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MUSI 1000y General Characteristics of Medieval Music Liturgical Notated music is mostly vocal Smooth, conjuct melodic contours Folk, dance, instrumental.

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Presentation on theme: "MUSI 1000y General Characteristics of Medieval Music Liturgical Notated music is mostly vocal Smooth, conjuct melodic contours Folk, dance, instrumental."— Presentation transcript:

1 MUSI 1000y General Characteristics of Medieval Music Liturgical Notated music is mostly vocal Smooth, conjuct melodic contours Folk, dance, instrumental Secular song

2 MUSI 1000y General Characteristics of Medieval Music Syllabic Neumatic Mellismatic

3 MUSI 1000y Anon., Kyrie (plainchant) Monophonic Roman Catholic Mass Latin vs. Greek Three levels of organization Neumatic

4 MUSI 1000y Beatriz de Dia (late twelfth century) Song, A chantar Troubadour Strophic Unrequieted love ABABAB structure Secular

5 MUSI 1000y Perotinus (c. 1170-c. 1236) Viderunt Omnes (four-voic polyphony for the Cathedral of Notre Dame) Organum Monophony vs. polyphony Rich harmonies Rhythmic drive

6 MUSI 1000y Guillaume de Machaut (c. 1300-1377) Secular song (roundeau) Douz Viaire Gracieus Roundeau Two contrasting sections Alternating meters Chromatic Instrumental accompaniment

7 MUSI 1000y General Characteristics of Renaissance Music Overall sound is much smoother and more homogeneous Strict and free imitation

8 MUSI 1000y Verantius Fortunatus (c. 530-609) Plainchant hymn, Pange Lingua Strophic Tonic ‘E’ delayed until end Almost entirely syllabic

9 MUSI 1000y Josquin Desprez (c. 1440-1521) Kyrie from the Pange Lingua Mass Point of imitation technique Overlapping cadences Paired imitaiton Mass ordinary Cantus firmus mass Three sections

10 MUSI 1000y Palestrina (c. 1525-1594) Motet from the Song of Songs, Vineam Meam Non Custodivi 5 voices, 2 independent tenors Songs of Solomon Text/music rhythms match Word painting variety of textures exceptional blending of imitation and homophony

11 MUSI 1000y Thomas Morley (1557-1602) Two English Madrigals Highly imitative Word painting Secular

12 MUSI 1000y Giovanni Gabrieli (c. 1555-1612) Canzona Duodecimi Toni Purely instrumental Brass choirs Antiphonal Overlapping cadences Dynamic contrasts Canzona rhythm

13 MUSI 1000y General Characteristics of Baroque Music Designed to be emotional More rigid formal design Modern tonality organization and control replace experimentaiton Rhythm vitality Strong bass line

14 MUSI 1000y Johann Sebastian Bach (1685-1750) Prelude and Fugue in E minor Subject Counter-subject (Answer) Tonic vs. dominant Episode

15 MUSI 1000y Johann Sebastian Bach (1685-1750) First Movement from Brandenburg Concerto No. 2 in F Major Set of six Three movt’s (fast-slow-fast) Solo vs. ripieno (full ensemble) Mottos fragmented, re-organized

16 MUSI 1000y George Frederich Handel (1685-1759) Serse, Act I, Sc. 1 Operas and oratorios da capo aria Improvisation on A’ Recitative accompagnato action vs. reflection

17 MUSI 1000y George Frederich Handel (1685-1759) Serse, Act I, Sc. 1 Tender, beautiful leaves Of my beloved plane-tree, May Fate prove kind to you. May your cherished peace never be disturbed by thunder, lightning and storms, Nor rapacious south wind profane you. Frondi tenere e belle Del mio platano amato, Per voi risplenda il Fato. Tuoni, lampi e procelle Non v’oltraggino mai la cara pace Ne giunga a profanarvi austro rapace.

18 MUSI 1000y George Frederich Handel (1685-1759) Serse, Act I, Sc. 1 Never was the shade Of vegetation More dear and friendly, More sweet! Ombra mai fu Di vegetabile Cara ed amabile Soave più!

19 MUSI 1000y General Characteristics of Classical Music Balance and proportion Clarity and accessibility Simple, logical and clear harmonies Shorter phrases “Simpler” walking bass lines

20 MUSI 1000y General Characteristics of Romantic Music Dynamics extended, changes more frequently, less predictable Range of tempos extended, more frequent, more adjectives Melodies are longer, “yearning” quality, rubato Harmony explores further, modulations, chromatic Forms blur

21 MUSI 1000y Richard Wagner Prelude and Liebestod from Tristan und Isolde Leitmotif Leitmotif Dynamic arch form Dynamic arch form Nazism Nazism Music drama Music drama Chromaticism Chromaticism “yearning” “yearning” Bayreuth Bayreuth Cadential blurring Cadential blurring Transcendental Transcendental bliss bliss

22 MUSI 1000y Bedrich Smetana (1824-1884) Symphonic Poem, The Moldau Tone poem Descriptive, programmatic music Nature Cyclic Orchestral colour expanded

23 MUSI 1000y Pyotr Illyich Tchaikovsky (1840-1893) First Movement from Symphony No. 4 in F Minor Highly lyrical Prominent Brass fanfare Reinterpretation of sonata allegro form Fate motive Unconventional key scheme

24 MUSI 1000y Claude Debussy (1862-1918) Prélude à l’après-midi d’un faune Impressionism Symbolist poet Mallarmé Large orchestra Orchestral colouring Opening melody is sensuous, chromatic and vague

25 MUSI 1000y General Characteristics of 20 th Century Music Tonality dissolves Melodies erratic, wide leaps, irregular rhythms and unexpected notes Rhythmic freedom Length is unpredictable Tone and colour experimentation

26 MUSI 1000y Igor Stravinsky (1882-1971) Le Sacre du Printemps (The Rite of Spring), Opening Section Ballet Expressionism Pounding rhythms Clashing dissonances

27 MUSI 1000y Alban Berg (1885-1935) Wozzeck, Act III, Scenes 3, 4, and 5 Atonal borrows structures from the past Symmetrical Leitmotiv Music of extremes

28 MUSI 1000y Béla Bartók (1881-1945) Fifth Movement from String Quartet No. 4 Arch form Five movements Clashing chords, whirling melodies, asymmetrical rhythms Extreme dissonances

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