MEDIEVAL Ordo Romanus, early form of Mass as per Bishop of Rome, 7th C. 1100 Notre Dame School: Leonin, Perotin Daily Offices: Matins, Lauds, Prime, Terce, Sext, Nones, Vespers Chant notation: clefs indicate relative pitches; notes called 1110 ORGANUM: passages of florid Neumes; earliest chant notations from 9th C. organum alternation of livelier Psalm tones (two balanced phrases sung antiphonally); strophic 1120 discant clausule; properly refers (used in hymnody); free form to style in which lower voice Antiphons intended for group of singers; sung at ends of Psalm 1130 holds long notes stanzas or canticles (Magnificat, Hodie, etc.) DISCANT = both parts moving in Gradual kind of responsorial psalm; occur in 7 of 8 modes 1140 similar rhythm Tracts are longest chants in liturgy; all tract are either in mode 2 or 8 Clausuale became quasi-independ- Tropes: newly composed addition; neumatic style with poetic text; 1150 ent—evolved into MOTET mostly used in Introit; Monastery of St. Gall important trope point; flourish 10th-11th C.; dissipate by 12th C. 1160 Notre Dame Cathedral erected ORGANUM: CONDUCTUS: Sequences: long recurring passages recurring in different contexts; defi- 13th C. sacred & secular genre; nitely shaped melodies either in melismatic form or underlaid with 1170 ARS ANTIQUA: chief polyphonic conductus written text; additions to Alleluia called Sequences; flourished 10th-13th C.; genres are ORGANUM, for 2,3,4 voices in organum; first Form = a bb cc dd…; Dies irae most famous of retained sequences 1180 CONDUCTUS and expression of newly composed Modes: Authentic are even numbers—Plagal odd: Dorian, MOTET (1250–1300) polyphonic music Phrygian, Lydian, Mixolydian 1190 MOTET: term first applied to French Hexachords: pattern of six notes where half-step falls between 3–4 Leonin—1159–1201 Period dominated by French texts added to duplum of clausu- steps 1200 composers centered la; Montpelier Codex, Bamberg HOCKET properly describes technique, not form; melody flow around Paris Codex, Las Huelgas Codex;texts interrupted by rests, which missing notes are supplied by other 1210 have no connection between voice Perotin—1170–1236 Achievements: upper voices and Cantus Firmus ARS NOVA:treatise title, Philip de Vitry, c. 1322; music continues to 1220 codification of rhythmic become secularized; most monophonic; Isorhythmic motet modal system; new nota- includes Color & Talea 1230 tion for measured rhythm; growth of secular genres SUMMARY of 14th C. music: 1240 • continued shift from sacred to secular composition • greater diversity of rhythm 1250 Ars cantus mensuralibis, Franco of • growing sense of harmonic organization Cologne; in use until 1325 • imperfect consonancies (3rds & 6ths) favored on strong as 1260 well as weak beats although final sonority was ALWAYS uni- MUSICA FICTA: use of accidentals in performance son, octave or 5th 1270 & notation; used “for the sake of beauty;” 14th • passages of parallel 5ths and 8ves become rarer

Thomas Aquinas—1225–1274 & early 15th C. manuscripts contained acciden- • Musica ficta makes cadential points more emphatic and 1280 tals; 1450–1550 accidentals scorned melodic line more flexible • vocal ranges extended upward 1290 • new genres include: CACCIA, MADRIGAL, BALLATA, indicat- ing motion towards “popular” models 1300 leading Ars Nova com- • Formes fixes poser; greater secular- • French and Italian styles start to merge ity, length and rhyth- 1310 mic complexity; lots of Hocket; 25 chan- RENAISSANCE sons balladees (vire- ENGLISH: close connection with folk style; tendency toward major 1320 lai)uses duple time rather than modal tonalities; more homophonic; basic chant

MEDIEVALdivision; Rondeaux was Sarum rite (Salisbury cathedral); (ABaAabAB); Messe foremost Italian musician of 14th CONDUCTUS: melodic line accompanied by two voices in par- 1330 de Notre Dame: four C.; leading composer of bal- allel motion—3rds & 6ths; voice setting, with Ite late; wrote NO sacred music; FAUXBOURDON: English may have provided example for missa est; four other more than 130 ballate 6th–3rd successions that became prevalent on the Continent

1340 Guillaume de Machaut—1300–1377 complete mass cycles Squarcialupi Codex most bountiful from 1420–1450; DISCANT, where melody in middle voice; precede it; USE OF source of 14th C. Italian music, importance stems to creation of new three part writing FOUR VOICES WAS with 352 works; OLD HALL MANUSCRIPT: chief collection of early 15th C.

1350 UNUSUAL AT TIME Philip de Bishop of Vitry, Meaux—1291–1361 MADRIGALs for two voices; Caccia English music; more than 147 compositions from 1370–1420 (1345–70), lively pictorially MOTET: 13th C. French motets; 14th C. isorhythmic style, descriptive words set to popu- which disappears after 1450: means almost any polyphonic

1360 Fransisco Landini—1325–1397 lar melody, usually hunt scenes; composition on Latin text OTHER than Mass ordinary; from used HOCKET to bring out 16th C. includes Latin sacred texts shouts, bird songs, horn calls; BURGUNDY: Dijon capital; leading patron of music in mid-15th C. 1370 strict canon CHANSON: general term for any polyphonic setting of secular French poem; almost always love poetry; rondeau form BALLATE: last developed form of MOTETS and MASSES written in manner of chanson with freely 1380 three; monophonic dance composed treble coupled with tenor and supported by con- songs with choral refrains; tratenor; MASSES: 15th C. established complete settings of resembles French virelai Ordinary as standard practice; impetus was desire to give 1390 coherence to large musical form; MISSA CHORALIS (plainsong mass) uses chant melodies form Gradual, more liturgical than musical; MOTTO MASS uses same thematic material for each 1400 movement; CANTUS FIRMUS MASS first cyclical masses by John Dunstable—1370–1453 MUSIC PRINTING: liturgical English; lowest voice free to function as harmonic foundation; books with plainchant nota- bass, tenor, also and superious standard by mid-15th C. 1410 tion printed by 1473; NORTHERN: Dominance of Northerners begins early 15th C.; Ottaviano de’Petrucci pub- OCKEGHAM: late 15th C. Mass is principal form of composi- lished 59 vols. of vocal and tion; OBRECHT: most masses use CF based on secular songs or 1420 instrumental music by 1523; plainsong; frequent use of canonic passages; Odhecaton (1501) triple impression: one for important source of chanson from generation of Obrecht, Isaac staff lines, one for words and and Josquin; published by Petrucci; includes four-voice chan- 1430 Jacob Obrecht—1400–150 one for notes sons with fuller texture; more imitative counterpoint; clearer

Guillaume Dufay—1400–1474 harmonic structure; greater equality of voices; JOSQUIN: culmi- nating figure of Renaissance; worked for Sforzas in Milan, papal 1440 chapel, then Ferrara; IMITATION MASS (or Parody mass) takes over not merely single voice but several of pre-existing chan- son, mass or motet; CONTRAFACTUM puts new words under 1450 old music; MUSICA RESERVATA: suiting music to meaning of words; used in 16th C. to denote “new style” with chromati- cism, modal variety, ornaments and rhythmic and textural con- 1460 trasts ORLANDO GIBBONS father of Anglican church music

Johannes Okeghem—1430–1495 MADRIGAL most important form of Italian secular music in 16th C. 1470 MONTEVERDI: through MADRIGAL Monteverdi makes transition from polyphonic vocal ensemble to instrumentally accompanied solo & duet; five books of madrigals; musical motives are Leonardo—1452–1519 1480 Heinrich Isaac—1450–1517 declamatory; texture often becomes duet; ornaments and

Josquin des Prez—1450–1521 embellishments previously improvised now written in score GERMANY: Orlando di Lasso: chief among international German 1490 composers; HASSLER; Pierre de la Rue—1460–1518 ENGLAND: madrigal continues to flourish; MORLEY; WEELKES; Triumphs of Oriana (1601)—25 madrigals; 1500 REFORMATION: Lutheran chorale; Catholic music outgrowth of plainsong, Lutheran music of chorales; Contrafacta; polyphonic chorale settings; CANTIONAL style: plainly chordal, rhythmically 1510 straightforward; CHORALE MOTET COUNTER-REFORMATION: Council of Trent (1545–1563);

Martin Luther—1483–1546 Palestrina’s style codified by FUX in Gradus ad Parnassum 1520 (1725); later referred to as “stile antico;” VICTORIA: second in

Clément Janequin—1485–1560 importance to Palestrina; LASSO ranks with Palestrina as great- est composer of 16th C. sacred music; BYRD: last great Catholic 1530 composer of 16th C. VENICE: WILLAERT; GABRIELLI; Venetian polychoral motets; most often for double chorus; mostly Psalms were set this way; Thomas Tallis—1505–1585 1540 important PUPILS of Gabrielli: SCHÜTZ and HASSLER SUMMARY: 1. contrapuntal voice parts 2. growing homophony Clemens non Papa—1510–1556 towards end of 16th C.; 3. Alla breve duple became basic rhyth- 1550 mic medium; 4. MUSICA RESERVATA: pictorial and expressive touches in madrigal, Gesualdo’s chromatic aberrations and

RENAISSANCE sonorities of Venetian massed choruses 1560 BAROQUE Orlando di Lasso—1532–1594

Orlando di Lasso—1532–1594 Impulses towards wider range and greater intensity of emotional 1570 content; Monteverdi: PRIMA prattica represented by works of Queen Elizabeth I—1633–1703 William William Byrd—1543–1623 WILLAERT; music dominates text; SECONDA prattica: text dominates music; style of modern Italians like himself; Stile

1580 Giovanni Pierluigi de Palestrina—1525–1594 antico v. stile moderno AFFECTATIONS: technique used by Baroque composers to repre- sent a wide range of ideas and feelings through musical Thomas Morley—1557–1602 1590 Luis de Tomás Victoria—1549–1611 effects; extension of Renaissance MUSICA RESERVATA Carlo Gesualdo—1560–1613

Giovanni Gabrieli—1557–1612 Dissonance and Chromaticism: triadic harmony dominates; disso- nance through ornamentation; RAMEAU Treatise on Harmony

1600 Hans Leo Hassler—1564–1612 (1722); ascendance of tonal system; major-minor replaces Medieval modes Thomas Tomkins—1572–1656 Clauddio Monteverdi—1567–1643 EARLY OPERA FORERUNNERS: earliest date from end of 16th C.; 1610 Thomas Weelkes—1575–1623 INTERMEZZI musical interludes between acts of play; MADRIGAL CYCLES adapted to ramatic purposes; PASTORAL; Orlando Gibbons—1583–1625 Heinrich Schütz—1585–1672 GREEK tragedy model for kin of dramatic music literary men 1620 thought appropriate for theater FLORENTINE CAMERATA: studied Greek tragedies; concluded that Greeks achieved powerful effects because music consisted 1630 of single melody (MONODY); MONTEVERDI: L’Orfeo; Arianna; ; Roman opera 1620s; VENICE: Monteverdi’s last two operas— Ulysses and Poppea staged in Venice; 1640 17th C. OPERA: by mid 17th C. outlines of opera in place—not Giacomo Carissimi—1605–1674 changed until 20th C.; concentration on solo singing; separa- tion of aria and recit; distinctive styles and patterns for arias; 1650 Florentines considered music an accessory to poetry; Venetians treated libretto as scaffolding for musical structure CONCERTATO: madrigal form in which voices and instruments 1660 are equal CANTATA: piece to be sung; SONATA: piece to be played ORATORIO: sacred works combining elements of narrative, dia- 1670 Jean-Baptiste Lully—1632–1687 logue not meant for stage; CARISSIMI: preeminent composer of 17th C. oratorios; substitute for opera during Lent Dietrich Buxtehude—1637–1707 SCHUTZ: greatest German composer of mid-17th C. studied with

1680 Marc-Antoine Charpentier—1634–1704 GABRELLI; wrote NO independent instrumental music INSTRUMENTAL MUSIC: prelude, toccata, fugue, passacaglia, sonata (after 1700); Ariadne musica (1715)—collection of key-

1690 Henry Purcell—1659–1695 board music in 19 major & minor keys; CHORALE composi- tions; SONATA: church and chamber; trio sonatas; Concerto Johann Joseph Fux—1660–1741

Alessandro Scarlatti—1660–1725 grossi and soli; DANCE SUITES: Allamande, Courante, Gigue, Antonio Lotti—1667–1740 1700 Sarabande, Minuet; develops into SYMPHONY LUTHERAN CHURCH CANTATA: introduced new kind of sacred BAROQUE

Antonio Vivaldi—1675–1741 poetry for musical settings; important impetus for Lutheran

1710 Voltaire—1694–1778 church music; PASSION: Walter first adapted; MOTET PAS- SION: settings made by Catholic composers, series of poly- phonic motets; ORATORIO PASSION: late 17th C., uses recit, 1720 arias, ensembles and choruses; SCHÜTZ’s Seven Last Words Georg Philipp Telemann—1681–1767 early approach to this treatment VIVALDI, BACH and HANDEL Johann Sebastian Bach—1685–1750 1730 George Frederic Handel—1685–1759 18th C. ITALIAN ORATORIO essentially opera on sacred subject; English oratorio uses Classical mythology and ancient history for aristocratic audiences, biblical stories for middle class;

1740 Johann Adolpho Hasse—1699–1783 always in English

CLASSICAL 1750 Return to a more intellectualized view of music and visual arts, with an emphasis on the rational, proportioned and reasoned INSTRUMENTAL MUSIC: Symphony in three or four movements; 1760 use of Sonata-Allegro form (A-B-A') in first and often last movements; Concerto for solo instrument and orchestra—pri- marily piano and violin, but also other string and wind instru-

1770 Franz Joseph Haydn—1732–1809 ments; solo piano sonata, follows formal scheme of the instru- mental symphony; codification of instrumental ensemble known as orchestra in the modern sense 1780 HAYDN, MOZART and young BEETHOVEN OPERA: Mozart famous in his lifetime for operas, Haydn com- W.A. Mozart—1756–1791 W.A. posed none and Beethoven with partial success; less emphasis 1790 on recitative, more on arias and ensembles; Invention of vocal Luigi Cherubini—1760–1842 solo songs outside of opera arias CHURCH MUSIC developed alongside the symphony, with 1800 Masses written in the new symphonic and operatic style Advances in instrumental construction, including the pianoforte;

CLASSICAL except for early Mozart operas, less use of harpsichord

1810 Ludwig van Beethoven—1770–1827 ROMANTIC An emotionally charged era filled with new musical forms and an 1820 emphasis on expressing personal feelings such as love and longing through music

Giacchino Rossini—1792–1868 INSTRUMENTAL MUSIC: expansion of the orchestra to more than 1830 Schubert—1797–1828 Franz 100 players in some compositions; advancement in instrument Hector Berlioz—1803–1869 technology, leading to greater ability from players; rise of the

Franz Liszt—1811–1886 virtuoso soloist, primarily on the piano and violin 1840 VOCAL MUSIC: invention of the song cycle—a series of poems Robert Schumann—1810–1856 taken from one author set to music that “paints” the texts in a Felix Mendelssohn—1809–1847 way that is similar to Baroque imagery; opera continues to Giuseppe Verdi—1813–1901 1850 flourish, with longer works; less emphasis on recitativo, more on long solo arias and ensemble movements; invention of the “music drama” by Richard Wagner featuring continuous 1860 Anton Bruckner—1824–1896 melody with few cadences, long phrases and extreme demands on singers MENDELSSOHN, BERLIOZ, LISZT, CHOPIN,SCHUMANN,

1870 Johannes Brahms—1833–1897 BRAHMS, SCHUBERT, WAGNER, VERDI, PUCCINI Antonin Dvorˇák—1841–1904 Rise of Nationalism, with music particular to geographical regions Camille Saint-Saëns—1835–1921

Gabriel Fauré—1845–1924 taking on new importance 1880 Emergence of the “Artist,” with feelings of loneliness and “other-

ROMANTIC ness;” beginnings of solo recitals Edward Elgar—1857–1934 Beginning of Impressionism, following painting style called

1890 Gustav Mahler—1860–1911 Pointillism, which gives the impression of an object rather than a photographic-type reproduction Horatio Parker—1863–1919

1900 MODERNISM

Max Reger—1873–1916 Movement away from Impressionism and Romanticism towards Expressionism (a school of German music at the beginning of Alexander Scriabin—1872–1915 Arnold Schoenberg—1874–1951

1910 Béla Bartók—1883–1945 this century, often atonal and violent in style, as a means of Zoltán Kodály—1882–1967 Ralph Vaughan Williams—1872–1958 Vaughan Ralph Igor Stravinsky—1882–1971 evoking heightened emotions and expressing states of mind) and realism in both music and visual arts 1920 Use of atonality in ARNOLD SCHOENBERG’s serialism, also known as 12-TONE TECHNIQUE

Arthur Honegger—1892–1955 Creation of new understandings of harmonic, melodic, sonic, 1930 and rhythmic aspects of music; no one musical language ever Francis Poulenc—1899–1963

William William Walton—1902–1983 assumed a dominant position Randall Thompson—1899–1984 Characterized by a conception of modernity dominated by the 1940 progress of science, technology and industry, and by posi- tivism, mechanization, urbanization, mass culture and nation- Norman Dello Joio—1939– alism, an aesthetic reaction to which reflected not only enthu- Vincent Vincent Persechetti—1959– Benjamin Britten—1913–1976 1950 Benjamin Britten—1913–1976 siasm but ambivalence and anxiety

Daniel Pinkham—1923– INSTRUMENTAL MUSIC: New combination of instruments in ensembles; use of vocalists with chamber ensembles; larger 1960 and larger orchestras with the inclusion of nontraditional instruments such as the saxophone, piano, and non-Western

Krzysztof Penderecki—1933– instruments 1970 VOCAL MUSIC: Continued growth of opera, with larger orches- tral forces, larger singing forces and even more extreme singing techniques; incorporation of serialism into vocal music, 1980 even though singers declared the music “unsingable” SERIALISM: Intellectualism in the extreme; absence of any musi- cal symmetry or repetition; primary rule is that no note of the

MODERN1990 chromatic scale can be repeated until all other notes have sounded; later in the century serialism included all aspects of music: rhythm, dynamics, and form 2000 NEO-ROMANTICISM: late in 20th century a return to the ideals of Romanticism, as a reaction to the overly intellectual music of the Expressionists 2010 21ST-CENTURY MUSIC: amalgamation of various styles, including minimalism of STEVE REICH, PHILIP GLASS and JOHN ADAMS as well as other pioneering composers; exploration of intellec- tualism tempered by emotion; return to symmetry, form, melody and more traditional harmonic language