DOCSLIB.ORG

Music History Timeline Part 1 Middle Ages (Cont) Renaissance

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Music History Timeline Part 1 Middle Ages (Cont) Renaissance 1 Music History Timeline Part 1 Middle Ages, Renaissance & Baroque 2 Music History Time Periods 500-1400 – Middle Ages (Medieval) Period C. 500 = Church chants codified. 1400 = Ars Nova (‘New Art’) in Chuch Music 1400-1600 – Renaissance Period 1600 = Development of Opera 1600-1750 – Baroque Period 1750 = Death of J.S. Bach 1750-1820 – Classical Period 1820 = Height of Beethoven’s work. 1820-1900 – Romantic Period 1900 – Turn of the century (duh..) 1890-1945 – Modern Period Impressionism, Serialism, Birth of jazz 1901-2000 – 20th Century 1945-present – Post WWII Contemporary Less serialsim, more development of classic forms 2001-present – 21st Century 3 Middle Ages (Medieval) Middle Ages time period – 500-1400. The years 500 & 1400 are not exact, just estimates as to when major developments in music occurred. Middle Ages in history is defined as when the Roman Empire fell and all their principalities were left to fend for themselves, leading to a period of conquest by various barbarian hoards. The Christian church – primarily the Roman Catholic Church – became a central figure in people’s lives. The year 500 is around when the chants of the various churches were written down so they may be taught easier. Secular (non Church) music was performed by traveling musicians known as troubadors – many of these manuscripts have survived to this day. 4 Middle Ages (cont) Gregorian chant – named after Pope Gregory the Great – was the primary sacred (church) music at this time. Monophonic Music (one line only) Sung by clergy only. Adding lines to the Gregorian is known as organum, a major development in music history and the birth of harmony. Organum was developed in Paris, France, primarily attributed to composer Leonin and his successor Perotin, in the Cathedral of Notre Dame. True polyphonic (multi-line) music was developed in the later years and proved to be a bridge to the Renaissance period. Medieval instruments include the sacbut (trombone), shaum (oboe), lute (guitar), vielle (violin) and an early version of the organ. 5 Renaissance Years of the Renaissance – 1400-1600. 1400 is not an exact year, this is regarded as when the general history of the Renaissance is in full swing in Italy as well as the high sacred music in Paris, France. 1600 is around the time opera was developed by the Florentine Camerata and further developed by Claudio Montiverdi. The Renaissance period in history began when the Byzantine empire centered in Constantinople fell to Islam. All their scholars, musicians, etc fled to Europe, settling first in Italy. The music of the Renaissance is rich and varied. Lots of music from this period has survived and is still performed to this day. The Gutenberg printing press was developed at this time and was quickly adapted to music printing. 6 Renaissance (cont) The demand for music as entertainment rose at this time. The bourgeois (wealthy) class demanded music as entertainment at their various parties and events, making for lots of secular music. Sacred music developed as well, thanks primarily to Josquin des Prez & Giovanni Palestrina. They developed the “Mass” (the primary service in the Roman Catholic Church) into a legitimate art form. In 1517, Martin Luther’s 95 theses that he nailed to the church door in Wittenburg, Germany sparked the Protestant Reformation which had implications in church music – more specifically, the emphasis on congregational participation in songs. The development of opera led to the development of the symphony orchestra – a primary ensemble for ‘legit’ music. Most instruments of the Renaissance are improved versions of Medieval instruments, notably the trumpet, violin, guitar, tambourine and the harpsichord. 1 7 Baroque Period Baroque period in music begins around 1600 with the development of opera and the symphony. The period ends in 1750 with the death of JS Bach (more about him later…) GF Handel also passed away soon after Bach. The word ‘baroque’ means ‘misshapen pearl’, which began as a negative term for this style of music. Some of the world’s best known music comes from this period. The harmonic language (chords, etc) that we use today were developed during this period. Within the Baroque period, there are 3 sub periods with distinctive styles – Early, Middle and Late. Early Baroque saw a group of scholars, poets and composers known as the Florentine Camerata who were influential in the development of opera. The use of ‘figured bass’ provided composers a ‘shortcut’ to chords – an early use of chord symbols. 8 Baroque Period (cont) Early Baroque church music saw a return to basics – getting away from the high use of counterpoint of the Renaissance. Greater emphasis on clarity of the words was emphasized. Middle Baroque saw a significant development of the orchestra and the form ‘concerto grosso’ an early exercise in use of instrumentation for dynamic (volume) contrasts. Antonio Vivaldi popularized the ‘concerto’–orchestral works to show off great soloists. Concertos are a primary genre today. The Late Baroque period saw the rise of GF Handel and JS Bach. There will be considerable discussion about these composers at a later time. The instruments used in the Baroque are easily accessible today and there are many groups dedicated to reproducing baroque music with period correct instruments. 2.
Load more

Recommended publications
  • The Trecento Lute
    UC Irvine UC Irvine Previously Published Works Title The Trecento Lute Permalink https://escholarship.org/uc/item/1kh2f9kn Author Minamino, Hiroyuki Publication Date 2019 License https://creativecommons.org/licenses/by/4.0/ 4.0 Peer reviewed eScholarship.org Powered by the California Digital Library University of California The Trecento Lute1 Hiroyuki Minamino ABSTRACT From the initial stage of its cultivation in Italy in the late thirteenth century, the lute was regarded as a noble instrument among various types of the trecento musical instruments, favored by both the upper-class amateurs and professional court giullari, participated in the ensemble of other bas instruments such as the fiddle or gittern, accompanied the singers, and provided music for the dancers. Indeed, its delicate sound was more suitable in the inner chambers of courts and the quiet gardens of bourgeois villas than in the uproarious battle fields and the busy streets of towns. KEYWORDS Lute, Trecento, Italy, Bas instrument, Giullari any studies on the origin of the lute begin with ancient Mesopota- mian, Egyptian, Greek, or Roman musical instruments that carry a fingerboard (either long or short) over which various numbers M 2 of strings stretch. The Arabic ud, first widely introduced into Europe by the Moors during their conquest of Spain in the eighth century, has been suggest- ed to be the direct ancestor of the lute. If this is the case, not much is known about when, where, and how the European lute evolved from the ud. The presence of Arabs in the Iberian Peninsula and their cultivation of musical instruments during the middle ages suggest that a variety of instruments were made by Arab craftsmen in Spain.
    [Show full text]
  • IJHS Newsletter 07, 2008
    NNeewwsslleetttteerr ooff tthhee IInntteerrnnaattiioonnaall JJeeww’’ss HHaarrpp SSoocciieettyy BoardMatters FeatureComment The opening of the Museum in Yakutsk Franz Kumpl An interview with Fred Crane Deirdre Morgan & Michael Wright RegionalNews PictureGallery Images from the opening of the Museum in Yakutsk Franz Kumpl WebWise IJHS website goes ‘live’ AndFinally… Correspondence NoticeBoard Membership August 2008 Spring / Summer Issue 7 Page 1 of 14 August 2008 Issue 7 BoardMatters – From the President Page 2 FeatureComment – The new Khomus Museum in Yakutsk & Interview with Frederick Crane Page 3 RegionalNews Page 5 PictureGallery Page 12 WebWise Page 13 AndFinally… Page 13 NoticeBoard Page 15 To contribute to the newsletter, send your emails to [email protected] or post to: Michael Wright, General Secretary, IJHS Newsletter, 77 Beech Road, Wheatley, Oxon, OX33 1UD, UK Signed articles or news items represent the views of their authors only. Cover photograph & insert courtesy of Franz Kumpl & Michael Wright Editorial BoardMatters NEWS HEADLINES From the president THE NEW KHOMUS MUSEUM OPENS IN Dear friends, YAKUTSK. The Journal of the International Jew‟s Harp Society, IJHS LAUNCHES ITS FIRST WEBSITE. besides this Newsletter, is indispensable to our work FRED CRANE STEPPING DOWN AS JOURNAL and an integral part the paying members get for their EDITOR. yearly membership fee. Given that the Society basically runs on goodwill, it History has shown that the difference between Journal never ceases to amaze me how much we manage to and Newsletter are as follows: achieve. Sometimes it may seem that nothing is The Journal is published ideally once per year in a happening much, but, just like the swan swimming printed version and with the objective of providing (above) majestically along on the water, the legs are paddling opportunities for the publication of scientific Michael Wight, like mad beneath.
    [Show full text]
  • The Bandistan Ensemble, Music from Central Asia
    Asia Society and CEC Arts Link Present The Bandistan Ensemble, Music From Central Asia Thursday, July 14, 7:00 P.M. Asia Society 725 Park Avenue at 70th Street New York City Bandistan Ensemble Music Leaders: Alibek Kabdurakhmanov, Jakhongir Shukur, Jeremy Thal Kerez Berikova (Kyrgyzstan), viola, kyl-kiyak, komuz, metal and wooden jaw harps Emilbek Ishenbek Uulu (Kyrgyzstan), komuz, kyl-kiyak Alibek Kabdurakhmanov (Uzbekistan), doira, percussion Tokzhan Karatai (Kazakhstan), qyl-qobyz Sanjar Nafikov (Uzbekistan), piano, electric keyboard Aisaana Omorova (Kyrgyzstan), komuz, metal and wooden jaw harps Jakhongir Shukur (Uzbekistan), tanbur Ravshan Tukhtamishev (Uzbekistan), chang, santur Lemara Yakubova (Uzbekistan), violin Askat Zhetigen Uulu (Kyrgyzstan), komuz, metal jaw harp The Bandistan Ensemble is the most recent manifestation of an adventurous two-year project called Playing Together: Sharing Central Asian Musical Heritage, which supports training, artistic exchange, and career enhancement for talented young musicians from Central Asia who are seeking links between their own musical heritage and contemporary languages of art. The ensemble’s creative search is inspired by one of the universal axioms of artistic avant-gardes: that tradition can serve as an invaluable compass for exploring new forms of artistic consciousness and creativity inspired, but not constrained, by the past. Generously supported by the United States Department of State’s Bureau of South and Central Asian Affairs, Playing Together was established and has been
    [Show full text]
  • Galileo's Eyeglass: an Orchestral Work Celebrating the Discovery of The
    GALILEO’S EYEGLASS: AN ORCHESTRAL WORK CELEBRATING THE DISCOVERY OF THE MOONS OF JUPITER AND THE RINGS OF SATURN Jay Alan Walls, B.M.E., M.M. Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS August 2011 APPROVED: Joseph P. Klein, Major Professor and Chair of the Division of Composition Stephen F. Austin, Committee Member Cindy McTee, Committee Member Lynn Eustis, Director of Graduate Programs in the College of Music James C. Scott, Dean of the College of Music James D. Meernik, Acting Dean of the Toulouse Graduate School Walls, Jay Alan. Galileo's Eyeglass: An Orchestral Work Celebrating the Discovery of the Moons of Jupiter and the Rings of Saturn. Doctor of Philosophy (Composition), August 2011, 149 pp., 2 figures, 2 tables, 47 examples, 3 appendices, bibliography, 43 titles. Galileo's Eyeglass is a celebratory work for full orchestra with standard instrumentation commemorating Galileo Galilei's discoveries of the four largest moons of Jupiter and the rings of Saturn in 1610. The composition is approximately 14 minutes in duration, and although divided thematically into four parts, the music is continuous. The work exhibits primarily a blend of contemporary styles and compositional elements, yet it is rooted in traditional tonality; furthermore, the piece is interspersed with references to Galileo's life and times, including quotations of a toccata composed by the scientist's brother, Michelangelo Galilei, transcribed from lute tablature. Chapter 1 of Part 1 investigates relevant historical threads extracted from the backdrop of Galileo's life, from reflections on the events that shape the musical program, to the selection and preparation of the period music composed by Galileo's brother.
    [Show full text]
  • Renaissance Terms
    Renaissance Terms Cantus firmus: ("Fixed song") The process of using a pre-existing tune as the structural basis for a new polyphonic composition. Choralis Constantinus: A collection of over 350 polyphonic motets (using Gregorian chant as the cantus firmus) written by the German composer Heinrich Isaac and his pupil Ludwig Senfl. Contenance angloise: ("The English sound") A term for the style or quality of music that writers on the continent associated with the works of John Dunstable (mostly triadic harmony, which sounded quite different than late Medieval music). Counterpoint: Combining two or more independent melodies to make an intricate polyphonic texture. Fauxbourdon: A musical texture prevalent in the late Middle Ages and early Renaissance, produced by three voices in mostly parallel motion first-inversion triads. Only two of the three voices were notated (the chant/cantus firmus, and a voice a sixth below); the third voice was "realized" by a singer a 4th below the chant. Glogauer Liederbuch: This German part-book from the 1470s is a collection of 3-part instrumental arrangements of popular French songs (chanson). Homophonic: A polyphonic musical texture in which all the voices move together in note-for-note chordal fashion, and when there is a text it is rendered at the same time in all voices. Imitation: A polyphonic musical texture in which a melodic idea is freely or strictly echoed by successive voices. A section of freer echoing in this manner if often referred to as a "point of imitation"; Strict imitation is called "canon." Musica Reservata: This term applies to High/Late Renaissance composers who "suited the music to the meaning of the words, expressing the power of each affection." Musica Transalpina: ("Music across the Alps") A printed anthology of Italian popular music translated into English and published in England in 1588.
    [Show full text]
  • Lute Tuning and Temperament in the Sixteenth and Seventeenth Centuries
    LUTE TUNING AND TEMPERAMENT IN THE SIXTEENTH AND SEVENTEENTH CENTURIES BY ADAM WEAD Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University August, 2014 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. Nigel North, Research Director & Chair Stanley Ritchie Ayana Smith Elisabeth Wright ii Contents Acknowledgments . v Introduction . 1 1 Tuning and Temperament 5 1.1 The Greeks’ Debate . 7 1.2 Temperament . 14 1.2.1 Regular Meantone and Irregular Temperaments . 16 1.2.2 Equal Division . 19 1.2.3 Equal Temperament . 25 1.3 Describing Temperaments . 29 2 Lute Fretting Systems 32 2.1 Pythagorean Tunings for Lute . 33 2.2 Gerle’s Fretting Instructions . 37 2.3 John Dowland’s Fretting Instructions . 46 2.4 Ganassi’s Regola Rubertina .......................... 53 2.4.1 Ganassi’s Non-Pythagorean Frets . 55 2.5 Spanish Vihuela Sources . 61 iii 2.6 Sources of Equal Fretting . 67 2.7 Summary . 71 3 Modern Lute Fretting 74 3.1 The Lute in Ensembles . 76 3.2 The Theorbo . 83 3.2.1 Solutions Utilizing Re-entrant Tuning . 86 3.2.2 Tastini . 89 3.2.3 Other Solutions . 95 3.3 Meantone Fretting in Tablature Sources . 98 4 Summary of Solutions 105 4.1 Frets with Fixed Semitones . 106 4.2 Enharmonic Fretting . 110 4.3 Playing with Ensembles . 113 4.4 Conclusion . 118 A Complete Fretting Diagrams 121 B Fret Placement Guide 124 C Calculations 127 C.1 Hans Gerle .
    [Show full text]
  • Acoustic Function of Sound Hole Design in Musical Instruments Hadi
    Acoustic Function of Sound Hole Design in Musical Instruments by Hadi Tavakoli Nia Submitted to the Department of Mechanical Engineering in partial fulfillment of the requirements for the degree of ARCHIVES Master of Science in Mechanical Engineering MASSACHUSETTS INSTITUTE OF TECHNOLOGY at the SEP 0 1 2010 MASSACHUSETTS INSTITUTE OF TECHNOLOGY LIBRARIES June 2010 o Massachusetts Institute of Technology 2010. All rights reserved. Author ...... Department of Mechanical Engineering May 22, 2010 e A' Certified by ...... .... ................. ................. Nicholas C. Makris Professor Thesis Supervisor Accepted by ........................................... David E. Hardt Chairman, Department Committee on Graduate Theses Acoustic Function of Sound Hole Design in Musical Instruments by Hadi Tavakoli Nia Submitted to the Department of Mechanical Engineering on May 22, 2010, in partial fulfillment of the requirements for the degree of Master of Science in Mechanical Engineering Abstract Sound-hole, an essential component of stringed musical instruments, enhances the sound radiation in the lower octave by introducing a natural vibration mode called air resonance. Many musical instruments, including those from the violin, lute and oud families have evolved complex sound-hole geometries through centuries of trail and error. However, due to the inability of current theories to analyze complex sound-holes, the design knowledge in such sound-holes accumulated by time is still uncovered. Here we present the potential physical principles behind the historical de- velopment of complex sound-holes such as rosettes in lute, f-hole in violin and multiple sound-holes in oud families based on a newly developed unified approach to analyze general sound-holes. We showed that the majority of the air flow passes through the near-the-edge area of the opening, which has potentially led to the emergence of rosettes in lute family.
    [Show full text]
  • Guitar and Lute Music
    SOLITARY REFINEMENT Music for Lute, Vihuela and Guitar Welcome to the intimate, colourful and versatile world of music for lute and guitar, instruments with an ancestry tracing back thousands of years and a fascinating repertoire reflecting the physical and social development of the instrument over the past five centuries. The music represented in the following pages traces the instrument’s journey from the refinements of the early sixteenth century to the more cutting-edge characteristics it has inspired from 20th-century composers. Collectors wishing to assemble recordings by composer will find noted representatives of successive historical periods, including the English Renaissance composer John Dowland, German baroque master Silvius Leopold Weiss, the Italian classical style of Mauro Giuliani, 19th-century Spanish greats Fernando Sor and Francisco Tárrega, plus a modern international spread of names including Joaquín Rodrigo and Leo Brouwer. There are also regional collections representative of guitar music not only from the instrument’s native Spain, but also from South American countries closely associated with the development of the instrument’s profile in the 20th century – Brazil, Argentina and Chile, for example – plus gems from Australia and Britain. Alternatively, the instrument’s range of technical and expressive capabilities can be sampled by choosing from an extensive set of solo recitals by an international roster of distinguished performers, not least in our highly successful and ever-expanding Guitar Laureate Series. Complementing the instrument’s image as a solitary instrument are recordings of ensemble works for two and three guitars, for guitar and piano, and Boccherini’s quintets for guitar and string quartet.
    [Show full text]
  • The Renaissance Period (1400 – 1600) a Cappella: the Golden Age
    General Music Cycle 7 Mr. Hamilton Period 3A The Renaissance Period (1400 – 1600) Renaissance means rebirth. This period saw a rebirth in knowledge. The Renaissance was turning from God to man. Science and the arts were becoming more important. Christopher Columbus discovered America and Michelangelo was painting the Sistine Chapel. William Shakespeare was writing his famous plays. Secular music is non-religious music and it was becoming more popular during this time. There was a rise in instrumental music and dance music, too. Johannes Gutenberg invented the printing press during the Renaissance. Some people consider the printing press to be the most important contribution to civilization in the last one thousand years! The printing press allowed documents to be printed quickly. Before the Renaissance, documents had to be copied by hand. One of the most famous persons from the Renaissance was Leonardo da Vinci. He was known as a Renaissance man because he could do many things well. He was a painter, architect, inventor, scientist, poet, musician, and teacher. A Cappella: The Golden Age of Singing This was the golden age of the a cappella style. That means that singers sang without instruments. At this point in history, vocal music was still more important than instrumental music. Madrigals were popular during the Renaissance. These song forms were performed in groups of four, five, or six singers. A madrigal is secular music. This is non-religious music. Madrigals were usually love songs. Religious music was still very important. Choral music of the Renaissance was an extension of the Gregorian chant. It was sung a cappella and sung in Latin.
    [Show full text]
  • THE MEDIEVAL PERIOD​ (A.K.A Middle Ages) C. 500-1400 (Began
    Name_____________________________ HR Teacher_________________________ THE MEDIEVAL PERIOD (a.k.a Middle Ages) ​ C. 500-1400 (began with with fall of the Roman Empire) WORDS TO KNOW chant/plainchant unaccompanied, monophonic music used in liturgy of the western church monophony (monophonic, adj. ) (mono=one) ​ ​ a single melody played, written, or sung with no harmony polyphony (polyphonic, adj.) (poly=many) ​ ​ music featuring two or more independent melodies played, written, or sung simultaneously homophony (homophonic, adj.) (homo=same) ​ ​ music in which the accompanying parts have the same rhythm as the melody; secular music music not related to religion or religious services sacred music music used for religious service or purpose Gregorian Chant named after Pope Gregory I) is monophonic, plainchant music ​ ​ neumes symbols representing from one to four notes, used in the musical notation of the Middle Ages/Medieval Era THE RENAISSANCE PERIOD 1400-1600 renaissance literally means “re-birth”; rebirth of education, science, art, literature, music ​ motet a sacred, polyphonic vocal composition, usually unaccompanied (a cappella) madrigal a secular, polyphonic song based on poems, often about love consort a small group of instruments playing together MEDIEVAL COMPOSERS TO KNOW GUIDO of AREZZO c. 991-1033 ​ ♫ Guido was an Italian monk ♫ He created a set of syllables to help singers remember melodies designed after the human hand ♫ Guido also developed staff notation; a change from neumatic notation, which only gave a general outline of
    [Show full text]
  • The Guitar in the Middle Ages and Renaissance by Julie Carmen for Tournaments Illuminated, Issue #129, Winter, 1999 (Pre-Print)
    Central Washington University ScholarWorks@CWU Library Scholarship James E. Brooks Library Winter 1999 The uitG ar in the Middle Ages and Renaissance Julie D. Carmen Central Washington University, [email protected] Follow this and additional works at: https://digitalcommons.cwu.edu/libraryfac Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, and the History of Science, Technology, and Medicine Commons Recommended Citation Carmen, Julie D., "The uitG ar in the Middle Ages and Renaissance" (1999). Library Scholarship. 62. https://digitalcommons.cwu.edu/libraryfac/62 This Article is brought to you for free and open access by the James E. Brooks Library at ScholarWorks@CWU. It has been accepted for inclusion in Library Scholarship by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. 1 The Guitar in the Middle Ages and Renaissance By Julie Carmen For Tournaments Illuminated, Issue #129, Winter, 1999 (pre-print) In the Society for Creative Anachronism (SCA) world there are high standards for recovering and reconstructing the truth in history. Recorded history determines how we re-create the Middle Ages, and it is with much determination that we search for as many facts as possible for each of our varied interests. This article seeks to clarify the historical authenticity of one of the most popular musical instruments, the guitar. In preparation for this search, guidelines had to be set as to what the Society deems “authentic”. Is it more aesthetically pleasing
    [Show full text]
  • Instrument Glossary
    AGA KHAN TRUST FOR CULTURE Music Initiative in Central Asia Instrument Glossary 1 2 Glossary of Instruments Choor Chopo Choor Daf Dayra Choor Chopo Choor Daf End-blown flute made from A clay ocarina with 3-6 holes A small frame drum with reed or wood with four or found in southern Kyrgyzstan jingles used to accompany five holes. Under various and most commonly played both popular and classical names and in various sizes, by children. There is music in Azerbaijan. such end-blown flutes are evidence that horse herders widespread among Inner used ocarinas as signalling Dap Asian pastoralists, e.g., tsuur instruments in thick forests, (Mongolian), chuur (Tuvan), where they would often graze Uyghur name for a frame sybyzghy (Kazakh), and kurai their horses at night. drum. (Bashkir). Dayra A frame drum with jingles, commonly played by both men and women among sedentary populations in Central Asia. 3 3 Dombra Dutar Garmon Kemanche Dombra Dutar Ghijak Refers to different types of Designates different kinds Round-bodied spike fiddle two-stringed long-necked of two-stringed long- with 3 or 4 metal strings and lutes, best known of which necked fretted lutes among a short, fretless neck used by is the Kazakh dombra – a Uzbeks, Tajiks, Turkmens, Uzbeks, Tajiks, Turkmens, and fretted lute that is considered Qaraqalpaks, Uyghurs, and Qaraqalpaks. Kazakhstan’s national other groups. instrument. Its large and Kemanche varied repertory centres Garmon around solo instrumental Spike fiddle identical to a pieces, known as kui, which, A small accordion used in the ghijak, important in Iranian like the analogous Caucasus and among female and Azeri classical music and Kyrgyz kuu, are typically wedding entertainers known in the popular music of Iran.
    [Show full text]