Understanding Music Past and Present

Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. 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ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] Table of C onTenTs Music FundaMentals 1 N. Alan Clark, Thomas Hefin, Elizabeth Kramer Music oF the Middle ages 34 Elizabeth Kramer Music oF the Renaissance 52 Jeff Kluball Music oF the BaRoque PeRiod 73 Jeff Kluball and Elizabeth Kramer Music oF the classical PeRiod 116 Jeff Kluball and Elizabeth Kramer nineteenth-centuRy Music and RoManticisM 160 Jeff Kluball and Elizabeth Kramer the twentieth centuRy and Beyond 225 N. Alan Clark and Thomas Hefin PoPulaR Music in the united states 255 N. Alan Clark and Thomas Hefin aPPendix 289 glossaRy 298 music of the Classical Period 5 Jeff Kluball and Elizabeth Kramer 5.1 objeCTives 1. Demonstrate knowledge of historical and cultural contexts of the classical period 2. ecognie musical erforming forces (voices instruments and ensembles), styles, composers, and genres of the classical period 3. Aurally identify selected music of Haydn, Mozart, and Beethoven and explain how it interacts with forms of the day 5.2 Key Terms and individuals American War for Ludwig van Beethoven Independence minuet and trio form cadenza aolon onaarte chamber music oera bua coda pizzicato concerto rondo cotton gin scherzo da capo sonata frstmovement concerto sonata form (eosition form/double-exposition form development, recapitulation) French Revolution steam engine hemiola string quartet Industrial Revolution Symphony Jean-Jacques Rousseau ternary form Joseph Haydn The Enlightenment Page | 116 Understanding MUsic MUsic of the classical Period theme and variation form Voltaire Thomas Paine Wolfgang Amadeus Mozart 5.3 inTroduCTion and hisToriCal ConTeXT Of all the musical periods, the Classical period is the shortest, spanning less than a century. Its music is dominated by three composers whose works are still some of the best knon of all estern art music: oseh adn ( olfgang Amadeus oart ( and udig van eethoven ( Although born in dierent uroean regions all three sent a substantial amount of time in Vienna, Austria, which might be considered the European musical cap- ital of the time. Music scholars have referred to this time as the Classical period in music for several reasons. For one, the music of Haydn, Mozart, and Beethoven has served as the model for most composers after their time and is still played today; in this way, the music is “classic” in that it has provided an exemplar and has stood the test of time. As we will also see, this music has often been perceived as emulating the balance and portion of ancient Greek and Roman art, the time period to which the ord classical is aed ithin literature and art histor as ell as the ider feld of histor Our use of the Classical period to refer to music of roughly 1750 to 1815, how- ever, should not be confused with our broader use of the term “classical music” to refer to art music (music that does not otherise fall ithin the sheres of oular music or folk music). Beginning towards the end of the 16th century, citizens in Europe became skep- tical of traditional politics, governance, wealth distribution, and the aristocracy. Philosophers and theorists across Europe began to questioning these norms and issues and began suggesting instead that humanit could beneft from change ublications and scientifc discoveries of these thinkers roving and understanding man of natures las surred the aradigm shift of logic referred to as the Age of Reason, or the Enlightenment. The seeds for the Enlightenment can be found in England in approximately the 1680s. In that decade, Newton published Principia Mathematica and John Locke published his “Essay Concerning Human Understanding.” These two works provided the hilosohical mathematical and scientifc foundation for the nlightenments great develoments ocke stressed that knoledge is gained through accumulated life eerience rather than b acuired outside truth etons math- ematics and otical theor shoed that humans can observe stud defne and test the world around them and can also mathematically measure and prove nat- ural occurrences. Besides Locke and Newton, Enlightenment thinkers included Voltaire, Mon- tesquieu, Jean-Jacque Rousseau, Benjamin Franklin, and Immanuel Kant. Their orks eseciall stressed imroving humanits condition through the use of rea- Page | 117 Understanding MUsic MUsic of the classical Period son and common sense in order to provide liberty and justice for all. Many Enlight- enment thinkers challenged blind and unconditional following of the authority of religious traditions and institutions and emphasized what they saw as “universal human goods and rights.” They believed that if humankind would simply act with common sense—found in ideas such as “the golden rule”—then societies might ad- vance with greater universal justice and liberty. Being able to solve and understand many of the msteries of the universe in a uantifable manner us- ing math and reason, was empowering. Much of the educated middle class applied these learned principles to improve society. Enlightenment ideals lead to political revolutions throughout the Western world. Gov- ernmental changes such as ritains embrace of consti- tutional democratic form of government and later the nited tates of Americas establishment of democratic republic completely changed the outlook of the function figure 5.1 | Benjamin of a nation/state. The overall well-being and prosperity Franklin, 1759 author | Benjamin Wilson of all in society became the mission of governance. source | Wikimedia Commons Up until the mid-1700s art, including music, was license | Public Domain under the direct control or patronage of the monarchy/aristocracy, the class whose unuestioned rule as founded on divine hereditar right he arts ere their (and the churchs rivilege luur and adornment for generations to come In its in- fanc the nlightenments oer shift toard the middle class as neither er- ceived nor anticiated b those in oer Americas successful revolution against England landed a devastating blow to the doctrine of the divine ruling rights of kings. Shortly afterward, the ensuing French Revolution had an unintentional im- act on the arts and is one of the greatest inuences on estern classical music Artists and architects of the second half of the eighteenth century looked to classical antiquity as its model; their work is referred to as neoclassical. You can see this interest when one compares the Parthenon in Athens to the columns of the White House. While in power, aristocrats and their wealthy peers exalted the Hellenism that protected them from getting too involved in the current issues of life. The aristocrats saw the ancient Roman gods, heroes, and kings as semblances of themselves. They viewed themselves in the same light as super humans entitled to rule, possess great wealth, and be powerful. This detachment shaped their rela- tionship with the arts in architecture and the visual arts. The rising middle class, on the contrary, viewed and interpreted neoclassical arts as representations of Ro- man and Greek city-states. This view assisted their resolve to rebel against the ty- rants and abolish despotism. Here musical terminology diverges from that used by art historians (eoclassicism in music ould have to ait for the th century). As we have few musical exemplars from classical antiquity and as the music of Haydn, Mozart, and Beethoven would become the model for nineteenth century music, music historians have referred to this period as a time of Musical Classicism. Page | 118 Understanding MUsic MUsic of the classical Period The mid and second half of the 18th century saw a revolutionary political and economic shift in Europe. Here the dramatic paramount shift of power from the aristocracy to the middle class began and strengthened. The wealth of the middle

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