Music History baroque and Classical

• Age of Reason
• things that are natural
• questioning the nobles - revolutionary thoughts

• mid-18th c.
• economy shifts from hand work to factory work
• machines take human jobs
• began in England (London)
• People move to cities
• People have more time and more money
• music for the masses

• Must be crowd-pleasing
• often for untrained musicians

• 1720-1760
• Sammartini
• CPE Bach
• JC Bach
• Early Haydn
• Early Mozart

• String quartet
• (at first, 1st violin was the soloist, all others supportive)

• England needed resources to expand their empire, so they maintained an oppressive presence in the New World.
• 1776 - Declaration of Independence - led to American Revolution

Reign of terror - 1790's - spread westward

• middle class would pay for the arts
• music and paintings were meant to be pleasing
• nature is a symbol of the New World vs. smoke and craziness of the city

• music to please.
• Homophonic texture - melody and accompaniment (thin texture)
• major keys
• short repeated phrases (not sequences)
• cadential harmonies

• Drum bass
• Melody-dominated homophony
• subordinated wind parts
• more consonance
• layered accompaniment
• complicated ornamentation

• narrow vocabulary
• mostly major keys
• cadential
• slower harmonic rhythms

• usually single planes
• more diatonic

• usually variegated
• usually graceful, "feminine"
• special tendencies:
• reverse dotting
• triplets at cadences
• feminine phrase endings

• short, symmetrical, balanced phrases
• hierarchical
• repetition
• separation of phrases
• binary opposition of I and V
• Contrast and recap of themes
• trend toward standardization (Binary form)
• states of rhythm differentiated

shallow, polite

• solo-bass sonata
• keyboard sonata (with or w/o accomp.)
• Keyboard concerto
• String Quartet & Symphony

• 1730
• new genre
• grew out of earlier practices: trio sonatas (chiesa, camera); string quartet; Italian Opera Overture (called sinfonia)
• for concert hall
• not standardized
• called by many other names: partita
• all looked different, different instrumentation
• became very popular

• Lully - French - Baroque
• 3 movements: fast slow fast
• called sinfonia

Sensitive styleover-the-top sappy, sentimentalgoal-listeners weep with gentle tears of melancholyminor keys

• Italian composer, oboist, organist
• inspired Gluck, Mozart, Haydn (sort of)
• early 18th c

• Sammartini
• 3 mvts
• 3-4 string parts
• early ones have continuo parts
• 1st movement BINARY FORM
• triple hammer stroke at beginning (from theater)

• important structure in suites, etc.
• 2 part
• I ---- V/II ------I
• Key sigs. hold it together
• based on tonality
• B section - tends in tonic

• A
• I/i ---- V/III ------ a
• grows into sonata form

• I - expo - V Devel I recap
• Sammartini Symphony in D major
• Triple Hammer Stroke starts this symphony

• army of Generals/Pros.
• Mannheim, Gernany near the Rhein
• known for their precision
• perfect attention to dynamics and nuances
• pro wind players from Bohemia
• including clarinet players (influenced Mozart)
• Created by Stamitz

• Created Mannheim Orchestra
• mid 18th c

• invented in Italian Opera Overture
• but used so much here that it got the name

Rapidly ascending arpeggio to begin a piece

rising melodic line over a pedal tone

• Closer to modern orchestra - 30 - 35 players
• no viola da gamba, or lute, no more renaissance
• percussion = timpani
• one fl/ob per part
• clarinet not till 1770's
• conductor = harpsichordist

• Haydn - 1760's - 1770's
• ex. Symphony no. 49 (f minor)
• Minor keys
• syncopated rhythms
• tense harmonies
• dissonances
• wide melodic leaps
• huge dynamic contrasts
• heavy accents
• contrapuntal textures
• extended modulations
• mood=unsettled

literary and articstic phenomenon that influenced music.

• b/c anti-reason
• seeds of Romanticism
• mix with Empfindsamer Stil
• unsettling dark emotions
• huge melodic leaps
• syncopation
• unsettled mood
• sigh motives
• dissonances/chromaticism

• Mvt. I - sonata form
• II - slow, form can vary: (theme and Vts, ternary, sonata, rondo)
• III - Minuet and Trio (ternary form)
• IV (in I) fast movement - sonata, t&v, or rondo

• compound ternary form
• AB AB AB
• A B A

• based on tonal harmony
• outgrowth of Baroque binary structure

• I V I Dev. I I I
• like ABACAAA

librettist for Figaro, Don Giovanni, and Cosi von Tutti

• Most successful/famous libretist of all time
• 27 opera seria librettos set over 300 times
• followed the rules of opera seria
• drama, dignity, realism, romance
• produced highly settable texts, elegant and simple

• Opera seria:
• rapid tempo
• fast rhythms
• long, difficult melismas
• possibly wide leaps
• suitable for extreme emotional expression
• Rejoice Greatly

• Opera seria
• moderate to slow tempo
• major key
• mostly conjunct melodic motion
• usually narrow range
• balanced and stable phrases
• slow harmonic rhythm
• moderately ornamented and melismatic
• mostly consonant
• little contrast
• often uses appoggiaturas
• love, peace, contentment, etc
• He Shall Feed His Flock

• Opera seria:
• slow tempo, minor key, soft dynamics, chromaticism, dissonance, descending melodic and bass contours, low register, sorrow, lamentation, etc. Dido's Lament

• Opera seria:
• Syllabic text setting, rapid tempo, many exclamations and other words set off by rests and repeated pitches; suitable for expressions of anger, defiance, and related affections
• ex: "Patter arias"

• Opera Seria:
• a mixture/alternation of features of the other types; suitable for setting words that are not strongly affective

• Italian opera
• 18th and 19th c.
• tragic or heroic subject
• reform from earlier models
• interst in classical Greek drama
• Orderly, simplistic, naturalness, dignity, instructional
• no more than 30 arias; expanded recitative
• 1 ensemble per opera (usu. a duet for the principal couple)
• arias in the same style could not follow one another

• Act I: introduce the conflict, # of characters increase as the act progresses. Sometimes the scene changes, the number of characters on stage decreases, leaving a single performer for a monologue at the end
• Act II: A public scene, perhaps some spectacle
• Act III: Resolution of the conflict. All are onstage for the happy ending

• single central argument
• Max. 8 characters
• stage never empty except btw acts
• action ideally takes place within a 24 hour period, and in locations of close proximity
• Death is handled tastefully - suicide and battle OK if off stage, NO murder
• Ancient history preferable to mythology - trips to the underworld were banished
• Ballet and coarse unseemly behavior of comic scenes relegated to entr'acts unrelated to the serious drama.

• Hasse - composer
• early17th c.
• opera seria
• Metastasio, librettist

short one-act performances between acts of opera seria; later developed into "comic opera"

• Everyday people; everyday problems
• developed from intermezzi
• 1730's

• Pergolesi - early 18th c.
• written btw acts of his own opera seria
• performed often
• attention in Paris, sparked the War of the Buffoons
• everyday people: Uberto: man of house
• Seripina - servant

• Propaganda war in Paris in mid 18th c.
• Fr music vs It. music
• pamphlets
• style battle

• more classical sound
• syllabic singing
• no castrati
• comic bass
• slower harmonic rhythm
• repitition for the sake of comedy
• sudden accents for comedy
• fast, light tempi
• different moods in a piece
• less rigidly structural

• Fr: dance, melodies, plot, they hate castrati, Remeau: qdrama, harmony is important
• It: singers, melismatic, all about castrati, russeau - lyricism, melody is important

• Gluck - ex
• attempt to combine French drama with Italian lyricism
• no da capo arias
• simple, natural arias
• no useless ornaments
• animated figures
• no boring instrumental prelude
• no waiting for cadenza
• no holding out of a favorite vowel

• 45 operas
• reform opera
• Pletastasio - librettist for 17 operas.
• Ranieri Calzibigi - librettist for his reform operas
• 1st few operas were just like Handel
• Studied with Sammartini
• aware of opera seria (Handel)

• French opera seria + ballet
• Count Durazzio

• Gluck, mid-18th c.
• Calzibigi style
• all simplified
• no more than 2 characters per number
• aria: Orfeo's lament

• completely orchestrated recitative, so more linear sound, more streamlined
• music never interrupts plot; plot keeps moving
• no dance for sake of dance, (Orfeo: dance is dance of the Furies)
• orchestral overture, sets mood for opera to come
• (opera seria overtures could previously be switched if needed)
• Role of soloist is decreased (no liberties to change music, no da capo, no melismas, no cadenzas, no instrumental ritornello)
• STROPHIC arias instead of da capo (simplified, almost folk-like)
• libretto had heartfelt language, strong passions, interesting situations

• wrote in Vienna
• 22 operas

• lord of manor - questionable repute
• high minded people of questionable morality
• hot young babe
• young hero (baritone or basso buffo) (clever servant)
• meddling doctor with troublemaker wife

• opera buffa
• boy played by a woman
• ex: cherubino in Figaro

• 7
• ex: Marriage of Figaro 1786
• Don Giovanni 1787
• Cosi von Tutti 1790

librettist for Mozart's Italian comic operas

• ex. Magic Flute
• Abduction from Seraglio (Turkish theme/exoticism)

• in language of the people
• genre of opera - German comic opera
• "sung play"
• fantasy elements: supernatural, magic, exoticism
• Die Zauberflote (Magic Flute)

Trio in Figaro: "Cosa sento" - the Count demands an explanation from Basilio's accusation of Cherubino's love for the Countess

• mid-18th c. rise in popularity
• late 18th - in prime
• Vienna - center of reform opera
• almost no opera seria here
• mostly upper class audience

Queen of the night - opera seria style but in Singspiel

• "Beggars Opera" by Gay
• English version of comic opera
• includes spoken dialogue
• Not high art
• pub songs with new words

composed Beggar's Opera

• English pop ballad
• 16th c. - 18th c.
• one tune for many poems - oral tradition
• music was printed on long sheets called broadsides
• Eventually replaced by a single sheet song that had flute or another accompanying instrument

collected broadside ballads and published an anthology called "Pills to Purge Melancholy"

French comic opera. Spoken dialogue, not recitative

• late 18th c.
• comic opera - term to describe characters from serious opera appearing next to stock comic opera characters x. Don Giovanni is described on the libretto as a dramma giocoso and on the score as an opera buffa

short phrases, simple harmonies, lots of words. Ex. "I am the very model of a modern major general..."

• group of main characters singing together
• though singing, they can still maintain their individual personalities. Common in comic opera. Compare to chorus - a mass of people

Mass of people acting as a being with a common mind. No main characters; act as a group

a writer of plays and librettist of singspiels such as Mozart's Magic Flute. also he played Papageno in the first M. F. performance. Theater an der Wien, Vienna - built it.

• Italian - tonic, +6, repeats tonic
• French, has 2
• German has 3 and sounds like a dom. chord

men who were castrated to keep their voices high

the aria type that is used in opera seria. the form is ABA+, where the repetition of A is ornamented. In this aria type, there is only one emotion per aria. there are different types: Bravura, cantabile, and parlante ex. Piangero la sorte mia

accompanied recitative - more than just the harpsichord accompanies the singer during the singing of the recit. imitation of impassioned speech with multiple instrument accompaniment. Tells the plot

dry recit with just singer and harpsichord

• no precurser
• used to be for the home/amateur
• starts w/ 2 violin, viola, and cello, no bass
• violin used to be dominant voice
• sometimes publishers added wind parts
• intimate, subtle, tasteful ornamentation
• refined genre sometimes a fugue was added to show off
• the term was coined in the late 18th c.

• 4 movement string quartet
• this standardizes the form

• 18th c. chamber music
• kybd written out
• accomp. instr's optional
• ancestor to piano trio
• pop. in mid century
• not related to baroque solo sonata

• two chromatic notes with the same letter name occurring on a chord to create dissonance
• Mozart's Dissonance Quartet in C Major (string quartet)

• "the armed man" - popular tune from Burgundian conflict with Turks
• the most popular tune for Ordinary of mass, especially in Burgundy
• mid-15th c. Dufay = cantus firmus mass: Missa L'Homme Arme

• Baroque dance suite - acronym
• Passacaglia
• Allemande
• Courant
• Sarabande
• Ordre
• Gigue

• Slow intro with lots of dotted rhythms
• fugal second section
• Lully - mid-17th
• musical intro to opera or ballet

embellishments/ornamentation

• rhythmic passage - notes alternate long/short, even if written as equal duration.
• mid-16th - late 18th c. French convention of enlivening passage work
• Bourgeois - first to explain it as an embellishment of diminutions

• alternate tuning for string instruments
• early 16th c
• popular btw 1600-1750

• "spinning out" musical material (usu. melodic line)
• short idea or motif is developed into a phrase or period using sequences, intervallic transformation, or repetition
• Bach - Partita in E.

• Louis XIII
• The King's 24 violins
• 1626
• part of Musique de la Chambre
• performed at courtly events and festivities

"total work of art" Wagner

wife of Berlioz; inspired Symphony Fantastique

18 pieces for solo piano by Schumann, includes the characters Florestan and Eusebius, who represent the two sides of Schumann's personality. Early 19th c.

German poet - lieder by Schumann and Schubert

Mozart, Beethoven, schubert, Berlioz, Wolf

• Threnedy to the Victims of Hiroshima
• Penderecki, mid-20th

Steve Reich - music from environmental sounds

Crumb - 20th c.

U.S. 1960's - repetition, gradualchange, minimal of basic materials - John Cage - 4 min's 33 sec's

Boulez - International summer courses for new music was founded - established composers like Messaien mentored composers such as boulez. Proponents of serialism. mid-20th c

every aspect of the composition was mathematically organized: meter, dynamics, pitch, rhythm - Milton Babbitt

music produced by chance - John Cage

Boulez - the performer is given liberty to improvise within certain parameters set by the composer. mid-20th c.

NYC composers and publishers at the turn of the 19th and 20th c. who were in the popular music scene - jazz, swing.

chance music with Charles Ives; mid-20th c.

piano player in music stores who played and promote new sheet music - Gershwin was a song plugger. early 20th c.

composer with the paris conservatory - many of her students came to America: Copland, Glass. mid-20th c. First major female conductor - America and Europe

Soviet government's attempt to control the arts in the early 20th c.

• Schoenburg - Pierre Lunaire early 20th c.
• Berg - Wozzeck

Schoenberg, Berg, Webern

• 20th c. music and art irrational states of mind, grotesque action - 2nd Viennese school
• Schoenberg - 2nd String Quartet

Rite of Spring

• Schoenberg, Stravinsky, Ravel
• order, balance, clarity, emotional restraint
• 20th c.

• Mily Balakirev (the leader), César Cui, Modest Mussorgsky, Nikolai Rimsky-Korsakov and Alexander Borodin
• late 19th c.

Debussy is exposed to Indonesian gamelon music which became an influence on his music

one movement programmatic orchestral piece; can be part of a cycle, such as Ma Vlast: The Moldau - Smetena late 19th c.

Liszt, Wagner -

German poetry set to music by Brahms, Schumann among others

• Saint Saens and Bussine, founders - promote young French composers such as Frank, Faure, Dubois, etc.
• late 19th c.

seeking to revive chant Tebaldini and Perosi 19th c.

violinist, conductor, composer, contemproray of Brahms - one of the most significant violinists of the 19th c.

end of napoleonic rule: Italian unification 1815

patron of Wagner. Very eccentric