Dr. Anderman a Brief Overview of Musical Style Periods

Total Page：16

File Type：pdf, Size：1020Kb

MUSC 2B Music Theory 2 – Dr. Anderman A Brief Overview of Musical Style Periods Style period Texture Forms Harmonic language Composers Middle Ages (500 – 1450) Monophonic. Vocally based - Vocal: plainchant mass, secular Modal. Beginnings of harmony through Leonin (from the fall of the Roman instruments usually doubled or song organum (700-900), move towards Perotin Empire to the Renaissance) accompanied voices polyphony in the 13th century. Machaut (heterophony.) Instrumental: estampie Renaissance (1450 – 1600) Polyphonic choral music Vocal: madrigal, motet, mass, Modal, though leaning toward a major / Josquin becomes the dominant musical chorale minor (tonal) system. Gradual Palestrina texture. Instrumental music development of a triadic harmonic Monteverdi grows in popularity. Instrumental: canzona, ricercare language. Earliest use of dynamics Baroque (1600 – 1750) While vocal music moves Vocal: opera, cantata, oratorio Tonality replaces modality – clear Vivaldi (from the production of the toward homophony, major / minor key centers with Bach first opera to the death of J.S. polyphonic instrumental music Instrumental: toccata, fugue, secondary chords and modulation; Handel Bach) gains in prominence. dance suites, concerto grosso harmony defined by the basso continuo Classical (1750 – 1825) Generally homophonic, Instrumental: symphony, solo Tonal – generally less ornate and Haydn (from the death of Bach to the emphasis on balance and concerto, sonata chromatic than Baroque music; basso Mozart end of the Napoleonic Era) symmetry. Instrumental music continuo abandoned Beethoven surpasses vocal music in Vocal: opera, choral works prominence. Romantic (1825 – 1900) Homophonic, emphasis on Instrumental: program music & Extended tonality – highly chromatic, Schubert (from the end of the personal expression. Taken to tone poems; piano music increasing dissonance, remote Schumann Napoleonic Era to the turn of extremes of scale (miniature modulations, and non-functional Chopin the 20th century) and grand); expanded Vocal: art songs, song cycles, harmony Brahms dynamics and timbral colors opera Post-Romanticism and Homophonic with particular Less emphasis on strict forms – Tonal centers are retained, but Debussy Impressionism emphasis on the sound quality highly individualized and often functional harmony is replaced by Satie (1875 – 1920) of individual chords rather based on visual models increased use of modes and synthetic Ravel than their functionality scales Strauss Modern (1900 – present) Often homophonic, but with Highly individualized Atonality, serialism and other harmonic Schoenberg renewed interest in polyphonic approaches Stravinsky textures Bartok Jazz and Popular Music Early (Dixieland) jazz has Traditional song forms are often Retains the extended tonal system of Armstrong (1900 – present) polyphonic elements, but most re-interpreted through the 19th century largely abandoned in Ellington popular music is primarily improvisation modern “art” music Davis homophonic .

Copy Link

Recommended publications

High School Madrigals May 13, 2020
Concert Choir Virtual Learning High School Madrigals May 13, 2020 High School Concert Choir Lesson: May 13, 2020 Objective/Learning Target: students will learn about the history of the madrigal and listen to examples Bell Work ● Complete this google form. A Brief History of Madrigals ● 1501- music could be printed ○ This changed the game! ○ Reading music became expected ● The word “Madrigal” was first used in 1530 and was for musical settings of Italian poetry ● The Italian Madrigal became popular because the emphasis was on the meaning of the text through the music ○ It paved the way to opera and staged musical productions A Brief History of Madrigals ● Composers used text from popular poets at the time ● 1520-1540 Madrigals were written for SATB ○ At the time: ■ Cantus ■ Altus ■ Tenor ■ Bassus ○ More voices were added ■ Labeled by their Latin number ● Quintus (fifth voice) ● Sextus (sixth voice) ○ Originally written for 1 voice on a part A Brief History of Madrigals Homophony ● In the sixteenth century, instruments began doubling the voices in madrigals ● Madrigals began appearing in plays and theatre productions ● Terms to know: ○ Homophony: voices moving together with the same Polyphony rhythm ○ Polyphony: voices moving with independent rhythms ● Early madrigals were mostly homophonic and then polyphony became popular with madrigals A Brief History of Madrigals ● Jacques Arcadelt (1507-1568)was an Italian composer who used both homophony and polyphony in his madrigals ○ Il bianco e dolce cigno is a great example ● Cipriano de Rore
[Show full text]
Performance of Musical Scale in Traditional Vocal Homophony: Lithuanian Examples
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Serbian Academy of Science and Arts Digital Archive (DAIS) Rytis Ambrazevičius Performance of Musical Scale in Traditional... DOI: 10.2298/MUZ1417045A UDK: 784.4(474.5) Performance of Musical Scale in Traditional Vocal Homophony: Lithuanian Examples Rytis Ambrazevičius1 Lithuanian Academy of Music and Theatre (Vilnius) Kaunas University of Technology (Kaunas) Abstract Acoustical measurements of pitches in a dozen songs exemplifying the Lithuanian traditional vocal homophony were carried out. Several phenomena were revealed. First, the entire scales experience gradual transposition (rise) from the beginning to the end of the song performances. Second, the transposition is supplemented with the gradual shrinking of the musical scales (the intervals become narrower). Third, the intonations of the scale degrees are dynamic, i.e. they depend on the musical (both melodic and harmonic) contexts. Fourth, the versions of musical scales work as certain markers for the idiolects (further studies could show if this might be extrapolated to the realm of dialects). All these insights raise issues about the per- ceptual qualities of the musical scales and their manifestations in the performance. Keywords Musical scale, vocal performance, homophony, Lithuanian traditional singing, acoustical measurements, pitch perception. Issue of musical scale Before we proceed to the elaboration of the methods and tech- niques of the acoustical measurements, and the analysis of their re- sults, let’s discuss the concept of the ‘musical scale’. Most probably, this concept seems to be entirely transparent to us. Yet, upon closer inspection we encounter several obstacles.
[Show full text]
About Some Texture and Harmonic Processes in the Piano Music of Romantic Composers After the Example of Chopin's Music
International Conference on Arts, Design and Contemporary Education (ICADCE 2015) About Some Texture and Harmonic Processes in the Piano Music of Romantic Composers After the Example of Chopin's Music Marina Skrebkova-Filatova Russian State Specialized Arts Academy Moscow, Russia e-mail: [email protected] Abstract—This article investigates the relationship the most important places. In the XIX century there was a between texture and harmony and their influence on the powerful and rapid growth of a wide variety of presentation dramaturgic process in the Prelude by Chopin. in symphony, opera and in chamber-instrumental and vocal Relevance of the article is in the study of these processes. genres. The piano music occupied a special place. Novelty of the article is in the attracting of the detailed One of the incentives of this growth was the analysis of the relationship between texture and development of such a relatively young instrument as the harmony. piano. Along with the remarkable achievements in the field of orchestral music, piano art vividly and in great diversity Keywords—musical texture; harmony; form; reveals its artistic possibilities. The role of the musical dramaturgic process; piano music of the Romantic era texture in creating dramaturgic development, style and genre originality of the piano masterpieces is extremely high. I. INTRODUCTION This article is a slightly revised part of a forthcoming A great piano became the "king" among musical monograph on the theory and history of musical textures. instruments of the XIX century. Beethoven and Schubert, The material of the book is based on essays and lectures on Chopin and Liszt, Schumann, Brahms, Grieg, Debussy and the polyphonic texture of Professor Skrebkov S.S., delivered Ravel in Europe, and in Russia — Scriabin, Rachmaninoff a course at the Moscow Conservatory, the Gnessin Institute and later Prokofiev had created their own individual styles and other universities for twenty years.
[Show full text]
Three Solitudes and a DJ: a Mashed-Up Study of Counterpoint in a Digital Realm
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 4-26-2013 12:00 AM Three Solitudes and a DJ: A Mashed-up Study of Counterpoint in a Digital Realm Anthony B. Cushing The University of Western Ontario Supervisor Dr. Norma Coates The University of Western Ontario Graduate Program in Music A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Anthony B. Cushing 2013 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Musicology Commons Recommended Citation Cushing, Anthony B., "Three Solitudes and a DJ: A Mashed-up Study of Counterpoint in a Digital Realm" (2013). Electronic Thesis and Dissertation Repository. 1229. https://ir.lib.uwo.ca/etd/1229 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. THREE SOLITUDES AND A DJ: A MASHED-UP STUDY OF COUNTERPOINT IN A DIGITAL REALM (Thesis format: Monograph) by Anthony B. Cushing Graduate Program in Music A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Anthony Cushing 2013 ii Abstract This dissertation is primarily concerned with developing an understanding of how the use of pre-recorded digital audio shapes and augments conventional notions of counterpoint. It outlines a theoretical framework for analyzing the contrapuntal elements in electronically and digitally composed musics, specifically music mashups, and Glenn Gould’s Solitude Trilogy ‘contrapuntal radio’ works.
[Show full text]
Baroque and Classical Style in Selected Organ Works of The
BAROQUE AND CLASSICAL STYLE IN SELECTED ORGAN WORKS OF THE BACHSCHULE by DEAN B. McINTYRE, B.A., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Chairperson of the Committee Accepted Dearri of the Graduate jSchool December, 1998 © Copyright 1998 Dean B. Mclntyre ACKNOWLEDGMENTS I am grateful for the general guidance and specific suggestions offered by members of my dissertation advisory committee: Dr. Paul Cutter and Dr. Thomas Hughes (Music), Dr. John Stinespring (Art), and Dr. Daniel Nathan (Philosophy). Each offered assistance and insight from his own specific area as well as the general field of Fine Arts. I offer special thanks and appreciation to my committee chairperson Dr. Wayne Hobbs (Music), whose oversight and direction were invaluable. I must also acknowledge those individuals and publishers who have granted permission to include copyrighted musical materials in whole or in part: Concordia Publishing House, Lorenz Corporation, C. F. Peters Corporation, Oliver Ditson/Theodore Presser Company, Oxford University Press, Breitkopf & Hartel, and Dr. David Mulbury of the University of Cincinnati. A final offering of thanks goes to my wife, Karen, and our daughter, Noelle. Their unfailing patience and understanding were equalled by their continual spirit of encouragement. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT ix LIST OF TABLES xi LIST OF FIGURES xii LIST OF MUSICAL EXAMPLES xiii LIST OF ABBREVIATIONS xvi CHAPTER I. INTRODUCTION 1 11. BAROQUE STYLE 12 Greneral Style Characteristics of the Late Baroque 13 Melody 15 Harmony 15 Rhythm 16 Form 17 Texture 18 Dynamics 19 J.
[Show full text]
On Study of Conception and Application of Counterpoint Texture in Composing Technological Theory
ISSN 1927-0232 [Print] Higher Education of Social Science ISSN 1927-0240 [Online] Vol. 11, No. 6, 2016, pp. 12-15 www.cscanada.net DOI:10.3968/9257 www.cscanada.org On Study of Conception and Application of Counterpoint Texture in Composing Technological Theory ZHANG Shenghao[a],* [a]China West Normal University, Nanchong, China. counterpoint texture is the indispensable step in music *Corresponding author. composing. Received 5 September 2016; accepted 8 November 2016 Published online 26 December 2016 1. TEXTURE CONCEPTION IN Abstract COMPOSING TECHNOLOGICAL THEORY The music composing technological theory is the premise for music to develop and the counterpoint texture is 1.1 Spatial Structure and Time Structure especially important in composing. No matter in time or With musical terminology, time structure is called “musical space, it should show the music arts, while spatiality is the form”. Whatever composition has its fixed duration and main expression in counterpoint texture. Understanding corresponding structural form. No matter its content is a to counterpoint texture is the indispensable part of paragraph or many paragraphs, it should be combined with composing. By briefly introducing counterpoint texture, practice and both constitute the musical form together. this article analyzes its main expressive types and studies Only after enjoying the whole piece of music composition its practice so as to provide reference for relevant people for its duration can we know its structural form. This is and make our music pieces to develop better and better. the musical time structure, being musical form. Music pieces are different from other works. Composer of polyphonic music Key words: Music should be enjoyed by ear.
[Show full text]
An Analysis of Texture in Selected Piano Etudes of Chopin and Scriabin
AN ANALYSIS OF TEXTURE IN SELECTED PIANO ETUDES OF CHOPIN AND SCRIABIN A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts by Daniel Dewitt Mickey 111, B.M. The Ohio State University 1980 Approved by School of Music CONTENTS Page LIST OF EXAMPLES .......................... iv PREFACE .............................. vi The Purpose of the Study ................... vi The Significance of the Study ................ vi i The Etudes Selected for Analysis ............... vi i The Organizatlon of the Study ................ ix Chapter I. PROBLEMS IN THE ANALYSIS OF KUSICAL TEXTURE ....... 1 Problems in Defining Texture ............. 1 . Problenis in Determining Linear Independence ...... 5 Specialized Problems in Analyzing Texture in Piano Music ............... 8 11. BASIC TYPES OF MELODIC AND ACCOMPANIMENTAL PRESENTATION ..................... 10 The Single Line .................... 11 The Doubled Line ................... 14 Chordal Figuration .................. 17 Arpeggiated Figuration ................ 20 Alternating Figuration ................ 21 Convol u ted Fi gura tion ................. 22 Summary ........................ 23 111. DENSITY ......................... 27 Densi ty-number .................... 28 Vertical Span ..................... 30 Density-compression ................... 32 Spacing-distributisii ................. 33 Density in the Etudes ................. 34 IV. RANGE .......................... 39 Range-average ..................... 40 Range-averages of the Etudes ............. 43 ii Chapter Page V . CONCLUSIONS ........................ 53 APPENDIX: Determi nation of Range-average .............. 58 SELECT BIBLIOGRAPHY ......................... 69 iii LIST OF EXAMPLES Exampl e Page 1. Berry's terms for the description of linear independence . I 7 2 . Scriabin Etude Op . 8 No . 8. mm . 1-3.............. 12 3 . Chopin Etude Op . 10 No . 4. mm . 1-2 .............. 12 4 . Scriabin Etude Op . 8 No . 2. mm . 1-2 ............. 12 5 . Scriabin Op . 8 No . 2. mm . 1-2. with the melody notated .... 13 6 . Chopin Etude Op .
[Show full text]
Tradition and Individual Style in the Motets of J.S
TRADITION AND INDIVIDUAL STYLE IN THE MOTETS OF J.S. BACH Natalie Beck The extant motets of Johann Sebastian Bach provide examples of Bach's distinctive composing techniques as he applied them to the traditional motet style of the Baroque period. The study is a comparison of Bach's motets to the traditional Lutheran motet style as it was known in the Baroque period and will highlight similarities as well as differences. In the Baroque periods, the term "motet" was generally applied to a sacred composition for voices with Latin text taken from the Bible or religious poetry. This was a very broad definition for choral works which presented the text in an uninterrupted fashion and did not include solo passages, recitative or independent instrumental parts. Modern day confusion over identifying motets is due to the fact that the term was used interchangeably with concert, cantiones, concentus and cantata as well as being used for pieces that do not fall within the standard definition of the motet. Michael Praetorius, in Syntagum Musicum, (as quoted in Morgan) simply describes a motet as "any sacred Latin work" written for four to eight parts (1, 1). This is a broad, but simple statement, that is indicative of the thought of the time with regard to motet composition. The development of the chorale motet in Germany in the early 17th century with simple, homophonic settings of the Lutheran chorale. The form was expanded with the use of contrapuntal treatment of each line in the chorale, addition of Biblical verse and antiphonal repetitions (1, 9).
[Show full text]
Notation Four-Part Arrangements
ASU - Instrumentation/Arranging Fall 1999 Dr. Crist Notes from Ostrander Notation · Two types of score layout: 1) Open - each voice is written on its own stave. Use when the vocal parts have different texts. 2) Close - SA on one stave, TB on the other. Use when the vocal parts have identical texts. · Dynamics and expression marks go above the staves. · Use beamed groups rather than flags (antiquated). Four-Part Arrangements · Often set a cappella due to the richness of the voices. · The high tessitura of the SSAA often leads the arranger to add an accompaniment. · TTBB is rich in overtones (as is SATB) and does not require accompaniment. Textures: 1) Note against note - · Emphasizes the text. · Used when the melodic line has fairly fluid rhythmic motion. 2) Animated homophony - · The melody is accompanied by melodic embellishment in the other three parts. · May be used as a textural variant as it produces more rhythmic motion than note against note. · When two voices move together as melodic embellishments they usually move in parallel 3rds or 6ths. 3) Melody line with harmonic support - · Treble dominated texture. · One voice has more rhythmic motion than the rest which are identical in rhythm. Contrapuntal Textures: 1) Countermelody - Harmony added at the end of an SATB arrangement to help achieve the climax. 2) Figuration - non-continuous fragmentary lines that provide rhythmic and melodic punctuation to the original melody. In four-voice textures, figurations appear in three voices with the 4th voice being melody. 3) Ostinato - short repeated motive. In four-voice textures, one voice sings the melody while the other three combine in either note against note or contrapuntal texture with ostinato.
[Show full text]
The Musical Contexts Guide To
STUDY GUIDE - TEXT URE The Musical Contexts Guide to Texture P a g e 1 o f 18 © WWW.MUSICALCONTEXTS.CO.UK STUDY GUIDE - TEXT URE What is "Texture"? Spend a few moments thinking about the word TEXTURE. • What does the word TEXTURE mean? • How would you describe the word TEXTURE to a stranger? • Can you remember anything about musical TEXTURE from your learning? Jot down some of your ideas in the “Ideas Box” below: IDEAS BOX – “TEXTURE” Scan each of the QR codes to listen to an explanation and demonstrations of each music Learning about Musical Textures texture making notes in the boxes below. MONOPHONIC TEXTURE HOMOPHONIC TEXTURE POLYPHONIC TEXTURE P a g e 2 o f 18 © WWW.MUSICALCONTEXTS.CO.UK STUDY GUIDE - TEXT URE Listening to Musical Textures 1 Scan the QR code to listen to ten different extracts of music from different times and places – all with different musical TEXTURES. As you listen, decide whether you think the texture in each extract is best described as MONOPHONIC, HOMOPHONIC (MELODY AND ACCOMPANIMENT or CHORDAL) or POLYPHONIC indicating your choice in the table below. Homophonic Homophonic Extract Number and Piece Monophonic Melody and Polyphonic Block Chordal Title Texture Accompaniment Texture Texture Texture 1 “Granada” from ‘Suite Espanola’ – Albeniz 2 “Syrinx” – Debussy 3 “One Day more” from ‘Les Miserables’ 4 “Overture” (Part 1) from ‘Messiah’ – Handel 5 “Overture” (Part 2) from ‘Messiah’- Handel 6 “Trio” from ‘Stars and Stripes Forever’ – Sousa 7 Movement from ‘Cello Suite’ – J. S. Bach 8 “The People that Walked in Darkness” – Handel 9 “Easy Winners” – Scott Joplin 10 “Since my Man Came Death” from ‘Messiah’- Handel P a g e 3 o f 18 © WWW.MUSICALCONTEXTS.CO.UK STUDY GUIDE - TEXT URE To check your answers to the “Listening to Musical Textures” quiz on the previous page, scan the QR code to the left to hear the answers, together with a discussion and some extra questions on each extract.
[Show full text]
Music: Its Language, History, and Culture
City University of New York (CUNY) CUNY Academic Works Open Educational Resources Brooklyn College 2015 Music: Its Language, History, and Culture Douglas Cohen CUNY Brooklyn College Brooklyn College Library and Academic IT How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/bc_oers/4 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MUSIC: ITS LANGUAGE, HISTORY, AND CULTURE A Reader for Music 1300 RAY ALLEN DOUGLAS COHEN NANCY HAGER JEFFREY TAYLOR Copyright © 2006, 2007, 2008, 2014 by the Conservatory of Music at Brooklyn College of the City University of New York. Original text by Ray Allen, Douglas Cohen, Nancy Hager, and Jeffrey Taylor with contributions by Marc Thorman. ISBN: 978-0-9913887-0-7 Music: Its Language, History and Culture by the Conservatory of Music at Brooklyn College of the City University of New York is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-sa/4.0/deed.en_US. Based on a work at http://www.music1300.info/reader. Permissions beyond the scope of this license may be available at http://www.music1300.info/reader. Cover art and design by Lisa Panazzolo Photos by John Ricasoli CONTENTS Introduction 1 Chapter 1: Elements of Sound and Music 3 Elements of Sound: Frequency, Amplitude, Wave Form, Duration 3 Elements
[Show full text]
Teaching with the Beatles
Table of Contents Paper – 3 Lessons Song Form – 16 Blues – 20 Three Types of –phony – 24 Instrumentation – 26 Variety Shows – 29 Baroque – 32 Cultural Appropriation – 35 Lieder – 38 Recording Technologies – 41 Tapes – 44 Extended Techniques – 47 Minimalism – 49 Covers Project – 52 Handouts Three Types of –phony – 58 Variety Shows – 59 Baroque – 60 Cultural Appropriation – 61 Recording Technologies – 63 Bibliography – 64 This project outlines a curriculum created to teach high school students through the music of The Beatles. In creating this curriculum I sought to write lessons that follow the Colorado State Standards for music education on the secondary level. The lessons adhere to the standards: teaching about the elements of music, music technology, and music history through The Beatles as a secondary focus for engagement. I chose The Beatles because of their popular appeal and their contributions to the advancement of recording techniques. Each lesson has two prongs: the Colorado state standard and a corresponding selection from The Beatles. This strategy gives the student two lenses through which to absorb the material, and makes connections between different disciplines of music. John Lennon and Paul McCartney began playing music together in their youths, as early as 1957. George Harrison was quick to join the gang on February 6 1958, when he got the chance to show off his skills for John at a show. Richard Starkey, commonly known as Ringo Starr, was the last to join in 1962.1 They boys started out as a rock band playing covers of songs by the likes of Little Richard and Chuck Barry. Lennon and McCartney soon started penning their own music and lyrics, starting with “Please, Please Me” (1962).
[Show full text]