (study of the discipline of musical arts) and Epistola de ignoto cantu. In these treatises, he developed a system of pitch notation using lines and spaces. Until this time only two lines had been used. One was a yellow line and the other a red line. To these Guido added one black line between the existing lines and another above the yellow line, thus creating the system as follows:

New black line e Old yellow line c New black line a Old red line f

On these lines and spaces he wrote the Gregorian chant notes in a regular order. He also initiated the idea of ledger lines by adding lines above or below these lines as needed. This system eliminated any uncertainty of pitch, which had existed until this time. Guido also developed a system of clefs, which became the basis for our clef system: bass clef, treble clef, and so on. (Clefs help us know where the notes sound.) He developed in his treatises a technique of sight-singing based on syllables and on what came to be known as the “Guidonian Hand.” The Guidonian Hand indicated to singers what pitches they should sing and how they could learn those pitches quickly through a series of hand/finger positions and motions. He was invited by the bishop of the church in Arezzo to train singers for the cathedral using his Guidonian Hand and sight-singing method. In 1028 Guido was called to Rome by Pope John XIX to expound his new methods of notation and teaching, and soon thereafter he entered a monastery. Among his writings is also a discussion of polyphonic music, which has more than one melodic line occurring at the same time. This is important as it leads to the development of polyphony by our next composers, Leonin and Perotin.

Guido d’Arezzo

Guido d’Arezzo was responsible for many in-novations in music theory that are still in use today.



7

Word sCrAMble

Unscramble these words and phrases that come from the narrative about Guido d’Arezzo.

1. NCSEEDSSIANLAP

2. IIENEBTNCED

3. OHOPYYPNL

4. MSSLCETFYE

5. UHMTCSERIOY

6. NAAIGDHONUIDN

7. OINTNOTA

8. UGOID

9. HOISPNOSANDTI

10. ORMCULSOGI

11. TAEITERS

12. ERAZOZ

13. RSOMNETYA

14. PNJEPOHO

15. REOM

16. OAOPPSM

17. WLEOYL

18. IICLNISDEP

19. EDR

20. HRACELTAD

Word lisT Arezzo Benedictine Cathedral Clef System Discipline Guido Guidonian Hand Hand Positions Lines and Spaces Micrologus Monastery Music Theory Notation Polyphony Pomposa Pope John Red Rome Treatise Yellow

Guido d’Arezzo

Name Date



8

leonin And PeroTin

The earliest composer known to us by name is the composer Leonin. He was born in Paris in 1135 and died in approximately 1201. He received his early training at the Notre Dame Cathedral schools in Paris. By 1179 he had received the academic degree of master and later became a priest at Notre Dame. He is especially known for his development and original writing of polyphonic music, that is, music that has two or more melodic lines occurring at the same time, which is used in the mass. Leonin’s compositions were based on the Gregorian chants. The original chants served as the foundation of these new styles of composition. A second voice part was added to the original chant, generally at the interval of a fourth or a fifth. This style of composition came to be known as organum, with the new top voice being called the descant part. The organum had been in use since the eleventh century but not to the extent that Leonin sought to use it. One of Leonin’s major contribu-tions to music was a collection of organums with two-part settings of portions of the mass known as the Magnus Liber Organi. One of Leonin’s students in the Notre Dame School of Music was Perotin, also of Paris. The year of his birth is uncertain, but he appears to have been born between 1155 and 1160 and to have studied with Leonin at the Notre Dame Cathedral schools between 1180 and 1190. During this time he made some important revisions to Leonin’s Magnus Liber Organi and began developing his own ideas about polyphony. To the additional voice part that Leonin added, Perotin added a third and fourth vocal part. The three additional voice parts Perotin named the duplum, triplum, and quadruplum. All three of these voice parts were written above and based upon the chant, or portion of the mass, which was the original part. Leonin and Perotin’s compositions constitute a large portion of the polyphonic works attributed to the Notre Dame School of Music in the twelfth and thirteenth centuries. An-other of the very important contributions from the Notre Dame school was its development of the notation of rhythm. This development would dramatically alter the future of music. Because of this development, different note lengths could be shown, and measures could be developed that would allow more difficult music to be written and read easily. The new ground broken by these two composers and their lesser-known associ-ates at the Notre Dame school of polyphony was extremely important to the composers who would follow them. They established a firm foundation and tradition upon which their

Leonin and Perotin

Perotin’s polyphonic compositions included as many as four vocal parts.



9

Word seArCH

Leonin and Perotin

Name Date

Find the words listed below and circle them in the word search puzzle. They are all associated with Leonin and Perotin in some way. Words may be printed forward, backward, horizontally, vertically, and diagonally in the puzzle.

Word lisT

Collection Descant DuplumFourth Gregorian Chant IntervalLeonin Magnus Liber Organi MassMaster Melodic Line Notre Dame CathedralOrganum Paris PerotinPolyphonic Music Priest QuadruplumRhythm Triplum



10

GuillAuMe de MACHAuT

Guillaume de Machaut was born in approximately 1300. As with many of his contemporaries, Machaut took holy orders at an early age and studied theology in Paris. However, he did not pursue this course further and soon found himself in some important positions. In fact, he was one of the first major composers who was not a member of the clergy. At the age of 23 he began work as a secretary for the King of Bohemia. He remained in this capacity until the king’s death in 1346. At this time Machaut began working for the French nobility and served them until his death in 1377. Machaut was a French composer and poet who contributed greatly to a new move-ment in the latter part of the Middle Ages known as the ars nova (“new art”). Ars nova was a movement in which the forward-thinking composers were looking toward new forms of composition and writing. All of the new forms centered around new forms of polyphony, such as polyphonic mass settings and motets (vocal pieces for three or four voices). Also of interest to the ars nova composers was the possible use of secular songs as the basis of their compositions, as opposed to sacred chants. New music was also written for occasions outside of the church. This included drinking songs and music that imitated the sounds of animals and hunters’ shouts. Those in the ars nova movement were constantly in conflict with the ars antiqua (“old art”) com-posers, who were more interested in staying with the older and established traditions. Changes occurring in music due to the ars nova movement were most prevalent in Italy and France, with Machaut being one of the most important French composers in the movement. Machaut’s mass setting entitled The Mass of Notre Dame is one of the earliest polyphonic settings of an entire mass. In it he employs all of the techniques of polyphonic music (music written with two or more important melodies occurring at the same time) and the principles of isorhythm. Isorhythm is the practice of utilizing recurring rhythmic motives or patterns throughout a piece. This was one of the leading ideas of the composers of the French ars nova. Machaut was certainly a forward-looking and thinking composer who helped to usher in the new compositional styles that would be prevalent in the Renaissance period. Machaut composed a large number of both sacred and secular pieces, with his greatest output being in motets and secular songs.

Guillaume de Machaut

Guillaume de Machaut was a leader in the french ars nova movement.



11

MATCHinG

Match the term in column B with its corresponding term in Column A. Place the letter of the term in Column B on the line next to the item in Column A.

Column A

1. Guillaume de Machaut

2. Ars nova

3. Ars antiqua

4. The Mass of Notre Dame

5. Polyphonic music

6. Isorhythm

7. Motet

8. Forward-thinking composers

9. Backward-thinking composers

10. 1300–1377

11. Secular songs and motets

12. Clergy

13. Drinking songs

14. Italy and France

15. Bohemia

Column b

A. Profession Machaut was not involved in

B. Machaut was a secretary to the king of this country

C. Machaut’s greatest output consisted of these works.

D. Vocal piece for three or four voices

E. An example of secular music

F. Old art

G. Preferred older, established traditions

H. New art

I. Embraced new forms of composition

J. French composer

K. Countries where ars nova was most prevalent

L. Machaut’s life span

M. Recurring rhythmic patterns

N. Two or more important melodies

O. One of the earliest polyphonic settings of the entire mass

Guillaume de Machaut

Name Date



12

niCHolAs of Verdun The three main types of art in the Middle Ages were sculpture, painting, and architecture, with architecture being most prevalent. Most sculpture, painting, and other art forms were rendered to adorn the many cathedrals and basilicas built during this period. One of the earliest known sculptors of the Middle Ages was Nicholas of Verdun. Nicholas was a French artisan, one of the last of the great medieval goldsmiths, who was born in approximately 1130 and died around 1205. He was active in his practice in Tournai, Cologne, and Vienna, always moving to where his works had been com-missioned. Nicholas was an innovative artist whose works were usually at least twenty years ahead of their time. The works that may be directly attributed to him show a gradual transition from the heavy and ponderous Ro-manesque styles, which were very busy visually, to the more gentle and fluid Gothic styles just coming into prominence toward the end of his career. For this reason he was probably a leader among artists in Europe for at least the latter part of his life. Some of the sculpted pieces that Nicholas created were shrines, altar pieces, chalices, candlesticks, figurines, and other gold and silver objects. He decorated these with jewels and precious stones. He excelled particularly in his enamel workings, which were very rich in color. In addition to his work as a sculptor, Nicholas also did a large amount of work in restoring older pieces of art. The enamel plaques that Nicholas and others did were representative of a cross, or hybrid, between sculpture and painting. Enamel is a type of fused glass plate. Artists in the 1100s would grind glass into a very fine powder and then add some water to it to make a paste. This paste would then be painted onto a beaten metal plate that had been prepared in advance. The enamel would be applied to the low areas of the plate; the higher areas would be left metal. This glass paste on the metal plate would then be baked at a very high temperature to create a finished enamel piece. Because of the deterioration of the practice of using enamel in art works by the year 1200, Nicholas is viewed as the last great artisan in this field. Nicholas was especially known for his ability to realistically portray human figures. Of particular importance is one enamel plaque from an altar piece entitled The Crossing of the Red Sea. In this piece of art, Nicholas of Verdun captures a three-dimensional aspect that had been lost through much of the early Middle Ages. During that time period, most types of art were very flat looking. Nicholas’s figures, however, seemed like they might someday walk out of the metal they were worked on. This is an important turning point in the development of art, as it helped to lead toward the new styles of the Renaissance, when realism and expressive, energetic figures became qualities that every good artist worked toward.

Nicholas of Verdun

This champlevé enamel casket was crafted in limoges, france, late in the twelfth century, ap-proximately the same period in which nicholas of Verdun was active.



13

Word seArCH

Nicholas of Verdun

Name Date

Find the words listed below and circle them in the word search puzzle. All the words are associated with Nicholas of Verdun in some way. Words may be printed forward, back-ward, horizontally, vertically, or diagonally in the puzzle.

Word lisT

Altar Piece Architecture Candlestick Cathedrals Chalice Cologne Enamel Plaque French Artisan Glass Paste Goldsmith Human Figures Metal Plate Middle Ages Nicholas of Verdun Renaissance Sculptor Shrine Three-dimensional Tournai Vienna



14

THe liMbourG broTHers

One of the most prevalent styles of painting in the Middle Ages was that of book illumination. In this style, artists in the early Middle Ages—mostly associated with monasteries—would illuminate or make elaborate drawings or paintings of the stories being told in the scriptures or other sacred books. This practice persisted throughout the Middle Ages. The illuminations were very detailed, sometimes colorful illustrations, mainly of religious subjects. They varied from full pages of illustrations to embellishments and borders with small story-telling scenes worked in. The Limbourg brothers did religious and non-religious illuminations. Many of their better-known works are calendar illuminations of everyday life. Only the wealthy could afford illuminated manu-scripts, but even among the wealthy, there were very few people who could read. Thus, illuminations served the two-fold purpose of entertaining and educating those who could afford to buy them. Actually the books were similar to today’s children’s story books in concept, though the pictures were more detailed and realistic than some story books, and they were meant for adults, not children. The Limbourg brothers were some of the last in this great line of medieval book illuminators. Interestingly, they were not associated with any monastery, but apparently hired themselves out as freelance artists. They were a family of fifteenth-century Flemish illuminators named Paul, Jean, and Herman, all born after 1385 in Nijmegen, Burgundy. Around 1400 they went to Paris to begin apprenticeships as goldsmiths. However, they apparently found work as painters and illuminators and became well known in the Paris area. They were hired by one of the nobility, Philip the Bold, to decorate a Bible for him. After Philip’s death they went to work for his brother, Jean de France, Duke of Berry, and illuminated a number of books for him. Some of their most important contributions to the art of illumination were their atten-tion to detail, interest in landscape, and rendering of depth. These three practices helped provide the foundation for later Flemish schools of art and the famous artists who would follow in the Renaissance period. These developments by the Limbourg brothers are the essence of the new International style that combined the Italian and Northern styles of painting. The primary work that has been ascribed to them consists of illustrations for two books, one finished in approximately 1408 and the other in about 1413. By 1416 all three brothers had died, most likely the victims of an epidemic.

The Limbourg Brothers

This is the illustration for the month of May from a book the limbourg brothers illuminated for the duke of berry.



15

QuesTions

1. What was book illumination?

2. What were artists in the Middle Ages associated with?

3. What would these artists illuminate?

4. Who were the Limbourg brothers?

5. Why did the Limbourg brothers originally go to Paris?

6. Who was the first well-known person to hire them, and what did he hire them to do?

7. What was unusual about how the brothers made their livings as illuminators?

8. What were some of their most important contributions to the art of illumination?

9. What did these practices help provide the foundation for?

10. What was the new International style a combination of?

The Limbourg Brothers

Name Date



16

renAissAnCe ArT And MusiC

The idea of a Renaissance, or rebirth, can be traced back to the writing of an Italian poet named Petrarch. In his writings, Petrarch shakes off the old view of the Middle Ages that people should be governed solely by the church and religion. He instead seeks to examine life in terms of individual-ism and humanism. Individualism can be viewed as a new self-awareness and self-assurance. Humanism referred to a belief in the importance of what we still call the humanities: the study of languages, literature, history, and philosophy in a secular, rather than religious, framework. These ideas helped those who would lead the way in the Renaissance to develop new styles of composition and new styles of painting. Suddenly, the Renais-sance became an age of enlightenment, an age of scientific, artistic, and philosophical development that is startling in comparison to the one thousand years or so that immediately preceded it, which we view as a period of darkness and little enlightenment. These views of people in the Renaissance profoundly affected the worlds of music and art. Some important aspects of musical development included the further use and de-velopment of polyphony and the beginnings of a development of a theoretical background of chords and notes that blended well with each other. In addition, music began its slow but sure shift from being primarily intended for use in the church to also providing oppor-tunities for enjoyment outside of church. Development of the printing press and movable type made it possible for music to be copied and distributed on a much broader basis. The development of commerce and international trading also made it possible for musicians’ work to be heard outside of their own countries. Likewise, in the art world important developments transpired in the use of light with regard to dimensions. Also, there was an increased interest in the human body and how it worked. No longer were artists satisfied with merely painting from models. They were intrigued by the intricate study of corpses and the mechanics of the human body and also by the study of the lines and structure of the human body. This led to a much more definitive representation of the human body and its different aspects in both paintings and sculptures. During the Renaissance, a continuing movement away from church- or monas-tery-sponsored activities in both art and music took place, moving to an independent and somewhat self-serving approach. While many composers and artists relied upon a specific cathedral or church to commission their works and provide their monetary needs, many sought to receive recognition and patronage from secular sources by signing their works. The scientific and artistic advancements that occurred during the Renaissance forever changed the world and the manner in which we view it.

Renaissance Art and Music

Michelangelo’s Moses shows the increased interest of many renaissance artists in re-alistically portraying the human body.



17

CrossWord Puzzle

Renaissance Art and Music

Use the clues below to complete the crossword puzzle dealing with Renaissance Art and Music. The answers can be found on the narrative page.

ACross1. Middle Ages (three words)6. Developments in the use of with regard to dimensions were taking place in art.7. “Rebirth” in French8. Artists were intrigued by the study of the and structure of the human body.9. Belief in the importance of the humanities14. Period that preceded the Renaissance (two words)15. This helped musicians to be heard outside their own countries.16. One of the humanities; the study of the principles underlying knowledge, thought, conduct, and the nature of the universe17. With the development of the music could be distributed more widely. 18. Hands, feet, legs, and torso (two words)19. Study of languages, literature, history, and phi-losophy

doWn2. Self-awareness and self-assurance3. Activities in art and music became more indepen-dent and - .4. A theoretical background of and notes de-veloped.5. Non-religious10. Age of scientific, artistic, and philosophical devel-opment. (three words)11. One of the humanities; deals with what people have written12. Italian poet13. One of the humanities; deals with the account of the past15. The old view in the Middle Ages was that the governed everything.

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5 6

7

8 10

1311 12

14

15

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Name Date



18

GuillAuMe dufAY

Guillaume Dufay was born in approxi-mately 1398 and died in about 1474. He was a French composer and was known in his day as being the leading composer of his time. He was raised and trained as a choir boy in Cambrai at the Cambrai cathedral where he spent most of his life. He was ordained a priest in about 1420. He was invited on two separate occasions to be a member of the papal choir, first in Rome from 1428 until 1433 and again in Florence and Bolo-gna from 1435 to 1437. He received a degree in canon law from the University of Turin. Because of his reputation as a learned individual, Dufay was appointed to many important and influential positions in the church. These positions required him to travel a great deal, and his reputation as a church official and fine musicain enabled him to become a welcome guest at many European courts. Much of Dufay’s music was writ-ten for special occasions and special events, both in Rome when he was a member of the papal choir and in Italy when he was a composer for one of the noble families, the Duke of Savoy (1438–1444). While Dufay was not particularly innovative, he did have the opportunity to com-pose most of his works in a confirmed style and showed a very high level of artistry in his compositions. In particular, Dufay is noted as being the first composer to use a secular, or non-church-related, melody as a basis for one of his many masses. This is particularly unique since the Catholic church had very strong feelings against the use of secular mu-sic and secular melodies and texts in its service. Dufay’s use of these secular melodies eventually lead to the Catholic church’s desire to reform all music that would be used in the Catholic service. Dufay is recognized as a teacher of many important composers who followed after him. He laid the foundation in all of his works for the new style that would permeate the Renaissance. Some aspects of that style are: (1) the control of dissonance (using disso-nance in appropriate places rather than indiscriminately), (2) equal importance of voices (no voice stands out above the other as having greater importance), (3) the predominant four-part texture (primarily using four voices instead of three, five, or six), and (4) the continuing use of isorhythm (repeated rhythmic patterns) as a way to unify or tie a piece together. Dufay’s compositions are of a very high quality and are generally associated with a school of composition known as the Burgundian school. (A school in this sense refers to a group of people composing in a similar style at approximately the same place and time.)

Guillaume Dufay

Guillaume dufay was the first to use a secular melody as the basis for a Catholic mass.



19

Word sCrAMble

Unscramble these words and phrases that come from the narrative about Guillaume Dufay.

1. SRIRYTTA

2. BMARACI

3. QYGTIAUIHLH

4. APIALROHCP

5. TMHSYRIOH

6. CSENAODISN

7. BNRUGIUADN

8. CODLUSEEYLAMR

9. SMSA

10. CTLOAIHC

11. XEETRUT

12. COTPSONOIIM

13. PNOSCFECEROMHR

14. LAMEAUIUDUGYLF

15. CLTEPORUMAINAEQ

16. AOLNNCAW

17. RLENFCEO

18. FDVOKEUSOAY

19. ICLPSSEENVATE

20. GOAOLBN

Word lisT Artistry Bologna Burgundian Cambrai Canon Law Catholic Composition Dissonance Duke of Savoy Equal Importance Florence French Composer Guillaume Dufay High Quality Isorhythm Mass Papal Choir Secular Melody Special Events Texture

Guillaume Dufay

Name Date



20

GioVAnni PierluiGi da PAlesTrinA

The early to middle sixteenth century was a time of great upheaval in the Catholic church. Martin Luther had posted his 95 theses, which represented his view on how the Catholic church should reform in order to realign itself with the teachings in the Bible. Martin Luther’s attempt at reformation was met with great displeasure, and within a few short years, he was excommunicated from the Catholic church and began his Protestant movement. In response to this, the Catholic church launched what was known as the counter-reformation, in which the church sought to bring all of the individual parishes more fully under its control. It also sought to make the services in local parishes more uniform with regard to how they were performed and also how the music was handled. In an important and historic 18-year-long meeting known as the Council of Trent, the Catholic church declared its desire to eliminate all instrumental music from the mass and from the Catholic services and to eliminate all use of polyphony by choirs. The church wanted to go back to using only the Gregorian chants. It was at this point that Palestrina, already an important musical figure not only in the Catholic church but also in the Renaissance in general, stepped in and almost single-handedly changed the future of music. Palestrina was born in about 1525 and died in Rome in 1594. He was an Italian composer who was raised in the Catholic tradition and was the maestro di cappella (choir master) of several important choirs in Rome. He was well-known to the Pope and was well-respected throughout the Catholic church as a musician and composer. Palestrina represented musicians from all over Europe at the Council of Trent and, through his compositions, showed the Catholic church that indeed polyphony could be used tastefully and could more closely represent the original Gregorian chant in the polyphonic settings of the mass and thereby still be used in the Catholic church ser-vices. While not immediately successful, he also made some progress toward convincing the church that instruments could still have a place in the Catholic church services. It would take several years before the church would be convinced, but by the turn of the seventeenth century, instrumental music had once again found its place in church services, not only in the Catholic church, but in the newly-formed Lutheran church as well. So well-respected was Palestrina that in 1577 he was asked to rewrite the church’s chant books, following the new guidelines as dictated by the Council of Trent. Palestrina is viewed as one of the greatest composers of the Renaissance. His compositional style was of a seamless texture with all the voices perfectly balanced. Indeed, it was the classic model of Renaissance polyphony.

Giovanni Pierluigi da Palestrina

Palestrina was able to convince the church that polyphony could be used tastefully in mass settings.



21

QuesTions

1. Who posted the 95 theses?

2. What did he want the Catholic church to do?

3. What was the early to middle of the sixteenth century like for the Catholic church?

4. What did the Catholic church launch in response to the Reformation?

5. What was the 18-year-long meeting called?

6. How did this meeting potentially affect music?

7. Who was the important musical figure who helped change the future of music?

8. What did he do for several important choirs in Rome?

9. What was Palestrina’s standing in the church?

10. What was Palestrina asked to do in 1577?

Giovanni Pierluigi da Palestrina

Name Date



22

MiCHelAnGelo buonArroTi

The great Renaissance sculptor, architect, painter, and poet, Michelangelo Buonarroti, was born in 1475 and died in approximately 1564. When he was 13 he began studying painting with Domenico Ghirlandaio and sculpture with Bertoldo di Giovanni. He also had the wonderful opportunity of studying with Lorenzo de Medici, in whose palace he came in contact with the leading humanist poets and philosophers of the day. Along with his already deep religious convictions, this education gave him an intriguing and extremely well-rounded blend of knowledge and background upon which to draw for his works of art. Michelangelo’s art represented the best of the High Renaissance period and was the culmina-tion of all the other great artists who had gone before him, such as Donatello. Throughout Michelangelo’s lifetime he was associated with princes and noblemen, popes, cardinals, kings, and other rulers. He was not easy to get along with, but his artistic abilities made his social inadequacies acceptable. While most artists have one or at most two mediums (art techniques or materials) with which they work, Michelangelo achieved success in a wide variety of artistic areas. Among other things, he was an architect, sculptor, painter, poet, and engineer. Of these he seems to have enjoyed sculpture the most. Among Michelangelo’s many important artistic works was the great marble figure of David, which he sculpted between 1501 and 1504. The incredible detail in this sculpture is a fine example of the study of the human body that was prevalent in the Renaissance period. Another of his fine accomplishments, and perhaps his greatest, is the ceiling of the Sistine Chapel, which he was commissioned to paint by Pope Julius II. In order to complete this work, Michelangelo had scaffolding built so he would be able to reach the ceiling, and then he painted while lying on his back. It took him approximately four years—from 1508 to 1512—to paint these images on the Sistine Chapel ceiling. The finished work included nine scenes from the Book of Genesis, beginning with the separation of light from darkness and continuing with the creation of Adam, the creation of Eve, the temptation and Fall of Adam and Eve, and the Flood. This enormous endeavor changed the course of painting for the future. In 1536 Michelangelo was also asked to paint a large mural on the altar wall of the Sistine Chapel. He finished it in 1541 and this fresco (painting done on plaster) depicts judgment day. It is entitled Last Judgment. Michelangelo’s greatest achievement as an architect was his work at St. Peter’s Basilica where he was the chief architect in 1546. He was responsible for one end of the building on the exterior and for the final form of its dome. The dome at St. Peter’s became a symbol of the authority of the papacy and was also a model for domes all over the Western world. The Capitol building in Washington, D.C., is modeled after it.

Michelangelo Buonarroti

Michelangelo was a successful architect, sculptor, painter, poet, and engineer.



23

Word seArCH

Michelangelo Buonarroti

Find the words listed below and circle them in the word search puzzle. All the words are associated with Michelangelo in some way. Words may be printed forward, backward, horizontally, vertically, or diagonally in the puzzle.

Word lisT

Architect Basilica Cardinals Ceiling David Dome Donatello Fresco Genesis Human Body Kings Last Judgment Michelangelo Painter Poet Pope Julius Popes Scaffolding Sculptor Sistine Chapel

Name Date



24

leonArdo da VinCi

Leonardo da Vinci was one of the great masters of the High Renaissance. This artist from Florence was noted as a painter, sculptor, architect, engineer, and scientist. In particular, his innovations in painting influenced the world of art for at least a century after his death. Also, many of his scientific ideas anticipated modern practices in the fields of anatomy, optics, and hydraulics. Leonardo was born in 1452 and died in 1519. He was born in the small town of Vinci, which is near Florence, Italy. His father was a wealthy Florentine notary, and his mother was a peasant. His family settled in Florence when Leonardo was a boy, and he was afforded the best education available to anyone of the time. Florence was the center of intellectual and artistic activity in Italy, and Leonardo was one of the many great benefactors of this quality of education. In addition to being an artist, Leonardo was also an excellent musician. At the age of 14 he was apprenticed to the greatest painter and sculptor in Florence, Andrea del Verrocchio. Under his tutelage Leonardo developed many of the skills that would make him great. By 1478 he was an independent master. Leonardo created a relatively small number of paintings, but these paintings repre-sented two important techniques of art that would foreshadow the further developments that would come over the next century. These two techniques are called sfumato and chiar-oscuro. Sfumato is seen as subtle, very small transitions between color areas that create a hazy or smoky effect. Chiaroscuro is a technique that defines forms through contrasts of light and shadow, producing the effect of light reflecting off three-dimensional surfaces. Both of these techniques are used in Leonardo’s most famous painting, The Mona Lisa. Some of his other works are The Last Supper and The Adoration of the Magi. All three of these paintings reveal his new approach to perspective in landscape backgrounds. While none of his sculptural projects or architectural drawings were ever brought to fruition, his actual drawings for both demonstrate a mastery of the use of massive forms and a deep understanding of ancient Roman architecture. As a scientist, Leonardo was centuries ahead of his time. Among his technical draw-ings can be found flying machines such as the helicopter, vehicles such as the tank, and an underwater diving suit. In anatomy he studied the circulation of the blood and the action of the eye. He also made discoveries in meteorology and geology. He indeed embodied the term “universal man,” which means a man who is very knowledgeable regarding a variety of subjects.

Leonardo da Vinci

leonardo da Vinci developed new tech-niques in painting which used gradations of color and contrasts of light and shadow to create more three-dimensional works.



25

MATCHinG


Column A

1. Leonardo da Vinci

2. Sfumato

3. Chiaroscuro

4. Mona Lisa

5. Landscape backgrounds

6. Architectural drawings

7. Helicopter

8. Tank

9. Anatomy

10. Universal man

11. The Last Supper

12. Hydraulics

Column b

A. Made drawings of this ground vehicle

B. Impacted this field with his studies of blood circulation and the eye

C. Showed his new approach to perspective

D. Good descriptive term for Leonardo

E. Subtle transitions between color areas

F. Leonardo’s most famous painting

G. Great master of the High Renaissance

H. Defines forms through contrasts of light and shadow

I. A field of study impacted by Leonardo’s investigations

J. These were never turned into buildings.

K. Made drawings of this flying machine

L. Another of his famous paintings

Leonardo da Vinci

Name Date



26

bAroQue ArT And MusiC

The Baroque period began in the late 1500s and ran to the middle of the 1700s. Perhaps the most easily understood characterization of the Baroque style of art is that it fills space with action and movement. Painters, sculptors, and architects were primarily interested in creating a complete illusion. They strove to convey a sense of dynamics, drama, and passion. Artists such as Bernini, Rubens, and Rembrandt best illustrated these characteristics of Baroque art. The main composers of Baroque music were George Friederich Handel and Johann Sebastian Bach. However, there were others, such as Monteverdi, Purcell, and Vivaldi, who were extremely important in the development of the styles that we now think of as representative of the Baroque era. Among the important developments in the field of music was the transition from using church modes, as represented in Gregorian chants, to a major-minor system, as represented in the major and minor scales that we have today. Also, the equal importance of instrumental music and vocal music was stressed, and polyphony returned to a high status. Composers of the Baroque period employed some important developments in their music. Some of these characteristics were a unity of mood (having the same mood or feeling throughout a piece of music), a continuity of rhythm (rhythmic patterns that are heard at the beginning of a piece are repeated throughout), the repeated use of a melody throughout a piece (which further provides continuity in the composition), the use of ter-raced dynamics (adding groups of instruments in order to achieve additional volume or taking instruments away in order to achieve a quieter volume), and as mentioned earlier, the use of polyphonic texture. Also important in Baroque style was the attachment of words to the music so that the music was specifically used to depict the meaning of the words. This was known as word painting. An example would be ascending scales to represent the words “climbing the mountain.” Descending scales could be used to depict a word such as “valley” or “hell.” The Baroque era may be viewed as a continuation of the developments that began during the Renaissance period. As with any of the historical periods, many composers and artists of the Baroque era sought to incorporate elements of the past into the forms and techniques of the present. Many others sought to turn in completely new and different directions. Still important to the Baroque artists and musicians was the power and influence of religion. In the past it had been solely the Catholic church that had exercised its power. Now the Lutheran and Anglican churches also played important roles in the lives of the artists and composers of the Baroque era.

Baroque Art and Music

instrumental music gained equal importance with vocal music in the baroque period.



27

Word sCrAMble

Unscramble these words and phrases that come from the narrative about the Ba-roque period.

1. DHANLE

2. SLCAES

3. RBUSEN

4. CYRIIMIHTTCHNYONUT

5. EIOXNTLPYTCHEPORU

6. TWAPNRINIDGO

7. DOIUOYMFTNO

8. BTANREDRM

9. QUBORAE

10. HBAC

11. IDTCERDEANAMSYRC

12. VVIDLIA

13. LELCUPR

14. EIRBNIN

15. TVRENMEIDO

16. TNAOIC

17. IMRNO

18. EETVNOMM

19. JOMRA

20. SINLUOLI

Word lisTAction Bach Baroque BerniniHandel Illusion Major Minor Monteverdi Movement Polyphonic Texture Purcell Rembrandt Rhythmic Continuity Rubens Scales Terraced Dynamics Unity of Mood Vivaldi Word Painting

Baroque Art and Music

Name Date



28

HenrY PurCell

Henry Purcell was one of the greatest composers of the Baroque era. However, because he died at an early age, his career as a composer and musician was cut dramatically short. He was born in 1659 and died in 1695. Purcell studied music as a boy with his father, a musician in the Chapel Royal, and later with Henry Cooke, Pelman Humfrey, and Matthew Locke, all leading English musicians of the day. In 1677 he was given the position of composer for the royal string band. In 1679 he was appointed as the organist for Westminster Abbey, and three years later he became the organist for the Chapel Royal, where he remained until his death. Purcell is viewed as one of the greatest English composers of all time. At the young age of 21 he was already exhibiting a complete com-mand of all the styles of composition that were prevalent at the time. One of his most famous pieces of chamber music is Fantasy Upon One Note, in which the viola plays nothing but middle C while the other four instruments weave melodies around it. He also wrote several sets of Lessons, or suites, for the harpsichord. Some of Purcell’s most important compo-sitions were written for the theater. Most of this music was written as incidental music for spoken plays; however, he did write several semi-operas and one complete opera. This opera, Dido and Aeneas, stands as one of the finest examples of seventeenth century opera available to us. Purcell also wrote a great many works for special occasions. His works for birthdays, arrivals, and marriages of royalty and nobility were quite exciting and were written on a grander scale than his other works. In particular, his pieces written for the celebration of St. Cecilia’s Day (the patron saint of music) were impressive and moving. Another of the important musical forms that Purcell developed was the anthem. This was a piece designed to be sung in a Protestant church service as a means of wor-ship through music. In Purcell’s day, they were of two varieties: the verse anthem, which employed soloists, and the anthem, which did not. Both forms called for a choir of four parts with keyboard accompaniment. In 1683 Purcell became conductor at the court of Charles II and remained throughout the reigns of James II and William and Mary. Sadly, from the time of Purcell’s death in 1695 until the beginning of the twentieth century, England suffered from a lack of good composers and so remained quiet until the arrival of Ralph Vaughn Williams and Benjamin Britten on the scene.

Henry Purcell

Henry Purcell mastered all styles of musical composition prevalent in his short life.



29

QuesTions

1. Who was one of the greatest composers of the Baroque era?

2. What caused his career to be cut short?

3. From what country did he come?

4. What was he exhibiting at the age of 21?

5. What is one of the finest examples of seventeenth century opera available to us?

6. For what were some of his most important compositions written?

7. Who were the next two great English composers after Purcell?

8. What was another important musical form that Purcell developed?

9. For what was this musical form used?

10. What was the difference between the anthem and the verse anthem?

Henry Purcell

Name Date



30

JoHAnn sebAsTiAn bACH

Arguably the greatest composer of the Baroque era, Johann Sebastian Bach was born in 1685 into a family of musicians and composers in Eisenach, Germany. His family line produced 53 prominent musicians over seven generations. He was the youngest son of a town musician who taught him the basics of music theory. Young Johann was orphaned at the age of ten and lived with his brother, Jo-hann Christoph, who taught him keyboard tech-niques. Bach held numerous posts throughout his life as a composer and organist and at one point was held prisoner by one of his employ-ers for a month because he didn’t want him to leave and be hired by someone else. Among some of the posts he held were violinist in the chamber orchestra of the Prince of Weimar, church organist in Arnstadt, choir master and director of chamber music for the Prince of Anhalt-Köthen, and musical director and choir master of St. Thomas’s Church in Leipzig. Bach was married twice. His first wife was a second cousin, Marie Barbara Bach, and they were married in 1707. They had seven children, but Marie died in 1720. The next year he married Anna Magdalena Wichen, and together they had 13 children. Anna was particularly helpful to Johann through assisting him in copying his scores for performances. Bach composed in nearly every musical style or genre of his time, except the opera and oratorio. He was a master organist who was invited all over Europe to try out new organs and was viewed as one of the great virtuosos of his time. His mastery of a particular Baroque form known as the fugue stands as one of his major accomplishments and contributions to the world of music. A fugue is a distinctly polyphonic work with spe-cific and strict guidelines as to how each voice may be handled. A theme is introduced by one voice, repeated by other voices, and developed throughout the piece. Among some of Bach’s greatest compositions were his works for organ, particularly his preludes and fantasias (fanciful, free-form compositions) on chorale themes for the Lutheran church, of which he was a member. Another important body of composition that Bach can claim almost entirely as his own was that of the Lutheran cantata, designed specifically to be used in the Lutheran church service. The cantata is a work for vocal soloists, chorus, orchestra, and organ. The cantata was based on chorale themes or simple hymn melodies that were designed to be sung by the congregation in a Lutheran church service. Bach also wrote in the highly spe-cialized genre of the Passion play, which dramatizes the betrayal and crucifixion of Christ. His examples in this area stand as the greatest examples of this type of composition. Bach is clearly the epitome of the late Baroque style of music, and his ideas and styles laid the groundwork for the new musical era ahead known as the Classical era.

Johann Sebastian Bach

bach was an organ virtuoso and a master of the baroque form known as the fugue.



31

CrossWord Puzzle

Johann Sebastian Bach

Use the clues below to complete the crossword puzzle. The answers may be found in the narrative about Johann Sebastian Bach.

ACross1. Bach was and musical director of St. Thomas’s Church in Leipzig.4. Bach’s brother’s middle name6. Bach mastered this Baroque form.11. One of Bach’s employers held him .12. A cantata was based on these as well as simple hymn melodies. (two words)13. When Bach was ten, he was .15. A composition used in the Lutheran church ser-vice16. Bach was a in the chamber orchestra of the Prince of Weimar.18. A fugue is a distinctly work.

8

1 2 3

4

5

6 7

9 10

11

12

13

14

15

16 17

18

Name Date

doWn2. City where Bach was born3. Bach’s father was one of these. (two words)5. Bach’s brother gave him lessons in tech-niques.6. A fanciful, free-form composition for organ7. For seven his family line produced prominent musicians.8. Bach was a master on this instrument.9. Bach’s ideas laid the groundwork for the .10. Arguably the greatest composer of the Baroque era.13. Bach composed in nearly every musical genre except and oratorio.14. A highly specialized genre that dramatizes the crucifixion of Christ. (two words)17. Church that Bach was a member of



32

reMbrAndT von riJn

Rembrandt, the greatest painter of the Dutch school, was born in 1606 in Lieden, Hol-land. When he was 14, he enrolled for a few months at Lieden University. He left the University shortly thereafter to study painting under Jacob von Swanenburgh. After three years, he studied with another painter in Amsterdam named Peter Lastman. Lastman’s main influence on Rembrandt was his suggestion to Rembrandt to try his hand at historical painting; that is, the painting of histori-cal figures, particularly from the Bible or ancient history. This concept was unusual for an artist in Holland in the seventeenth century because most artists were painting the people or things around them. He soon made a strong impression on his contemporaries and was predicted to surpass in talent and skill the masters from the Italian Renaissance. Most of his early paintings were very small and meticulously finished, but they show how he had mastered the technique of using light and shadow known as chiaroscuro and the use of space for intensifying the drama of the picture. By 1631, at the age of 25, he was already an accomplished artist and had moved to Amsterdam where he spent the rest of his life. Because of his early success, Rembrandt began a personal art collection that was not equaled by anyone else in his city or even his time period. One of Rembrandt’s most famous paintings is the group portrait called The Night Watch, which shows a group getting ready to march. The most important innovation in this portrait was that he made the individuals in it less important so that the action became the primary focus of the painting. This was something that had not been done before. In his later years, Rembrandt began to focus more on inner life and character than on the outward appearance of his subjects. This was not a popular approach to art at the time, so his popularity waned. In 1656 Rembrandt was forced to declare bankruptcy, and his house and art collection were sold by auction. Rembrandt continued to paint works for himself throughout the remainder of his life. Then in 1660, a close friend and Rembrandt’s son, Titus, established an art firm to try to protect Rembrandt from his creditors. They hired him, and the following year he was com-missioned to paint The Conspiracy of Claudius Civilis, which depicted the man who led a revolt against the Romans in a.d. 69. The completed painting was the most historically im-portant work ever painted in Holland, but today only a fragment of it still exists. Within eight years, both his friend and his son had died, and one year later, Rembrandt himself died. Rembrandt is known as one of the great masters of Baroque art and had an ex-tremely prodigious output with over 600 paintings, 300 etchings, and almost 2,000 drawings attributed to him. By the twentieth century, Rembrandt was more highly rated than many of the Italian masters of the Renaissance and Baroque periods.

Rembrandt von Rijn

Although financially unsuccessful, rem-brandt is rated higher in skill and talent than many italian masters of the renaissance and baroque periods.



33

QuesTions

1. What was the name of the greatest painter of the Dutch school?

2. Where was he born?

3. What is historical painting?

4. Why was historical painting unusual at that time?

5. What technique had he mastered before the age of 25?

6. What role did his son, Titus, play in his life?

7. What was the most important innovation in Rembrandt’s painting The Night Watch?

8. What did Rembrandt focus on in his later years?

9. What happened to Rembrandt in 1656?

10. How many paintings, etchings, and drawings are attributed to Rembrandt?

Rembrandt von Rijn

Name Date



34

ClAude lorrAine

Claude Lorraine was one of two very important French landscape artists and was born in Lorraine, France, in 1600. When he was about 12 years old, he entered the household of a Roman painter named Augostino Passi. Before long, he became Passi’s assistant and worked with him on the decoration of a villa. Three years later he visited Naples and worked for an artist there. He was deeply impressed by the landscape of the Gulf of Naples, and this coastline would find its way into his paintings throughout his lifetime. By 1627 he had moved to Rome, where he remained for the rest of his life. He was influenced early on by the Mannerists. They utilized odd forms of trees and rocks and used special tricks to organize space in a bizarre fashion. However, by the late 1630s Claude was well on his way to creating his own style of landscape painting. From 1640 to 1660 he shed the Mannerists’ approach and developed an expression of his deep feeling for the Roman countryside. Subjects he used for his paintings were from the Bible and other epics, both ancient and medieval. He became known for his subtle use of light and atmospheric effects to depict the poetic quality of a scene. Indeed, while he is known as the painter who established a European style of landscape painting, his most important advances came through his exploration of the use of light. In many of his works the human figures and other scenery take a position of secondary interest. In his early works the source of light was placed lower in the sky, making his compositions more radi-ant. In his late works the light is less direct and gives a sense of haziness to the pastoral scenes. Only a handful of Claude’s works make human figures the focus of interest. The figures in his paintings were not important to Claude. He only included them because tradition demanded that he do so. He cared only for the landscape. He is quoted as saying: “I give my figures away but I sell my landscapes.” His scenes usually included a detailed foreground flanked on the sides by trees or buildings that focused the attention on the central light of the landscape. Claude’s works were especially well-received and popular in England. His paintings had a great influence on many artists, both in France and in England, and he inspired movements in English landscape gardening and in poetic verse through his paintings.

Claude Lorraine

Claude lorraine was known for his innovative use of light in his landscape paintings.



35

Word seArCH

Claude Lorraine

Find the words listed below and circle them in the puzzle. All of the words are asso-ciated with Claude Lorraine in some way. The words may be printed in the puzzle forward, backward, horizontally, vertically, or diagonally.

Name Date

Word lisT

Atmospheric Effects Augostino Passi BibleBizarre Claude Lorraine CoastlineEngland Epics FranceGulf Haziness LandscapeLandscape Gardening Mannerists NaplesPoetic Verse Radiant Roman CountrysideSpecial Tricks Villa



36

ClAssiCAl ArT And MusiC

The beginning of the eighteenth century saw a shift from the ornate and highly aristocratic Baroque style to a revival of reason, nature, and morality. This shift began through philosophical views as expressed by such philoso-phers and writers as Hume, Voltaire, and Rousseau, who believed that all affairs of humankind should be gov-erned by reason and the common good rather than tradition and established authority. This call for the return to reason naturally meant that the styles of artists and musicians—particularly artists—would return to and reflect the styles of the ancient Greeks and Romans. This shift was particularly seen in architecture as new buildings reflected the architecture of ancient Greece with columns and huge por-ticos. In painting, artists sought to combine the elements of what was around them (i.e., scenes from everyday life) with elements of the past. They paid particular attention to how heroes of the past would have been depicted through the use of light, space, and facial expression. Artists sought to incorporate ideals from the past such as the figure representing evil, larger-than-life battles such as those between Archangel Michael and Satan, the use at times of nude figures, and the constant battle between forces of doom and salvation. By combining these with modern subjects and stories, they brought the present and past together in painting. Some of the great artists of the Classical era were Jean-Antoine Wat-teau, Jacques-Louis David, and William Hogarth. In music, the ideas of reason, nature, and morality were reflected in the form and structure of music. The focus was on music that was in good taste, was elegant, and would appeal to all listeners. Music of the Classical era had to be predictable in order to be popu-lar. The listeners expected to be able to know when the next section of music would begin and when there would be a change in the direction of the music. Music was also required to appeal to a variety of people, not only on a national basis, but on an international basis, as well. It also had to appeal to people of all classes. The composers who were most suc-cessful at accomplishing their tasks within these guidelines were those whose works have endured through the ages as masterpieces of the Classical era. The three greatest composers of the Classical era were Franz Joseph Haydn, Wolf-gang Amadeus Mozart, and Ludwig van Beethoven. Their works stand as the supreme models of all the forms prevalent in the Classical era.

Classical Art and Music

Jacques-louis david, like other artists of the Classical period, looked to ancient rome for themes for his works. This painting depicts the Oath of the Horatii.



37

Word sCrAMble

Unscramble these words and phrases that come from the narrative about the Clas-sical period.

1. OANRET

2. CUTESTRRU

3. SEINACNT

4. HUEM

5. ERUANT

6. TCERCHTAEIRU

7. ROFM

8. ALEGTEN

9. CBEPADIELTR

10. RTTCORSCAAII

11. OCNUMLS

12. TCOORSPI

13. EEGCRE

14. NOASER

15. HESROE

16. TVLIEARO

17. UOSASEUR

18. MAILOTYR

19. AAISSLLCC

20. NIAOATNINLRET

Word lisT Ancients Architecture Aristocratic Classical Columns Elegant Form Greece Heroes Hume International Morality Nature Ornate Porticos Predictable Reason Rousseau Structure Voltaire

Classical Art and Music

Name Date



38

CHrisToPH WillibAld GluCK

Christoph Willibald Gluck was born in 1714 in Erasbach, Germany. He left home at the age of 14 to study in Prague where he worked as an organist. He later moved to Milan where his first opera was performed in 1741. Other opera performances followed in Italy and in England, after which he settled in Vienna, Austria, where he remained for the rest of his life. Gluck’s most important contributions to music were the reforms he made in opera. Op-era for many years had been dominated by the Italians. Since opera began in Italy, the Italians naturally assumed that it was their art form and they could do whatever they liked with it. As a result, Italian opera had become extremely ornate, where the music often got in the way of the drama and the story line. Italian composers of the type of opera known as opera seria (Italian serious opera) often insisted on extremely ornate arias (vocal solos) for the principal singers in the opera. These arias enabled them to show off their technical skills. Gluck sought to tame these practices and wanted the music to serve the poetry and the drama rather than interrupt it. He wanted to make the overture (an instrumental introduction) relate to the drama. The practice had been that the overture often had nothing to do with any of the musical ideas presented in the opera and therefore served merely as a filler of space. Gluck wanted the overture to help set the tone in terms of themes and melodies in the opera. He also sought to link the recitative (lines delivered in a speaking tone) and the aria without any kind of break between them. In essence, Gluck, in keeping with the philosophical practices of the Classical era, sought to return reason, good sense, and good taste to opera. The plots of Gluck’s operas, which differed from the complicated and sometimes nonsensical opera seria plots, were based on everyday human emotions that would ap-peal to audiences of the Classical era. His most popular work was the opera, Iphigenie en Tauride. All of his operas dealt with ancient Greek, Roman, or Classical figures. This, too, was in keeping with the Classical ideals. Gluck died in 1787, eight years after his success with Iphigenie en Tauride. He was recognized and known throughout Europe as the composer who instituted important and long-lasting reforms in opera. Gluck’s innovations in opera reform helped establish the basis for the great works of Mozart, who is generally recognized as the master of Classical opera.

Christoph Willibald Gluck

Gluck’s innovations and reforms sought to bring reason, good sense, and good taste back to opera.



39

MATCHinG


Column A

1. Erasbach, Germany

2. Prague

3. Milan

4. Vienna, Austria

5. Reforms in opera

6. Italy

7. Opera seria

8. Aria

9. Overture

10. Recitative

11. Reason

12. Everyday human emotions

13. Iphigenie en Tauride

14. Mozart

15. Classical ideals

Column b

A. Country where opera began

B. Plot material for Gluck’s operas

C. Where Gluck studied

D. Instrumental introduction to an opera

E. Gluck’s most popular work

F. Vocal solo

G. Gluck’s birthplace

H. Where Gluck’s first opera was performed

I. Italian serious opera

J. Gluck’s most important contributions to music

K. One of the themes of the Classical era

L. Greek or Roman figures

M. Where Gluck settled for the remainder of his life

N. The master of Classical opera

O. Lines delivered in a speaking tone

Christoph Willibald Gluck

Name Date



40

WolfGAnG AMAdeus MozArT

Wolfgang Amadeus Mozart was born in Salz-burg, Austria, in 1756. He was the son of a musician named Leopold Mozart, who exercised a tremendous amount of influence on Mozart throughout his life. By the age of four, Mozart had composed his first piece. When he was five and six, his father took him on concert tours around Europe to perform for heads of state and other nobility. By the time he was 11, he had written his first opera and had already gained a reputation as a child prodigy. Mozart was rarely satisfied with the musical standards of those around him, and often, even with his own musical standards. Nevertheless, he possessed a gift of melody unequaled in history. Throughout his life he exhibited tremendous talent and artistry in every musical form that he attempted. However, he continually struggled to capture the appreciation and adulation of those around him, not realizing that they had recognized for some time his innate ability and talent. He held several positions with important noblemen and rulers, including posts with the prince, the archbishop, and Emperor Joseph II. However, Mozart longed for something more than composing for the pleasure of an archbishop or an emperor. He longed to compose music that brought pleasure to him and to others, and of course, he wanted to be paid for it in the way that later composers would be paid. In essence, Mozart wanted to be a free-lance musician, but throughout his life he was never fully able to free himself of the patronage system that had governed the arts for more than 600 years. While all appearances indicated that he was never in need of money, he never managed his money well. He died a pauper of a mysterious illness in 1791 and was buried in an unmarked grave in Vienna. Mozart composed in all of the forms of music available in his time. In particular, he excelled in operatic and symphonic compositions, as well as solo concertos. Indeed, Mozart was successful with any form of music that he tried his hand at. His gift of melody made it possible for him to make all of his first drafts of compositions his only drafts. All of the manuscripts available of his original writings show few, if any, corrections or changes. He said of this uncanny ability, “Composing is not a very difficult thing for me. I simply copy down the music as it is in my head.” Indeed, he was known to carry on conversations with others while composing music at the same time. Mozart stands as one of the three monumental composers of the Classical era, and his music will always stand as an example of artistry and beauty.

Wolfgang Amadeus Mozart

Mozart was a phenomenal success in regard to his talent and musical ability, and he composed in every form of music available in his time.



41

QuesTions

1. Where was Wolfgang Amadeus Mozart born?

2. Who was Mozart’s father?

3. What had Mozart done by the age of four?

4. What was Mozart doing when he was five and six?

5. What had Mozart done by the age of 11?

6. What system did Mozart want to free himself of?

7. Why did Mozart die a pauper?

8. What did Mozart die of?

9. What types of compositions did he excel at?

10. What did Mozart say of his ability to compose?

Wolfgang Amadeus Mozart

Name Date



42

JeAn-AnToine WATTeAu

Watteau, one of the most important French painters in the early eighteenth century, was born in Valenciennes, France, in 1684. He began studying painting at the age of 14 in his home town. In 1702 he went to Paris where he studied for five years with the artist Claude Gillot, under whom he gained his interest in costume and scenes from daily life. He then moved to the Luxembourg palace, where he was one of the keepers of the art collection and had access to a number of different artists, particularly Rubens. In 1709 he placed second in the Prix de Rome, a prestigious competition that gave him a fair amount of notoriety. In 1712 Wat-teau was given a provisional membership to the Academie Royale. He was made a full member in 1717. Among the popular types of paintings that Watteau rendered were fetes galantes (scenes of noblemen and noblewomen enjoying simple outdoor pleasures), representations of actual stages performances, and individuals from the theater. Prevalent in all of his works is the theme that love is the primary experience of human nature. Watteau’s paintings were light, witty, and often dreamy scenes of the aristocracy in the time of Louis XV of France. One of his last works was meant to be a sign to be posted outside of one of his friend’s art shops. It depicted the inside of the shop and was used as a shop sign for only 15 days. It was then taken down and preserved as one of the great works of art of the time. Watteau suffered from tuberculosis, and in 1719 he went to England to consult a famous physician. While in London the cold, damp winter worsened his condition, and he died the following year in Paris. Watteau’s most important contribution to the world of art was his bridging of French painting from the Italian style to a newly-created Parisian style, which combined the as-pects of Rubens and Veronese and showed a strong feeling for the use of light and color. Watteau is often called the father of the French school, since he was the first great French painter to develop within his own country. He set the foundation for French artwork that would last until the work of Jacques-Louis David. In particular, Watteau had been credited with being the first to use the technique of divisionism. This technique lays different colors side by side on the canvas and allows the eye to blend them, instead of mixing the colors on a palette before placing them on the canvas. This is believed to be a very early form of the technique used by the Impression-ists of the late nineteenth century.

Jean-Antoine Watteau

Jean-Antoine Watteau’s paintings expressed the theme of love as the primary experience of human nature.



43

CrossWord Puzzle

Jean-Antoine Watteau

Use the clues below to complete the crossword puzzle. The answers can be found in the narrative about Jean-Antoine Watteau.

doWn1. City where Watteau was born3. The competition Watteau entered in 1709 (three words)5. What Watteau kept at the palace (two words)7. Artist Watteau studied with in Paris (full name)8. What Watteau gained through winning the Prix de Rome9. Illness Watteau suffered from12. One of Watteau’s last works was used as a shop

for 15 days.13. His paintings were light, scenes of the aristocracy.14. Watteau was given a provisional membership to the in 1712.15. Watteau is often called the of the French school.18. New technique

ACross2. What Watteau began studying at the age of 144. Newly-created style6. Palace Watteau moved to10. Country where the famous physician lived11. City Watteau traveled to in 170216. One of the most important French painters in the eighteenth century (full name)17. is the primary experience of human nature.19. The new style combined aspects of Rubens and

.20. Scenes of noblemen and noblewomen enjoying simple outdoor pleasures (two words)

19

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11

12 13 14

15

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17

18

20

Name Date



44

JACQues-louis dAVid

Jacques-Louis David was born in Paris in 1748. He studied at the Royal Academy in Paris and went on to win the Prix de Rome, a presti-gious art competition, in 1774. As a student of the Academy he received training in the style of the High Renaissance painters and the classical sculpture of the Greeks and Romans. Students were isolated from the influence of Baroque and Rococo artists. Many of the painters we have looked at throughout history have exerted influence on the work of art through stylistic developments and innovation. Jacques-Louis David, while a great painter and one who keenly represents the Classical period, provided a great service, in many ways, as a proponent for the advancement of French art through the Institute of Art that he established, which took the place of the Academy of Art. A very important contribution from David was his example as a supporter of the French Revolution. Because of his support for the Revolution, he became a public official in France and was one of the many who voted for the execution of Louis XVI, King of France. David became known as the painter of the Revolution and was commissioned on numerous occasions to paint pictures that were representative of events that occurred during the Revolution. When Napoleon Bonaparte began to exercise his authority, David became a strong supporter. Because of his influence and position in both the Revolution and in Napoleon’s movement, he continued to be prominent in both social and artistic circles in the French nation. When Napoleon fell, David was exiled to Brussels, Belgium. During this period, no serious advancement in his art occurred, and in fact his work weakened in the last years of his life. Many of his paintings expressed the values prevalent in France during the Revolution: stern civic virtues, self-sacrifice, devotion to duty, honesty, and the admiration of ancient Rome. David’s painting of The Death of Socrates embodies all the elements of the Classical era and stands as one of his supreme works of art. An interesting painting, and one considered to be another of his great contributions, is the Death of Marat. Marat was a political figure in the Revolution who had been murdered in his bathtub. The story is that because of a skin condition, he often did his paperwork while in the tub. One day a woman came into his room with a letter and plunged a knife into him as he read it. David viewed this painting as a memorial to a hero of the Revolution. Indeed, all of David’s great art pieces reflect and embody the very essence of Classical art. David’s works fall into two categories. His earlier works were the epitome of the Neoclassical (new classical) style, earning him the reputation as the greatest Neoclassic painter of the eighteenth century. His works from the Napoleon years were in the Realist style and were used to depict events and people from the Napoleonic regime. After his exile to Brussels, David again returned to the Neoclassic style.

Jacques-Louis David

david was a supporter of the french revo-lution and napoleon. Many of his paintings are of events in the revolution and the na-poleonic empire.



45

Word seArCH

Jacques-Louis David

Find the words listed below and circle them in the puzzle. All the words are associ-ated with Jacques-Louis David in some way. Words may be printed in the puzzle forward, backward, horizontally, vertically, or diagonally.

Name Date

Word lisT

Academy of Art Brussels Civic VirtuesClassical Duty ExecutionFrench Revolution Honesty Institute of ArtJacques-Louis David King of France MaratMemorial Napoleon NeoclassicPrix de Rome Realist SacrificeSocrates Supporter



46

roMAnTiC ArT And MusiC

With the disintegration of Napoleon’s ideals for worldwide brotherhood came a new movement that was a rebellion against the reason and ratio-nality of the eighteenth century. This movement was known as Romanticism. The main elements of Romanticism were freedom of expression and a fascination with fantasy and nature. In art, paint-ers used brilliant colors and bold dynamic motion instead of graceful poses. Romantic artists also sought to capture the essence of exotic places and provide a glimpse into those lifestyles for the viewers of their art. Landscape painting attained new impor-tance and often sought to show the awesome force and power that could be seen in nature. Scenes of moving, billowing, dark clouds and stormy seas were prevalent in Romantic art. Romanticism in music likewise encapsulated the essence of the Romantic ideals. Forms were greatly enlarged, and a sense of unpredictability was part of many works. An important characteristic of Romantic music was its programmatic nature. This meant that an extra-musical text or story was provided as part of an introduction to a musical work. This introduction gave the listener an idea of what the music was meant to represent. This was also illustrated in the titles of a number of works. Often titles of works were stories with which the people were well-acquainted, such as Romeo and Juliet or William Tell. Composers in the Romantic era viewed their music as extensions of themselves and felt that the music should somehow portray aspects of their lives. They often composed music more to please themselves than to please their audiences, and in many respects were relatively unconcerned with whether the public appreciated or liked their music. Personal as well as national themes were prevalent in Romantic art and music. Rugged individualism can be seen in the works of the great artists and musicians of the Romantic era. The nineteenth century was also a tempestuous time in many parts of the world, and the works of art and music from the period reflect this upheaval. Later movements in art and music reflected an interest in depicting things as they really were. This was known as naturalism. Some of the most important figures in art during this time were Eugéne Delacroix, Caspar David Friedrich, and Gustave Courbet. Some of the most important composers of the era were Johannes Brahms, Franz Liszt, Richard Wagner, and Robert Schumann.

Romantic Art and Music

richard Wagner’s operas contained many themes of the romantic era: fantastical and mythical creatures, great turmoil, and larger-than-life productions.



47

QuesTions

1. What caused the rebellion against reason and rationality?

2. What was this movement called?

3. What are the elements of this movement?

4. How did painters express Romanticism?

5. What form of painting attained a new level of importance?

6. What were some of the changes that took place in music in the Romantic era?

7. What is program music?

8. How did composers in the Romantic era view their music?

9. Who were composers trying to please the most?

10. What kind of time period was the nineteenth century?

Romantic Art and Music

Name Date



48

roberT sCHuMAnn Robert Schumann was born in 1810 in Zwickau, Germany, the son of a bookseller. As a youngster he showed great ability as a pianist and an interest in composing. Because of his father’s influence as a bookseller, he also exhibited an interest in writing and in the writings of others. In 1821 Schumann went to Leipzig, Ger-many, to study law. He instead studied music and was able to convince his family that he should give up law and become a piano virtuoso. Because of a problem with one of his hands, however, he was unable to achieve this goal. So, he turned his attentions to composition and began a literary work known as the New Journal of Music in which he reviewed and wrote of new compositions and composers, as well as performers, in the world of music. While in Leipzig studying piano, Schumann fell in love with Clara Wieck, his piano teacher’s daughter. For several years, Robert sought to gain permission from Clara’s father for them to marry and was finally successful when Clara was 17. It was a happy marriage, and they were devoted to furthering each other’s abilities and talents. Schumann was the epitome of a Romantic composer. His works were extremely autobiographical and often carried with them descriptive titles, texts, and programs. In many ways, Schumann appears to have been almost systematic in the way he approached his compositions. His compositions from 1834 to 1840 were primarily for piano. Following his marriage to Clara in 1840, Schumann turned to writing songs in the new art song form of the Romantic era. An art song is a piece of music for solo voice with piano accompani-ment. In 1840 Schumann wrote over 150 songs, blending masterfully the piano and voice as important elements of the story that the songs told. In 1841 Schumann turned his attentions to orchestral music and wrote his four symphonies. In 1842 Schumann again changed direction and moved to writing for chamber ensembles, writing three string quartets and three works with piano. In 1843 he tried his hand at choral music. Beginning in 1844 he went through a three-year period of inactivity in terms of musical composition. In 1847 and 1848 he was again productive, dabbling with opera, chamber music, and again songs; however, over the next five to six years, Schumann began to suffer deep depressions and hallucinations. He attempted suicide and entered an asylum in 1854. Schumann died two years later in 1856. Clara, his wife, spent most of her time with Robert while he was alive, premiering many of his piano works and providing moral assistance during Robert’s composition and writing trials. Following his death, Clara continued to premiere many of the works that had not yet been performed in public and remained devoted to him throughout her life, caring for their children. Schumann’s greatest contributions to the world of music were his enormous output of art songs and his truly Romantic and challenging works for piano.

Robert Schumann

Clara schumann publicly premiered many of her husband robert’s piano pieces both before and after his death.



49

CrossWord Puzzle

Robert Schumann

Use the clues below to complete the crossword puzzle. The answers can be found in the narrative about Robert Schumann.

doWn2. Where Schumann was born3. Piece of music for solo voice and piano (two words)4. Their marrige was a one.5. Career Schumann abandoned to become a musi-cian6. What Schumann wanted to become (two words)8. In 1842 Schumann began writing for these. (two words)9. Schumann’s compositional output appears .11. Schumann’s contribution to the literary world (four words)13. Schumann’s works were truly in the style.14. Clara continued to do this for Schumann’s works after his death.15. Schumann wrote four .

ACross1. Where Schumann studied law3. Schumann entered this in 1854.7. What Schumann studied instead of law8. Maiden name of Schumann’s wife (full name)10. Schumann wrote over 150 of these12. He was the son of a bookseller. (full name)16. The year 1844 began a three-year period of .17. Schumann was the of a Romantic com-poser.18. Schumann suffered deep depressions and .

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Name Date



50

JoHAnnes brAHMs

Johannes Brahms was born in Hamburg, Germany, in 1833. He began the study of mu-sic at an early age and was an arranger for his father’s light orchestra while he lived at home. In 1853 at the age of 20, Brahms met Robert Schumann and his wife, Clara, and began a lifelong friendship with both. His friendship with the Schumanns pre-sented a difficult situation for Brahms. He fell deeply in love with Clara, 14 years his senior, but also had a deep devotion and abiding affection for Robert, and therefore never acted upon his romantic interests for Clara. Throughout Robert’s illness, both Brahms and Clara cared for him and watched over him until his death. Following Robert’s death, Johannes Brahms and Clara maintained a meaningful and caring friendship for the rest of their lives. Brahms cared for Clara until her death, and shortly thereafter, he died of cancer at the age of 63 and was buried in Vienna, Austria. Brahms was well-known as a pianist but had difficulty gaining recognition as a composer because of his outspoken feelings toward Romanticism. In an age where the vast majority of composers were composing works with extensive and overriding themes and programs, Brahms’ work was primarily of a Classical nature, with very few pieces in a strictly Romantic style. In his larger works, Brahms made use of the expansive and expressive nature of the Romantic movement, but disregarded the use of programmatic titles and story lines. Instead, he chose titles more in line with classical works that used the form names such as sonata and symphony as the titles. Only a handful of his orchestral and chamber pieces carry any programmatic texts or titles. The exceptions to this rule are his piano pieces. His work in symphonies, of which he wrote four, was very closely akin to the work of Beethoven. Indeed, Brahms was viewed as Beethoven’s heir—a comparison with which he disagreed—with regard to the symphony. Both Brahms and Beethoven had a tendency to work and rework, scratch out and begin anew their composititions until they felt that they had the exact music that they wanted. Brahms, like most of his contemporaries, composed in nearly every form—with the exception of opera—and style available to him during his life. He was a prolific composer who exemplified the musical tendencies of the European Romantic movement.

Johannes Brahms

While brahms’ compositions were expansive and expressive, in keeping with the roman-tic themes of the time, few of his works were programmatic in nature.



51

Word sCrAMble

Unscramble these words and phrases that come from the narrative about Johannes Brahms.

1. SICCALSAL

2. SHSABANNHEMJOR

3. AIMRNICTOSM

4. MPSHYYON

5. RDFPEIHINS

6. PNSAOIECPEI

7. IMARCESBUHCM

8. UBMHAGR

9. TAORRCHES

10. GAAIROCRTPMM

11. AENGARRR

12. UANNSHRMCACAL

13. ENAINV

14. HENEEOVBT

15. ANOUTCNBESHMRR

16. ONTAAS

17. TUPNEOOSK

18. IHRE

19. VXPRISESEE

20. IIRTESEMVORNGEHD

Word lisTArranger Beethoven Chamber Music Clara Schumann Classical Expressive Friendship Hamburg Heir Johannes Brahms Orchestra Outspoken Overriding Themes Piano Pieces Programmatic Robert SchumannRomanticism Sonata Symphony Vienna

Johannes Brahms

Name Date



52

euGÈne delACroix

Eugène Delacroix was born in Charen-ton-Saint Maurice, France, in 1798 and was the son of Charles Delacroix, who was active in the French Revolution. His primary artistic education was obtained by copying masters at the Louvre, a museum in Paris. His favorite artists were Ru-bens, Veronese, and the artists of the Venetian school, whose works showed him a way to give depth and brilliance to his own paintings. While at the Louvre he was introduced to English watercolor painting. This later led to Delacroix’s institution of the use of vibrant colors in paintings by the French. To Delacroix, color was the equivalent of emotion, and he used bril-liant colors to draw the viewer into the emotion of his paintings. Delacroix first gained recognition when his painting, The Barque of Dante, was accepted by the Paris Salon. This was followed two years later by The Massacre at Chios. He was certainly a product of the Romantic era as he used subjects from poets such as Dante, Shakespeare, Goethe, and Byron, and themes from the Greek war for independence. Danger, glamour, and exotic beauty permeated his works. He enjoyed incorporating a large amount of drama in his works, and used a variety of theatrical and literary themes, as well as scenes from places he had been. Many times his paintings became almost violent in the themes they represented. His works reflected the mood or the emotions involved in the action that was taking place in the paintings. He also sought to express oriental and other exotic subjects in his painting; however, Delac-roix, like Brahms in music, was also a student of the past and incorporated in his painting aspects of Baroque design and Classical simplicity and grandeur. Delacroix desired more than anything for his art to be a balanced combination of Classicism and Baroque tech-niques and objectives. After 1833, he stopped using models altogether and used only his imagination. During this time, many of his greatest works were painted. His use of color and style of application clearly influenced the Impressionists (whose paintings captured light by using a variety of pure colors). Throughout his life, Delacroix painted a number of religious works and was also one of the major mural painters in all of French history. During the last decade of his life, his major works included Jacob and the Angel and Christ on the Sea of Galilee. The famous painter Van Gogh once said, “Only Rembrandt and Delacroix could paint the face of Christ.” He was finally elected to the Institut de France at the age of 60, having failed seven times prior to his election. This final success was due, ironically, to the votes of the musi-cians of the Institut, since many of the artists believed he did not know how to draw. How-ever, after his death in Paris in 1863, over 6,000 drawings and engravings, as well as over 200 paintings, were found among his works, thus proving his ability to his peers. Indeed, Delacroix was the embodiment of Romantic art in the nineteenth century.

Eugène Delacroix

eugène delacroix is most noted for his use of vibrant colors to convey the emotions of romantic themes such as danger, drama, glamour, and exotic beauty.



53

MATCHinG


Column A

1. Murals

2. Charenton-Saint Maurice

3. 1798

4. Vibrant colors

5. Primary artistic education

6. Rubens

7. English watercolor painting

8. Paris Salon

9. Brahms

10. Van Gogh

11. Paris

12. 6,000

13. Baroque

14. Greek war for independence

15. Dante

Column b

A. City where Delacroix died

B. What Eugène was introduced to at the Louvre

C. Poet who provided subjects for Delacroix

D. Said “Only Rembrandt and Delacroix could paint the face of Christ.”

E. Number of drawings and engravings left by Delacroix

F. Where Delacroix was born

G. Delacroix instituted the use of this in French painting

H. Year Delacroix was born

I. Event that provided themes for Dela-croix’s works

J. Delacroix was one of the major painters of these in all of French history.

K. Composer whom Delacroix was similar to

L. Copying the masters at the Louvre

M. One of Eugène’s favorite artists

N. Where his painting was accepted

O. Delacroix incorporated aspects of this period in his paintings

Eugène Delacroix

Name Date



54

reAlisM And iMPressionisM in

ArT And MusiC

In the mid-nineteenth century, an important devel-opment in art and music surfaced known as Realism in which both artists and musicians sought to represent in their works the unpleasant realities of life. In such works the artists and composers used the lives of the lower social classes as subjects, and they sought to depict poverty, passion, and brutality as natural parts of life. The Realist movement in art is best represented in the works of Gustave Courbet. In Realism, artists painted scenes of everyday life. Often they were almost photo-graphically true to life, only the colors were often more brilliant than any colors that a photograph could capture. Realistic artists tried to paint exactly what they saw. Realism in music can particularly be seen in operas where the story lines dealt specifically with the lower class and contain the same elements found in Realistic art: passion, brutality, and poverty. This movement in music is represented in the great opera Carmen by the French composer Georges Bizet and the operas of the Italian composers Puccini and Leoncavalo. Impressionism, which occurred toward the end of the nineteenth century, began in art and found its way into music a short time later. In painting, Impressionism can be seen as a blurred, vague presentation of a subject, without distinct lines to illustrate the form. It was used by painters to represent an impression that was left in their minds of a scene that they had seen. Impressionism showed light reflecting off of objects, rather than the objects themselves. Paintings done in this style are often done with short, quick brush strokes rather than the long, fluid ones that are used for many styles of painting. Quick brush strokes are used because the artist is working toward a moment’s glimpse of a scene (an impression) rather than a studied view of it. Impressionism in music was represented by ambiguity and vagueness in terms of harmony and rhythm. Instead of the strict Classical and early Romantic harmonic forms that were understood and accepted by everyone, an Impressionist composer often used dramatic harmonies and irregular rhythms to create a mood or emotion around a subject rather than a detailed musical picture. The leaders in the Impressionist style of art were Edouard Manet, Claude Monet, Auguste Renoir, and Edgar Degas. The primary Impressionist composer was Claude De-bussy.

Realism and Impressionism in Art and Music

Georges bizet’s opera, Carmen, is a classic example of realism in music.



55

QuesTions

1. What is Realism?

2. What is Impressionism?

3. What social class did artists and composers draw their subjects from in Realism?

4. What are some typical subjects in Realism?

5. What did painters use Impressionism to represent?

6. How was Impressionism represented in music?

7. How was Realism represented in music?

8. Who were the artist and musician who best represented Realism?

9. Who were the artistic and musical leaders in the Impressionism movement?

10. What types of harmony and rhythm did composers use to create Impressionism?

Realism and Impressionism in Art and Music

Name Date



56

GeorGes bizeT

Georges Bizet was a French composer born in 1838 in Paris. His parents were both musicians, his father a voice teacher and his mother a talented pianist. At the age of four he was taught how to read letters as well as musical notes and became an avid student of music. He was surrounded by music throughout his youth and had all of the pa-rental support anyone could have hoped for. His father apparently had already decided Georges would be a musician. Before his tenth birthday he began studying at the Paris conservatory and began his compositions shortly thereafter; he was also a brilliant pianist. By 1855, at the age of 17, he had composed his symphony, the Symphony in C. However, this work was not performed until 1935, 60 years after his death. Over the next ten years Bizet wrote a number of ill-fated operas and incidental music, mingled with some well-received and popular works for piano. In 1868 he began a number of works that were never completed and also suffered from several attacks of quinsy—severe tonsillitis. In addition to his works for piano and opera, Bizet also wrote a number of choral works, orchestral pieces, and songs for solo voice. Many of Bizet’s works have not been published. Because of the Franco-Prussian War, in 1870 Bizet enlisted in the national guard and was unable to compose for a time. After two years, he was able to begin composing again. Finally, his numerous attempts at opera and development of his compositional techniques culminated in the Realist opera Carmen (1875). In it, Bizet masterfully characterized the figures through their solos and brought the story to life with his music. The opera embodied elements of real life never before seen on stage in vivid and direct characterization. Carmen was considered obscene because of its libretto (the text of the opera) and the music was criticized as being un-Romantic. Because of the poor public reception of Carmen, Bizet became deeply depressed. He suffered again from quinsy, and then he suffered two heart attacks and died in June of 1875. Following Bizet’s death, however, the opera gained popularity and became the model of lyric drama for later Realist composers. It remains one of the most popular operas of all time.

Georges Bizet

Georges bizet was able to bring characters to life with his music in the opera Carmen. it was initially criticized for being un-ro-mantic, but it eventually became a model for later realist composers.



57

Word seArCH

Georges Bizet

Find the words listed below and circle them in the puzzle. All of the words are as-sociated with Georges Bizet in some way. Words may be printed in the puzzle forward, backward, horizontally, vertically, or diagonally.

Word lisT

Brilliant Pianist Carmen ComposerConservatory Depressed Franco-Prussian WarGeorges Bizet Heart Attacks Incidental MusicLibretto National Guard OperaParis Quinsy RealistReal Life Symphony Symphony in CTonsillitis Vivid Characters

Name Date



58

GusTAVe CourbeT

Gustave Courbet was born in 1819 in Ornans, France. His family was very well-off financially, and he received all of the educa-tion that lifestyle could offer. He studied at the Royal College in Besancon, France, for two years beginning in 1837. He was then sent to Paris to study law in 1840. Against his father’s wishes, however, Courbet quit these studies and began his pursuit of a career as an artist. His training came through his copying of paintings by seventeenth century Naturalists rather than the official schools of art in Paris. Many of his early works were in the Ro-mantic tradition, but by the age of 23 Courbet had settled into his niche of painting Realistic works. He became the leader of the Realism movement in art. He chose themes from everyday life and did not exclude what might be considered ugly or vulgar. (The upper class at that time thought that the representation of the lower and middle classes was ugly and vulgar and that the representation of their own class was what should be considered beautiful.) His Realism was in the same tradition of other artists such as Delacroix, but without the exoticism and extreme Romantic tendencies of his contemporary artists. Because Courbet did not follow many of the established traditions in his works, he continually received what he believed were poor reviews. In response to this and also because his works were sometimes considered unfit for display due to the themes they portrayed, he constructed his own pavilions to show his art works at the world’s fairs in 1865 and 1867. This was a new concept that would set a trend for artists in later styles. He believed that painting should be an art of what was seen, and it should therefore not just be representations of stories from the Gothic past or from folklore and tradition. He believed that paintings should be of things that were in the present and of subjects that could be seen every day. Courbet was a very conservative artist who did not show a tremendous amount of development throughout his career. None of his painting styles or techniques show any dispositions toward the Impressionist movement that would follow in the last part of the nineteenth century. He spent the latter part of his life painting landscape subjects and seascapes until he died in 1877. Courbet’s contribution to art was his innovation in use of subject matter and an unemotional treatment of realistic scenes and ideas.

Gustave Courbet

Gustave Courbet chose themes for his paint-ings from everyday life, often using subjects from the lower or middle classes.



59

Word sCrAMble

Unscramble these words and phrases that come from the narrative about Gustave Courbet.

1. ARVULG

2. VSATGEU

3. AYRYVELIDFEE

4. SRNCATVEVOIE

5. ASRPI

6. IRALESM

7. OGTCIH

8. BOTUCER

9. TSIANRULAST

10. LDSENPACSA

11. AEPECSSSA

12. RONNAS

13. NIIOVAONTN

14. TNOULOEANMI

15. LYGU

16. LNIOIVPSA

17. OOKRFELL

18. RDFRIOWASL

19. YOLGALCELREO

20. WVEEIROROSP

Word lisTConservative Courbet Everyday Life Folklore Gothic Gustave Innovation Landscapes Naturalists Ornans Paris Pavilions Poor Reviews Realism Royal College SeascapesUgly Unemotional Vulgar World’s Fair

Gustave Courbet

Name Date



60

ClAude MoneT

Claude Monet was born in 1840 in Paris. As a youth he studied drawing and painting seascapes, and by the age of 19 he had de-cided to make a career of being an artist. He began to spend a great deal of time in Paris, where he painted primarily landscapes and scenes of middle-class society throughout the 1860s. As with many of his contemporaries, Claude Monet struggled financially through most of the first 20 years of his career. It was not until the 1880s that he began to feel the much-needed relief of financial security. He gradually began to develop his own style as he developed the techniques of rendering natural light in his paintings. Because of his movement away from standard painting techniques, Monet ran the risk of having an unsuccessful career as a painter, but in 1874 Monet and several of his colleagues who were also experimenting with these new techniques with light in their paintings decided to organize their own exhibition. They originally called themselves “independents,” but critics and others soon thereafter began to call them Impressionists because their paintings seemed unfinished, almost like a first impression, and also because one of Monet’s paintings had the title Impression: Sunrise. The name stuck, and a new style was begun. The main aspects or characteristics of the Impressionists’ painting style was the use of distinct strokes of color without any attempt to work or blend them into any of the other strokes. This was a calculated technique used to leave the feeling with the viewer of the painter’s having captured a first impression of nature. Impressionists actually went outdoors to paint landscapes. They didn’t rely on notes made elsewhere and brought back to a studio. They wanted to work in the presence of the thing they were painting so that they could capture the visual sense of the color and light of the scene. Later, artists including Monet used this technique in rendering other subjects besides landscapes such as buildings, objects, and people. Other painters of this style include Auguste Renoir, Paul Cezanne, Edgar Degas, Paul Gaugin, and American artist Mary Cassatt. By the mid-1880s Monet had achieved a high level of financial security and signifi-cant recognition. He was able to buy a home in the small village of Giverny, France, not far from Paris, where a water garden that he constructed became a primary occupation for him for the remainder of his life. From 1890 to 1926 Monet lived in Giverny, and he painted a significant number of his most important works during this time. He died in 1926, having continued to paint almost up to the time of his death. Monet is considered to be the leader of the Impressionist school of painting, which had various effects on the world of music and, specifically, the Impressionist composer, Claude Debussy.

Claude Monet

Monet was a leader in the french impressionist school of painting.



61

CrossWord Puzzle

Claude Monet

Use the clues below to complete the crossword puzzle. The answers can be found in the narrative about Claude Monet.

doWn2. Monet and friends called themselves .3. These people began to refer to them as Impres-sionists.4. Monet had achieved a level of this (two words)8. What Monet drew and painted as a youth10. Monet’s most works were painted during his last years.11. At the age of 19 he decided to make a of being an artist.15. strokes of color16. One of the painters in the Impressionist school was Edgar .18. Monet is considered the leader of the Impression-ist of painting.

ACross1. These works seemed like a painter’s first 5. Monet bought a home in this small village.6. Auguste was an Impressionist painter.7. In Paris Monet painted these9. The Impressionist painters had a great effect on this composer. (full name)12. Place where Monet was born13. Impressionist painter from America (full name)14. Monet constructed this at his home.17. This is the title of one of Monet’s paintings. (two words)19. Monet developed techniques of natural light in his paintings.20. In 1874 Monet and friends organized an .

1 2

3 4

6

5

7

109

8

11

12

1514

13

16

17 18

19

20

Name Date



62

ClAude debussY

Claude Debussy was born in 1862 in the small town of St. Jermain-en-Laye, France. His family was a typical middle-class family with no apparent musical interest. Debussy did not begin to show an interest in music until he was ten years old. He apparently showed a high level of promise and was sent to the Paris Conservatory the next year. He studied with a number of famous com-posers at the Paris Conservatory from the age of 11 to the age of 22, at which time he won the prestigious Prix de Rome, which entitled him to live and study for three years in Rome. After two years of study, however, he could no longer resist returning to Paris and left his post in Rome to take up private composition in Paris. Debussy was the leading Impressionist composer and was intrigued not only by the Impres-sionist paintings of Monet and Renoir, but also by the Symbolist poetry of Mallarme and Verlaine. In his music, Debussy sought to capture the same mood through sound that the Impressionist painters caught on their canvases. Through a free-flowing melodic style and relaxed rhythmic structure, Debussy was able to create images similar to those of the Im-pressionist painters. He was also quite taken by Asian music, which he heard at the Paris International Exposition of 1889, and he utilized the compositional techniques of recurring motives and lush orchestration of the late Romantic composers such as Wagner as well. His music brought to mind fleeting moods and a misty atmosphere, and the titles often represented these same images; for example: Reflection in the Water, Clouds, Sounds and Perfume Swirl in the Air, and of course, his most famous composition, Prelude to the Afternoon of a Fawn. Debussy also composed an opera, Pelleas and Melisande, which marked a turning point in his career. From that point on, he was recognized as one of the most important French composers living. A characteristic of his music was the stress he placed on tone color (the combina-tion of different instruments to achieve a particular sound). Also, he used harmony to his advantage. Rather than feeling it necessary to operate within the strict format of traditional harmony, Debussy often used very chromatic notes and shifting tonal centers throughout his works to achieve the floating and transparent qualities in his music. During his last eight years, Debussy suffered from cancer and became increasingly miserable and somewhat despondent. Although he continued to compose throughout this period, he abandoned many of his larger works for lack of physical and mental energy. Debussy died in Paris in 1918 and is recognized as an extremely important composer who functioned as a bridge between nineteenth- and twentieth-century composers.

debussy’s free-flowing music seemed to create fleeting moods and images similar to the effects produced by the paintings of impressionist artists.



63

QuesTions

1. Where was Claude Debussy born?

2. At what famous institution did he study between the ages of 11 and 22?

3. What prestigious award did he win at the age of 22?

4. What was the name of the city where he studied as a result of winning this award?

5. Who were the painters with whom Debussy was intrigued?

6. Who were the Symbolist poets Debussy enjoyed?

7. How was Debussy able to create an image similar to those of the Impressionist painters?

8. Where did Debussy hear Asian music?

9. What was one of the main characteristics of his music?

10. Where did Debussy die?

Claude Debussy

Name Date



64

TWenTieTH CenTurY ArT And MusiC

If the beginning of each new style period that we have looked at in art and music can be viewed as a reaction to or against the styles that preceded it, the beginning of the twentieth century period was no exception. There were numerous style changes, reactions, and revolutions, both in the world of art and in music. These changes were partially due to the enhanced communication and travel technologies that existed in the world at the time. These technologies enabled composers’ and artists’ works to be heard and seen by a much larger audience than had ever been reached in the past. The works of the early twentieth century composers and artists reflect drastic and dramatic shifts within very short spans of time and are often linked to national boundaries. A number of different styles present themselves. Some are unique only to one form of art or the other, while some are shared. Two of the shared styles of the early twentieth century in art and music are Expressionism and Neoclassicism. In Expressionism, the composer or artist seeks through his work to expose the inner personal feelings that he has. No attempt is made to hide the true feelings, no matter how ugly or dark they are. In the Neoclassic movement, composers and artists seek to reinstate the forms and techniques of the Classical composers and artists in their own works. In addition, in music we see a new style of composition known as 12-tone composition where a composer uses, at his discretion, all 12 pitches of the chromatic scale rather than staying within the boundaries of traditional harmony and the eight pitches that a major or minor scale would permit him to use. There is also the complete abandonment of tonal structure known as atonality. In art we also see some specific advances or style changes, such as Cubism, the use of geometric shapes in painting, and Futurism, the attempt to portray aspects of mod-ern mechanized society through images of violently energetic motion. Whereas other style periods have been clearly defined and have lasted at least 25 to 50 years, the twentieth century, so far, has had such a wide variety of styles and ap-proaches that as of yet no one has dared to apply a single term to this period. Because of this, we have an enormous variety of styles from which to choose in order to satisfy our personal tastes. Here is a sample of some styles not mentioned above: ragtime, Dixieland, jazz, bebop, country, bluegrass, rock-n-roll, alternative, NeoRomantic, musical theater, and reggae. Just for fun, try listening to one of these styles that you haven’t heard before.

Twentieth Century Art and Music

salvadore dalí’s Persistence of Memory is an ex-ample of surrealism, an art movement that worked with dream and fantasy imagery and the irrational. it was popular from 1924 until the beginning of World War ii.



65

QuesTions

1. Describe the beginnings of the twentieth century in terms of art and music.

2. What caused the big changes at the beginning of the twentieth century?

3. How did technology affect composers and artists?

4. What is Expressionism?

5. What is Neoclassicism?

6. What is 12-tone composition?

7. What is Cubism?

8. What is atonality?

9. Why do we not yet have a single term that applies to the twentieth century in terms of art and music styles?

10. What boundaries are twentieth-century composers’ and artists’ works linked to?

Twentieth Century Art and Music

Name Date



66

PAblo PiCAsso

Pablo Picasso was born in 1881 in Malaga, Spain. He was the son of an art teacher. At the age of ten he made his first paintings. He entered Barcelona’s school of fine arts at the age of 15. Picasso traveled to Paris three times between the ages of 19 and 21 and finally settled there in 1904. He found the street life fascinating and sought to capture its images in his paintings. During these early years, Picasso’s subjects were often taken from his frequent visits to the circus. Picasso was a painter and sculptor who is generally considered to be one of the greatest artists of the twentieth century. He achieved such great acclaim because of his ability to create and invent new styles and forms and because of his mastery of various art media. Over his lifetime he produced more than 20,000 works. Like many of the artists of the twentieth cen-tury, Picasso worked with a number of different styles—many are styles that he developed himself—and was able to master the majority of them. One of his most important contribu-tions to art is that of Cubism. In Cubism an artist takes different ideas and subjects and fragments them or breaks them down into small portions and then combines fragments from each of the subjects to create a whole. Often, these fragments are geometric shapes. This style of art moved dramatically away from the standard practices in art of spacial depth and human form. Many of the subjects in Picasso’s paintings were represented by angular planes and distorted shapes. Some of his favorite subjects in these works were friends and musical instruments. One of his most important works was entitled Guernica and is a mural that in an odd, symbolic way, represents the horrors of war as felt by the people of Guernica during the Spanish Civil War when they were bombarded by German planes. This has been dubbed one of the most important works in the twentieth century. Also, as with many artists and composers of the twentieth century, World War II had a tremendous effect on Picasso’s art. During and following the war, death was the subject of many of his works. His later years were spent working in a variety of media, including sculpture, engrav-ing, and etching. During a seven-month period in 1968, he produced over 300 engravings. In honor of his 90th birthday, the Louvre Museum in Paris, which had up to that time never exhibited a living artist’s works, posted an exhibit of Picasso’s works. Picasso died in his home in 1973. While many artists specialized in specific media or styles and achieved a high level of success and recognition in these styles, Picasso proved himself a master in nearly every style and media that he undertook.

Pablo Picasso

Pablo Picasso mastered many different styles and produced over 20,000 works of art in his lifetime.



67

Word seArCH

Pablo Picasso

Find the words listed below and circle them in the puzzle. All the words are associ-ated with Pablo Picasso in some way. The words may be printed in the puzzle forward, backward, horizontally, vertically, or diagonally.

Name Date

Word lisT

Angular Planes Art Media BarcelonaCubism Death EngravingEtchings Fragments Geometric ShapesGerman Planes Guernica Louvre MuseumMalaga Mural Musical InstrumentsPablo Picasso Painter ParisSculptor Spanish Civil War



68

iGor sTrAVinsKY

Igor Stravinsky was born in Russia in 1882. He was the son of the leading bass singer at the Imperial Opera House in St. Petersburg. For a time Stravinsky studied law and then turned his attentions to music and composition. Like Pablo Picasso in the art world, Stravin-sky was a leading composer in many different styles of music. In his early works, he showed a fondness for a style known as Primitivism. This style of composition used a non-traditional har-monic structure, combined with sharp and intense rhythmic patterns, and was best represented in the ballet The Rite of Spring. The first performance of The Rite of Spring was met with a near riotous unacceptance because the style of dance on the stage and the music was so dramatically different from the standard rep-ertoire of the ballet. However, later performances were much better received. Beginning in 1923 Stravinsky began to turn his attentions to Neoclassicism, which sought to incorporate many of the styles and forms prevalent in the late seventeenth and eighteenth centuries in Vienna. This could be seen primarily in the use of smaller instru-mental groups. Also, the works by the Neoclassic composers had no association with a story or a poem, and so they were termed absolute music instead of program music. In the late 1930s Stravinsky left Europe and lived in the United States, where he composed many Neoclassic works. Following World War II, Stravinsky worked in a style of composition known as Se-rialism, or 12-tone composition, which had been prevalent for many years, but which he had originally denied as a true art form. The most important composer of this style was Arnold Schoenberg. In about 1948 Stravinsky began to study the works of Schoenberg and his disciple, Anton Webern, and began to incorporate more and more of the 12-tone techniques in his own works. His last major work, The Requiem Canticles, was composed in 1966 and shows the very strong influence of the 12-tone compositions of Webern and Schoenberg. Following this composition, Stravinsky’s health began to fail, and he died in 1971 in New York City. Stravinsky’s main contribution to the world of music can be seen in the use of nu-merous musical styles, including Russian folk music, Primitivism, Neoclassicism, jazz, Serialism, and atonality. Stravinsky firmly believed that it was important for artists of all genres to seek out and strive to learn and understand the many different styles available to them throughout their lives so as not to become stale in their works. His compositions had a tremendous influence on all of the major styles and trends in American and European music in the twentieth century.

Igor Stravinsky

igor stravinsky composed important music in a variety of styles including Primitivism, neoclassicism, and serialism.



69

MATCHinG


Column A

1. Russia

2. Imperial Opera House in St. Petersburg

3. Law

4. Primitivism

5. The Rite of Spring

6. Riotous unacceptance

7. Neoclassicism

8. Europe

9. United States

10. Serialism

11. The Requiem Canticles

12. Schoenberg and Webern

Column b

A. Style of composition that looked back to the seventeenth and eighteenth centu-ries

B. Style of Stravinsky’s compositions follow-ing World War II

C. Stravinsky studied the works of these composers

D. Country Stravinsky was born in

E. Continent Stravinsky left in late 1930s

F. Last major work composed in 1966

G. How The Rite of Spring was received

H. Subject Stravinsky studied before music

I. Stravinsky’s early style of composition

J. Father was leading bass singer here

K. Ballet that used Primitivism

L. Country to which Stravinsky moved in late 1930s

Igor Stravinsky

Name Date



70

Answer KeysArt and Music: An overview (page 3)1. art and music2. ancient Greek and Roman history, early Christianity, and Jewish heritage3. a period of time in which there was very little growth and development4. a period of great growth and development5. classical Roman and Greek art forms6. a more introspective form7. over a period of time8. toward the end of the nineteenth century9. 1600–172510. 350–1450

Medieval Art and Music (page 5)

Guido d’Arezzo (page 7)1. LINES AND SPACES; 2. BENEDICTINE;3. POLYPHONY; 4. CLEF SYSTEM;5. MUSIC THEORY; 6. GUIDONIAN HAND;7. NOTATION; 8. GUIDO; 9. HAND POSITIONS; 10. MICROLOGUS;11. TREATISE; 12. AREZZO;13. MONASTERY; 14. POPE JOHN;15. ROME; 16. POMPOSA; 17. YELLOW;18. DISCIPLINE; 19. RED; 20. CATHEDRAL

leonin and Perotin (page 9)

Guillaume de Machaut (page 11)1. J 2. H 3. F4. O 5. N 6. M7. D 8. I 9. G10. L 11. C 12. A13. E 14. K 15. B

nicholas of Verdun (page 13)

The limbourg brothers (page 15)1. elaborate drawings or paintings of the stories being told2. monasteries3. the Bible or other sacred books4. Paul, Jean, and Herman; a family of fif-teenth-century Flemish illuminators5. to begin apprenticeships as goldsmiths6. Philip the Bold hired them to decorate a Bible for him.7. They were not associated with a monas-tery, but hired themselves out as freelance artists.8. attention to detail, interest in landscape, and rendering of depth9. later Flemish schools of art and famous artists who followed in the Renaissance period10. Italian and Northern styles of painting

Answer Keys



71

Michelangelo buonarroti (page 23)

leonardo da Vinci (page 25)1. G 2. E3. H 4. F5. C 6. J7. K 8. A9. B 10. D11. L 12. I

baroque Art and Music (page 27)1. HANDEL; 2. SCALES; 3. RUBENS;4. RHYTHMIC CONTINUITY;5. POLYPHONIC TEXTURE;6. WORD PAINTING; 7. UNITY OF MOOD;8. REMBRANDT; 9. BAROQUE; 10. BACH;11. TERRACED DYNAMICS; 12. VIVALDI;13. PURCELL; 14. BERNINI; 15. MONTEVERDI; 16. ACTION; 17. MINOR; 18. MOVEMENT; 19. MAJOR;20. ILLUSION

Henry Purcell (page 29)1. Henry Purcell2. illness and death at an early age3. England4. complete command of all the styles of composition prevalent at the time5. Dido and Aeneas6. music for special occasions7. Ralph Vaughn Williams and Benjamin Britten8. the anthem9. to be sung in a Protestant church service

renaissance Art and Music (page 17)

Guillaume dufay (page 19)1. ARTISTRY; 2. CAMBRAI; 3. HIGH QUALITY; 4. PAPAL CHOIR;5. ISORHYTHM; 6. DISSONANCE;7. BURGUNDIAN; 8. SECULAR MELODY;9. MASS; 10. CATHOLIC; 11. TEXTURE;12. COMPOSITION; 13. FRENCH COM-POSER; 14. GUILLAUME DUFAY;15. EQUAL IMPORTANCE; 16. CANON LAW; 17. FLORENCE; 18. DUKE OF SAVOY; 19. SPECIAL EVENTS; 20. BOLOGNA

Giovanni Pierluigi da Palestrina (page 21)1. Martin Luther2. reform in order to realign itself with the Bible3. a time of great upheaval4. the counter-reformation5. The Council of Trent6. The Catholic church wanted to eliminate all instrumental music from the Mass and Catholic services and eliminate the use of polyphony.7. Giovanni Pierluigi da Palestrina8. He was the maestro di cappella (choir master).9. He was well known to the Pope and well respected throughout the Catholic church.10. He was asked to rewrite the church’s chant books.

Answer Keys



72

10. The verse anthem employed soloists, and the anthem did not.

Johann sebastian bach (page 31)

rembrandt von rijn (page 33)1. Rembrandt von Rijn2. Lieden, Holland3. painting of historical figures, usually from the Bible or ancient history4. because most artists were painting the people and things around them5. chiaroscuro6. He was a strong advocate for his father’s works.7. He made the individuals less important than the action of the group.8. the inner life and character of his subjects9. He was forced to declare bankruptcy, and his house and art collection were sold by auction.10. over 600 paintings, 300 etchings, and almost 2,000 drawings

Claude lorraine (page 35)

Classical Art and Music (page 37)1. ORNATE; 2. STRUCTURE;3. ANCIENTS; 4. HUME; 5. NATURE;6. ARCHITECTURE; 7. FORM; 8. ELEGANT; 9. PREDICTABLE;10. ARISTOCRATIC; 11. COLUMNS;12. PORTICOS; 13. GREECE; 14. REASON; 15. HEROES; 16. VOLTAIRE;17. ROUSSEAU; 18. MORALITY; 19. CLASSICAL; 20. INTERNATIONAL

Christoph Willibald Gluck (page 39)1. G 2. C3. H 4. M5. J 6. A7. I 8. F9. D 10. O11. K 12. B13. E 14. N15. L

Wolfgang Amadeus Mozart (page 41)1. Salzburg, Austria2. Leopold Mozart3. He had composed his first piece.4. touring Europe and performing for heads of state and nobility5. He had written his first opera.6. the patronage system7. because he could not mange his money well8. a mysterious illness9. opera and symphonic10. “Composing is not a very difficult thing for me. I simply copy down the music as it is in my head.”

Jean-Antoine Watteau (page 43)

Answer Keys



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Jacques-louis david (page 45)

romantic Art and Music (page 47)1. the disintegration of Napoleon’s ideals for worldwide brotherhood2. Romanticism3. freedom of expression and a fascination with fantasy and nature4. Painters used brilliant colors and bold, dynamic motion.5. landscape painting6. enlarged forms, unpredictability, and pro-grammatic music7. music that has an extra-musical text or story that gives the listener an idea of what the music is meant to represent8. as an extension of themselves9. themselves10. a tempestuous time with great upheaval

robert schumann (page 49)

Johannes brahms (page 51)1. CLASSICAL; 2. JOHANNES BRAHMS;3. ROMANTICISM; 4. SYMPHONY;5. FRIENDSHIP; 6. PIANO PIECES;7. CHAMBER MUSIC; 8. HAMBURG;9. ORCHESTRA; 10. PROGRAMMATIC;11. ARRANGER; 12. CLARA SCHUMANN;13. VIENNA; 14. BEETHOVEN;15. ROBERT SCHUMANN; 16. SONATA;17. OUTSPOKEN; 18. HEIR;19. EXPRESSIVE; 20. OVERRIDING THEMES

eugène delacroix (page 53)1. J 2. F3. H 4. G5. L 6. M7. B 8. N9. K 10. D11. A 12. E13. O 14. I15. C

realism and impressionism in Art and Music (page 55)1. a style of art and music in which artists and composers represent in their works the unpleasant realities of life2. in art it can be seen as a blurred, vague presentation of a subject3. lower social classes4. poverty, passion, brutality5. an impression that was left in their minds of a scene they had viewed 6. by ambiguity and vagueness in harmony and rhythm7. in the opera story lines as they dealt with the lower class and the same element found in realist art8. Gustave Courbet (artist) and Georges Bizet (musician)9. Edouard Manet, Claude Monet, Auguste Renoir, and Edgar Degas (artists), and Claude Debussy (musician)10. dramatic harmonies and irregular rhythms

Answer Keys



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8. at the Paris International Exposition of 18899. the stress he placed on tone color10. Paris, France

Twentieth Century Art and Music (page 65)1. There were numerous style changes, reac-tions, and revolutions, in both the world of art and the world of music.2. enhanced communication and travel tech-nology3. It enabled composers’ and artists’ works to be heard and seen by a much larger audience.4. when a composer or artist seeks to expose the inner personal feelings he has5. when composers and artists seeks to reinstate the forms and techniques of the Classical era6. The composer uses all 12 pitches of the chromatic scale in a specific order.7. the use of geometric shapes in painting8. complete abandonment of tonal structure9. because there has been such a wide variety of styles and approaches10. national boundaries

Pablo Picasso (page 67)

igor stravinsky (page 69)1. D 2. J3. H 4. I5. K 6. G7. A 8. E9. L 10. B11. F 12. C

Answer Keys

Georges bizet (page 57)

Gustave Courbet (page 59)1. VULGAR; 2. GUSTAVE;3. EVERYDAY LIFE; 4. CONSERVATIVE;5. PARIS; 6. REALISM; 7. GOTHIC;8. COURBET; 9. NATURALISTS;10. LANDSCAPES; 11. SEASCAPES;12. ORNANS; 13. INNOVATION;14. UNEMOTIONAL; 15. UGLY;16. PAVILIONS; 17. FOLKLORE;18. WORLD’S FAIR; 19. ROYAL COLLEGE;20. POOR REVIEWS

Claude Monet (page 61)

Claude debussy (page 63)1. St. Jermain-en-Laye, France2. Paris Conservatory3. Prix de Rome4. Rome5. Monet and Renoir6. Mallarme and Verlaine7. through a free-flowing melodic style and relaxed rhythmic structure



75

bibliographyGeneral readingAbraham, Gerald. The Concise Oxford History of Music. New York: Oxford University Press, 1979.Arnheim, Rudolf. Art and Visual Perception, 2nd ed. Berkeley, California: University of California Press, 1974.Borroff, Edith. Music in Europe and the United States. Englewood Cliffs, New Jersey: Prentice-Hall, 1990.Cannon, Beekman C., Alvin H. Johnson, and William C. Waite. The Art of Music. New York: Crowell, 1960.Crocker, Richard L. A History of Musical Style. New York: Dover, 1986.De la Croix, Horst and Richard G. Tansey. Gardner’s Art Through the Ages, 8th ed. San Diego: Harcourt

Brace Jovanovich, 1986.Grout, Donald Jay, and Claude Palisca. A History of Western Music, 4th ed. New York: W.W. Norton, 1988.Lang, Paul Henry. Music in Western Civilization. New York: W.W. Norton, 1941.Robb, David M. and J. J. Garrison. Art in the Western World, 4th ed. New York: Harper and Row, 1963.Rosenstiel, Leonie, ed. Schirmer History of Music. New York: Schirmer Books, 1982.Sachs, Curt. Rise of Music in the Ancient World, East and West. New York: W.W. Norton, 1943.Strunk, Oliver. Source Readings in Music History. New York: W.W. Norton, 1950.Wold, Milo, et al. An Introduction to Music and Art in the Western World, 8th ed. Dubuque, Iowa: Wm. C.

Brown Co., 1987.PeriodsMiddle AgesArnold, John. Medieval Music. New York: Oxford University Press, 1986.Beckwith, John. Early Christian and Byzantine Art, 2nd integrated ed, Pelican History of Art. Harmondsworth,

New York: Penguin Books, 1979.Cattin, Giulo. Translated by Steven Botterill. Music of the Middle Ages. New York: Cambridge University

Press, 1985.Conant, Kenneth J. Carolingian and Romanesque Architecture, 800–1200, new ed., Pelican History of Art.

Norwich: Penguin Books, 1974.Davis-Weyer, Caecilia. Early Medieval Art: 300–1150; Sources and Documents. Englewood Cliffs, New

Jersey: Prentice-Hall, 1971.Holt, Elizabeth Gilmore, ed. A Documentary History of Art: Vol. 1, The Middle Ages and the Renaissance,

2nd. ed. Garden City: Doubleday, 1957.Hoppin, Richard H. Medieval Music. Ch. I–VII. New York: W.W. Norton, 1978.Hughes, Andrew. Medieval Music: The Sixth Liberal Art, 2nd ed. Toronto: University of Toronto Press,

1980.Martindale, Andrew. The Rise of the Artist in the Middle Ages and Early Renaissance. New York: McGraw-

Hill, 1972.Seay, Albert. Music in the Medieval World, 2nd ed. Englewook Cliffs, New Jersey: Prentice-Hall, 1975.Zarnecki, George. Art of the Medieval World, New York: Abrams, 1976.RenaissanceBerenson, Bernard. Italian Painters of the Renaissance, rev. ed. London: Phaidon, 1967.Bukofzer, Manfred. Studies in Medieval and Renaissance Music. New York: W.W. Norton, 1950.Carpenter, Nan Cooke. Music in the Medieval and Renaissance Universities. Norman, Oklahoma: University

of Oklahoma Press, 1958.Gilbet, Creightton. History of Renaissance Art Throughout Europe: Painting, Sculpture, Architecture. New

York: Abrams, 1973.Jeppeson, Knud. The Style of Palestrina and the Dissonance. London: Oxford, 1927.Reese, Gustav. Edited by Stanley Sadie. New Grove High Renaissance Masters. New York: W.W. Norton,

1984.Shearman, John K. G., Mannerism, Style and Civilization. Baltimore: Penguin Books, 1967.Snyder, James. Northern Renaissance Art. New York: Abrams, 1985.Walker, Ernest. A History of Music in England. London: Oxford, 1952.BaroqueBianconi, Lorenzo. Translated by David Bryant. Music in the Seventeenth Century. New York: Cambridge

University Press, 1987.

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Geiringer, Karl. The Bach Family. New York: Oxford, 1954.Gleason, Harold and Warren Becker. Music in the Baroque, 3rd ed. Van Nuys, California: Alfred Publishing

Co., 1979.Grout, Donald J. A Short History of Opera, 3rd ed. New York: Columbia University Press, 1973.Haak, Bob. The Golden Age: Dutch Painters of the Seventeenth Century, New York: Abrams, 1971.Palisca, Claude V. Baroque Music. Englewood Cliffs, New Jersey: Prentice-Hall, 1968.Classic and NeoclassicBruney, Dr. Charles. An Eighteenth Century Musical Tour in Central Europe and the Netherlands. New York:

Oxford, 1959.Carse, Adam. The Orchestra in the Eighteenth Century. Cambridge, England: W. Heffer, 1940.Dent, E. J. Mozart’s Operas, 2nd ed. New York: Oxford, 1991.Einstein, Alfred. Mozart: His Character and Work. New York: Oxford, 1945.Feiedlaender, Walter F. From David to Delacroix. Cambridge, Massachusetts: Harvard University Press,

1952.Levey, Michael. Rococo to Revolution: Major Trends in Eighteenth Century Painting. New York: Oxford Uni-

versity Press, 1977.Pastelli, Giorgio. Translated by Eric Cross. Age of Mozart and Beethoven. New York: Cambridge University

Press, 1984.Pauly, Reinhard G. Music in the Classic Period, 2nd ed. Englewood Cliffs, New Jersey: Prentice-Hall, 1973.Rosen, Charles. The Classical Style. New York: Viking, 1971.Rosenblum, Robert. Transformations in Late Eighteenth Century Art. Princeton, New Jersey: Princeton

University Press, 1967.RomanticAbraham, Gerald. A Hundred Years of Music. New York: Knopf, 1938.Barzun, Jacques. Berlioz and the Romantic Century, 2 vols. New York: Little, Brown, 1950.Chase, Gilbert. America’s Music. New York: McGraw-Hill, 1955.Honour, Hugh. Romanticism. New York: Harper and Row, 1979.Kramer, Lawrence. Music and Poetry: The Nineteenth Century and After. Berkeley, California: University of

California Press, 1984.Longyear, Rey M. Nineteenth-Century Romanticism in Music, 3rd ed. Englewood Cliffs, New Jersey: Pren-

tice-Hall, 1988.Plantinga, Leon. Romantic Music. New York: W.W. Norton, 1984.Rosenblum, Robert and H. W. Janson. Nineteenth Century Art. New York: Abrams, 1984.

Twentieth CenturyArnason, H. H. History of Modern Art: Painting, Sculpture, Architecture, 3rd ed. New York: Abrams, 1986.Carlson, Effie B. Bio-Bibliographical Dictionary of Twelve Tone and Serial Composers. Ann Arbor: University

of Michigan, n.d.Cope, David. New Directions in Music. Dubuque, Iowa: Wm. C. Brown Co., 1984.Eimert, Herbert and Karlheinz Stockhausen. Anton Webern. Valley Forge: European-American Press,

1958.Kelder, Diane. The French Impressionists and Their Century. New York: Praeger, 1970.Leibowitz, René. Schoenberg and His School. New York: Philosophical Library, 1949.Martin, William R. and Julius Drossing. Music of the 20th Century. Englewood Cliffs, New Jersey: Prentice-

Hall, 1980.Morgan, Rovert. Twentieth Century Music. New York: W. W. Norton, 1991.Pleasants, Henry. The Agony of Modern Music. New York: Simon and Schuster, 1955.Rewald, John. The History of Impressionism, 4th rev. ed. New York: New York Graphic Society, Greenwich,

for the Museum of Modern Art, 1973.Salzman, Eric. Twentieth-Century Music: An Introduction, 2nd ed. Englewood Cliffs, New Jersey: Prentice-

Hall, 1974.Sessions, Roger. The Musical Experience of Composer, Performer, Listener. Princeton, New Jersey: Princ-

eton University Press, 1950.Stuckenschmidt, H. H. Translated by Richard Deveson. Twentieth Century Music. New York: McGraw Hill,

1969.

Bibliography

About the Author

Dr. J. Mark Ammons is chairman of the Horne School of Music at Snow College in Ephraim, Utah. He has been an active professional freelance musician in Salt Lake City and Provo, Utah, and Los Angeles, California. Ammons’ performance activities have also taken him throughout the continental United States and, internationally, to England, Poland, Israel, France, and the Bahamas as a featured performer and soloist. Ammons has also taught music to grades four through 12, as well as at the post-secondary level. Ammons received his Bachelor of Music degree from Brigham Young University in Provo, Utah, and his Master of Music and Doctor of Musical Arts degrees from the University of Southern California in Los Angeles. Other Mark Twain Media, Inc., books written by Ammons include Music: a.d. 450–1995, American Popular Music, and Musical Instruments of the World.

look for these Mark Twain Media books for grades 4–8+ at your local teacher bookstore.

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