Time Line Time Line PART III—THE BAROQUE PERIOD Shakespeare: Hamlet 1600 Cervantes: Don Quixote 1605 Jamestown founded 1607 Galileo: Earth orbits Sun 1610 King James Bible 1611 Newton: Principia Mathematica 1687 Witchcraft trials in Salem, Mass. 1692 Defoe: Robinson Crusoe 1719
Transcript
Slide 1
Time Line PART IIITHE BAROQUE PERIOD Shakespeare: Hamlet 1600
Cervantes: Don Quixote1605 Jamestown founded1607 Galileo: Earth
orbits Sun1610 King James Bible1611 Newton: Principia
Mathematica1687 Witchcraft trials in Salem, Mass.1692 Defoe:
Robinson Crusoe1719 Swift: Gullivers Travels1726
Slide 2
The Baroque Style Time of flamboyant lifestyle Baroque style
fills the space Visual Art Implies motion Busy -Note pictures p. 94
-Note pictures p. 93 PART IIITHE BAROQUE PERIOD
Slide 3
The Baroque Style Architecture Elaborate -Note picture p. 95
Change in approach to science Experiment-based, not just
observation Inventions and improvements result PART IIITHE BAROQUE
PERIOD
Slide 4
Chapter 1: Baroque Music Period begins with rise of opera
Opera: a play with speaking parts sung Period ends with death of J.
S. Bach The two giants: Bach and Handel Other important composers:
Claudio Monteverdi Henry Purcell Arcangelo Corelli Antonio Vivaldi
Chapter 1
Slide 5
Period divided into 3 phases: Early: 1600-1640 -Rise of opera
-Text with extreme emotion -Homophonic to project words Chapter
1
Slide 6
Period divided into 3 phases: Early: 1600-1640 Middle:
1640-1680 -New musical style spreads from Italy throughout Europe
-Use of the church modes gives way to major and minor scales -Rise
of importance of instrumental music Chapter 1
Slide 7
Period divided into 3 phases: Early: 1600-1640 Middle:
1640-1680 Late: 1680-1750 -Instrumental music becomes as important
as vocal music -Elaborate polyphony dominates -Most baroque music
we hear comes from the Late Baroque Chapter 1
Slide 8
Unity of Mood Characteristics of Baroque Music Expresses one
mood per piece Rhythm Rhythmic patterns are repeated throughout
Melody Dynamics Opening melody heard again and again Volumes
constant with abrupt changes Texture Late baroque mostly polyphonic
Extensive use of imitation Chapter 1
Slide 9
Chords and the Basso Continuo Emphasis on way chords follow
each other -Bass part considered foundation of the harmony Basso
Continuo: bass part with numbers to represent chord tones -Similar
to modern jazz and pop fake book notation Words and Music Text
painting/word painting continues Words frequently emphasized by
extension through many rapid notes Chapter 1
Slide 10
Based on violin family of instruments The Baroque Orchestra
Small by modern standards Varying instrumentation Combinations of
strings, woodwinds, brass, & percussion (tympani) Nucleus was
basso continuo unit Composers specified instrumentation Timbre was
subordinate to melody, rhythm, and harmony Chapter 1
Slide 11
Instrumental music frequently made up of contrasting movements
Baroque Forms Movement: a piece complete in itself, also part of a
larger whole Performed with pause between movements Unity of mood
within individual movements Movements often contrast with each
other Chapter 1
Slide 12
Chapter 10: Antonio Vivaldi Late baroque Italian composer Il
prete rosso (the red priest) Taught music at girls orphanage in
Venice Girls performed at mass hidden behind screen Wrote sacred
and secular vocal and instrumental music Famous as a virtuoso
violinist & composer Best known for concerti grossi & solo
concertos for violin -Solo concerto: piece for single soloist &
orchestra Chapter 10
Slide 13
Listening La Primavera (Spring), Op. 8, No. 1, from The Four
Seasons (1725) Antonio Vivaldi Performance Profile: Jeanne
Lamon-violinist/ conductor Listen for interpretation of tempo,
rhythm, and dynamics, use of decorative tones, and attempt to keep
a familiar piece fresh. First Movement: Allegro Listening Outline:
p. 126 Brief Set, CD 2:1 Concerto for violin and string orchestra
Note:Polyphonic texture & ritornello form Baroque program music
Descriptive effects (e.g., bird songs) Chapter 10
Slide 14
Listening Second Movement: Largo e pianissimo sempre (very slow
and very soft throughout) Listening Guide: pp. 127-129 Brief Set,
CD 2:6 Concerto for violin and string orchestra Note:Orchestra
reduced to only violins and violas Descriptive effects (violas: dog
barking) Performance Profile: Jeanne Lamon-violinist/ conductor
Listen for interpretation of tempo, rhythm, and dynamics, use of
decorative tones, and attempt to keep a familiar piece fresh. La
Primavera (Spring), Op. 8, No. 1, from The Four Seasons (1725)
Antonio Vivaldi Chapter 10
Slide 15
Listening Third Movement: Danza pastorale (Pastoral Dance)
Listening Guide: p. 129 Brief Set, CD 2:7 Concerto for violin and
string orchestra Note:Ritornello form alternates solo and tutti
sections Descriptive effects (sustained notes in low strings to
imitate bagpipes) Performance Profile: Jeanne Lamon-violinist/
conductor Listen for interpretation of tempo, rhythm, and dynamics,
use of decorative tones, and attempt to keep a familiar piece
fresh. La Primavera (Spring), Op. 8, No. 1, from The Four Seasons
(1725) Antonio Vivaldi Chapter 10
Slide 16
Time Line Monroe Doctrine1823 Hugo: Hunchback of Notre Dame1831
Dickens: Oliver Twist1837 Dumas: The Three Musketeers1844 Poe: The
Raven1845 Darwin: Origin of Species1859 American Civil War1861-1865
Twain: Huckleberry Finn1884 Bell invents telephone1876 PART VTHE
ROMANTIC PERIOD
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Romanticism (1820-1900) PART VTHE ROMANTIC PERIOD Stressed
emotion, imagination, and individualism Emotional subjectivity
basis of arts Favorite artistic topics: Fantasy and the
supernatural Period of the Industrial Revolution Resulted in social
and economic changes Middle Ages/concept of chivalry and romance
Nature as mirror of the human heart -Architecture revived Gothic
elements
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Chapter 1: Romanticism in Music Many important Romantic
composers Franz SchubertBedrich Smetana Antonin Dvok Peter
Tchaikovsky Johannes Brahms Giuseppe Verdi Giacomo Puccini Richard
Wagner Robert Schumann Clara Schumann Frederic Chopin Franz Liszt
Felix Mendelssohn Hector Berlioz Chapter 1
Slide 19
Much individual alteration and adjustment Continued use of
classical period forms Greater range of tone color, dynamics, and
pitch than in classical period Expanded harmonycomplex chords
Chapter 1
Slide 20
Characteristics of Romantic Music Individuality of Style
Composers wanted uniquely identifiable music Worked to find their
own voice In romantic music, it is far easier to identify
individual composers through listening Chapter 1
Slide 21
Expressive Aims and Subjects Dark topics draw composers All
approaches were explored: Flamboyance, intimacy, unpredictability,
melancholy, rapture, longing, Romantic love still the focus of
songs and operas Lovers frequently depicted as unhappy and facing
overwhelming obstacles Chapter 1
Slide 22
Nationalism and Exoticism Nationalism: music with a national
identity Exoticism: intentionally implies a foreign culture Makes
use of melodies, rhythms, and instruments associated with distant
lands Uses folk songs, dances, legends, and history of a land
Frequently employed in operas with foreign settings Chapter 1
Slide 23
Program Music Association with a story, poem, idea, or scene
Understanding the music is enhanced through reading the program or
viewing the associated work Though common in the romantic, concept
had been employed for centuries previously -E.g., La Primavera
(from the Four Seasons) by Vivaldi Many Romantic composers were
also authors Made possible a union of the arts -Poets wanted their
poetry to be musical -Musicians wanted their music to be poetic
Chapter 1
Slide 24
Expressive Tone Color Composers tried to create unique sounds
Blending of existing instruments Addition of new instruments Never
before had timbre been so important Enlarged orchestra allowed more
instrument colors Classical 20-60 members vs. Romantic ~100
Advances in instrument design allowed more color -Berlioz: Treatise
on Modern Instrumentation and Orchestration (1844) Valved brass
instruments could now play melodies Piano design improved and range
was extended Orchestration came to be regarded as an art form
Chapter 1
Slide 25
Colorful Harmony Chords built with notes not in traditional
keys Chromatic harmony Harmonic instability a consciously used
device Wide use of keys Frequent and rapid modulation Chapter
1
Slide 26
Expanded Range of Dynamics, Pitch, and Tempo Dynamics ff, pp
expanded to ffff and pppp Extremely high and low pitches were added
Changes in mood frequently underlined by (sometimes subtle) shifts
in tempo Rubato: slight holding back or pressing forward of tempo
Chapter 1
Slide 27
Forms: Miniature and Monumental Some composers went on for
hours Others music lasted only a few minutes Written for a single
instrument Required hundreds of performers Composers wrote
symphonies, sonatas, string quartets, concertos, operas, and many
other classically traditional works Chapter 1
Slide 28
Chapter 10: Program Music Instrumental music associated with a
story, poem, idea, or scene Non-program music is called absolute
music Usually performed with written explanation of the piecea
program Chapter 10
Slide 29
In the romantic period, program music was usually for piano or
orchestra Program symphony: multi-movement/orchestral Common types:
Concert overture\: modeled on opera overture Symphonic poem (or
tone poem): one movement, orchestral, flexible form Incidental
music: for use before or during a play Chapter 10
Slide 30
Chapter 12: Nationalism in Nineteenth-Century Music National
identity grew during the romantic period Citizens, not mercenaries,
now fought wars Bonds of language, history, and culture formed -Led
to unifications creating Germany and Italy Chapter 12 Composers
deliberately gave their works distinctive national identity Use of
folksongs and folkdances Created original melodies with folk flavor
Wrote operas and program music inspired by native history, legends,
and landscapes Strongest impact in countries dominated by music of
Germany, Austria, Italy and France
Slide 31
Listening The Moldau (1874) Part of the cycle Ma Vlast (My
Country) Bedrich Smetana Symphonic poem depicting the main river
that flows thorough the Bohemian (Czech) countryside Program notes:
p. 254 Listening Outline: p. 255 Brief Set, CD 3:34 Listen
for:Program material and how composer related it to the music
Chapter 12
Slide 32
Chapter 11: Hector Berlioz French composer (1803-1869)
Mid-romantic period Passionate and unpredictable Major award for
Fantastic Symphony One of the first of the great conductors
Autobiographicalprogram note, p. 248 Wrote unconventional music
Worked as music critic for support Chapter 11
Slide 33
Berliozs Music Imaginative, innovative orchestrations Pioneered
concept of idee fixe Required huge resources As a pioneer, his work
was not always understood by his listening public Chapter 11
Slide 34
Listening Symphonie Fantastique (Fantastic Symphony) Hector
Berlioz (1830) Fourth Movement: March to the Scaffold Program
notes: p. 248 Listening Outline: p. 249Brief Set, CD 3:30 Listen
for:Program material and how related to the music Returning melody
for idee fixe Chapter 11
Slide 35
Listening Symphonie Fantastique (Fantastic Symphony) Hector
Berlioz (1830) Fifth Movement: Dream of a Witches Sabbath Program
notes: p. 251 Listening Guide: p. 251Basic Set, CD 5:34 Listen
for:Program material and how related to the music Returning melody
for idee fixe Chapter 11