History of the Musical Experience

Exam #1 Notes

Non-Western Music

Raga--the "pitch" component of Indian music Tala--the time cycle, or rhythmic pattern Tabla--double drums that play the tala

Gagaku--traditional court music of Japan; may be konjen, or purely instrumental; or bugaku, or court music with dance

Gamelan--a set of Indonesian instruments, not a specific type of music; ordered from one maker, identified by tuning Tuning scale systems Slendro--a five-note scale Pelog--a seven-note scale

Medieval Music

Music Information: Arts were in great disrepair The popes began feeling a need for a set liturgy Neumas--the figures printed above the text to indicate pitch; rhythm determined by text Music was learned by rote and repetition Organum--early melody/harmony Musica/Scolica Enchiridias--music texts

Important Composers & Theorists: Hildegard von Bingham--mystic Boethius--scholar (as opposed to mystic) Pope Gregory--commissioned chant composition and collection Leonin--organum composer; foreshadowed the motet principle by lengthening notes Perotin--followed Leonin; accurate rhythm

Doctrine of ethos--music has certain powers; different modes brought out different character traits
Goliards--trained but "renegade" clerics	Jongleurs--low-class wandering entertainers
Troubadours--north France entertainers Trovères--south France entertainers Wealthy enough to have their music bound and gilded, but different classes Chanson--French secular songs Chansonnier--bound volumes of chanson Estampie/istampie--dance form w/phrase structure (open ending, closed ending)
Clausula--a section of organum set over the chant line that contains the main text Motet--a development of the discant clausula involving unrelated lyrics over clausula Isorhythmic motet--a motet of extended rhythmic mode Talea--rhythm Color--pitch
Roman de Fauvel--a poem by Gervais de Bus about the corruption of the 14th-century French society
Philippe de Vitry--author of Ars Nova text on that movement in France Messe de Notre Dame--a unified, complete polyphonic ordinary by Guillaume de Machaut Proper--special Mass components performed at certain times Ordinary--components of the Mass ovserved every time Magnus liber organi--Leonin's cycle of 2-part settings for the church calendar (Great Book of Organum)

Renaissance Music

Music Information: Old scholasticism butting heads with new ideas Boethius' theories were being rediscovered Marcillio Faccino: "Music is important for the spirit as food is for the body" People began trusting ear and emotions rather than trusting mathematica ratios Glorianus' Dodecachordeon‹added ionian and aeolian modes (and plagals) Important Composers & Theorists: John Dunstable--English master of counterpoint Guillaume Dufay--Burgundian master of religious and secular music; Missa L'homme aremé Johannes Ockeghem--pupil of Dufay; perfected a capella tyle imitation Josquin Despres--Flemish school composer; well-known and influential genius; Ave Maria, gratia plena and Missa Pange lingua Andrea Gabrielie--Venetian composer of sacred, secular music for choir, instruments Giovanni Palestrina--Italian master of Catholic music; perfection of purely vocal style William Byrd--great English composer; famous for superb polyphonic settings of sacred texts Don Carlo Gesualdo--Italian madrigalists; used lots of chromaticism Hans Leo Hassler--bridged Renaissance and Baroque; German who studied in Italy Thomas Tallis--English organist; set Anglican liturgy Orlando di Lasso--Flemish but international in style; mostly religious works but many secular Giovanni Gabrieli--greatest composer of Venetian school; compbined choir, instrumts. John Dowland--great English lutenist and composer; also considered Baroque Claudio Monteverdi--also bridges eras; used both stile antio and stile moderno Madrigal--secular, through-composed settings of emotion Motet--polyphonic setting of anonliturgical sacred Latin text (frequently biblical) Reformation---attempts by Protestants to break away from the Roman Catholic church Counterreformation---attempt to counteract Reformation and deal with causative abuses within the Roman Catholic church

Council of Trent--concerned fundamental attitudes toward music, not specific technical issues Abuses it dealt with: Curtailment of liturgical texts (e.g., omitting parts of the Credo) Use of secular music, especially as a basis for polyphonic work Worldly and lengthy organ compositions Unintelligibility of text Abolished all sequences but: Victimae paschali laudes Veni sancte spiritus Dies irae Lauda Sion (Stabat mater dolorosa added in 1727)

Cantus firmus mass--all movements based on one pre-existing melody: Secular (mostly 15th century), like "L'homme armé," Missa Se la face ay pale Liturgical (mostly 16th century), like Missa Pange lingua, also a paraphrase Mass, where original melody is ornamented & used in all voices Invented melody, like Missa Hercules Dux Ferrarie, an example of "soggetto cavato" (carved-out subject); each vowel in name translated into a solmization syllable	Imitation Mass (a.k.a. parody Mass)--uses whole sections of pre-composed polyphonic work, usually a motet; most typical in 16th century
Point of imitation--a passage made up of statements of a single subject by each voice in succession
Anthem--a choral composition in English with biblica/religious text, performed during Protestant worship services and used similarly to a motet

Full anthem--for chorus throughout, usually in contrapuntal style and ideally unaccompanied

Verse anthem--for one+ solo voices, organ or viol accomp., w/brief alternating chorus passages

Baroque Music

Music Information Stile antico--Renaissance styles carried over into the new peiod Stile moderno--the new style, including monody, concertato style, and excited style (text paintin) Formal organizations like fugue, toccata, chorale prelude; theme and variation, passacaglia, chorale variation Text continued to dominate vocal musical forms (The new recitative style, à la Greek theater) Establishment of major and minor tonalities led to distinct phrase and period construction Melody writing varied form declamatory style (recitative) to florid style (aria, fortspinnung‹ smaller melodic ideas developed into long, complex lines) Recitativo secco‹dry; voice w/continuo Recitativo accompagnato‹arioso style; voice w/ensemble or full orchestra Music specifically for voice or instrument Repeated metrical units became the standard Shift from modalilty to major-minor tonalities Chromaticism, dissonance used often for expressive purposes Increased use of homophony Beginning standardization of the orchestra No fixed orchestra instrumentation Dynamic markings, ornaments, tempi Last period of improvisation in each performance Important Composers & Theorists Giulio Caccini--Italian singer, composer assoc. with Florentine Camerata; used monodic musica in stile rappresentativo Jan Pieterzoon Sweelinck--Dutch organist and composer; organ chorale variation, prelude, recercar Claudio Monteverdi--greatest early Italian Baroque composer; Orfeo, first opera in modern style; expanded orchestra Michael Praetorius--German theorist and composer of Lutheran choral works Heinrich Schütz--greatest German composer bfore Bach; first German opera, Daphne Jean-Baptiste Lully--most important opera composer in France (but Italian-born) Henry Purcell--England's most famous Baroque composer; good at writing for both voice and instruments François Couperin--famous virtuoso organist Antonio Vivaldi--most celebrated Baroque Italina master; probably most prolific George Philipp Telemann--perhaps the most prolific German composer (late Baroque); more famous in his day than Bach J.S. Bach--one of the greatest composers of all time; organist for several churches (church-oriented) G.F. Handel--cosmopolitan composer of Germany and England (concert hall)

Trio sonata--two treble instruments + continue Solo sonata--melody instrument, keyboard, bass Cantata--sacred work, originally for chamber groups or solo, later for choir; meant for church; differs from oratorio in size and audience Oratorio--large sacred operatic work; used choir and narrator; "passions" were portrayals of the last days of Christ; possibly gave rise to opera Opera--based on musical ideas of ancient Greeks; a secular dramatic work of Italian origin, but each nationality had their own style Monody--a manner of writing where melody line is supported by very simple chordal accompaniment (recitative most often) Turba--the crowd in an opera, oratorio or passion Ritornello--the alternation of orchestra and soloists in concerti Solo concerto--one solo instrument, orchestra Concerto grosso--a small group of instruments, orchestra Concerto ripieno--2 orchestras (or halves) against each other) Florentine Camerata--a group of intellectuals, noblemen, poets, and musicians who met in Florence Figured bass (thoroughbass)--a system of numbers placed under the bass line notes denoting harmonies and tonal relationships Sonata da chiesa--"church sonata;" also influenced by dance forms; began developing a pattern and sense of music Sonata da camera--"chamber sonata;" dance forms, even with dance names French overture--always in a French opera; first slow, homophonic section; fast, contrapuntal second, ending with an allergando Turba--the "crowd" in an opera, oratorio or Passion Chorale--hymn tunes and their 4-part chordal settings adopted for use in German Protestant churches by Luther and his musical collaborators