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UNIT V - Class 37

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Ryan Vigil
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Business A Volunteer Please Hand-Back Exam III Discuss Final Exam: Part I. The Twentieth Century A. 10 Definitions B. 5 Listening Examples C. Mini Essay Part II. Semester in Review A. 10 Short Answers B. 5 Listening Examples
Wrapping Up/Taking Stock From the beginning: What is music? Musical Contingency : Music means different things to different people in different places at different times
The Middle Ages Music begins as Monophony Music as ritual, spiritual devotion: plainchant : music in the abbeys and monasteries Music as entertainment: courtly secular music: the Troubadours and Trouvères Development of polyphony – Organum = Notre Dame School ( Ars Antiqua ) Secular polyphony – Machaut and the 14th century motet ( Ars Nova )
The Renaissance Begins with a simplification of texture: Homophony Codification of the Mass Development of Imitation ( Josquin ), leads to greater complexity Reforms of Palestrina : new simplification, concentration on the words, and careful treatment of dissonance and counterpoint (Prima Pratica) Early development of independent instrumental music Madrigal
The Baroque Monteverdi and Opera (Seconda Pratica) Figured bass and functional harmony Rigid, ornate, static, stylized form of expression Flowering of instrumental music ( trio sonatas, instrumental suites, concertos [ Vivaldi ]) Late developments: Bach (fugue) and Handel ( oratorio )
The Classical Era Roots in Galant Style : reaction against high seriousness and artificiality of baroque style – pleasing and direct Self-conscious simplification: regular phrases, emphasis on melody and straightforward harmonies Haydn : codifies classical symphony and string quartet Mozart : brings concerto and opera up to date with greater expressivity, flexibility and dramatic relevance Sonata Form
The Nineteenth Century Beethoven : internalizes and then supersedes the high Viennese Classical style; emerges as quintessential romantic genius/artist Literary connections abound, from Schubert’s Lieder to the Character Pieces of Chopin and Schumann to: Program Symphony – Berlioz, Liszt, Tchaikovsky “ Neo”-Classical elements (preference for inherited genres and forms, clarity) – seen in Brahms, as well as some Schumann, Mendelssohn, Tchaikovsky, Dvorak Emerging Nationalism Opera : Continuous Opera ( Verdi and Wagner ); Gesamtkunstwerk , Lietmotiv ( Wagner )
The Twentieth Century and the Present Impressionism Primitivism Atonality and Expressionism Neo-Classicism Serialism Experimentalism Conservatism Total Serialism Fluxus Minimalism Post-Minimalism Neo-Romanticism New Simplicity Toru Takemitsu (1930-1996) Japanese Arvo Pärt (b. 1935) Estonian
Jimi Hendrix – White Men Can’t Jump : The difference between listening and hearing A final Appeal

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UNIT V - Class 37

  • 1. Business A Volunteer Please Hand-Back Exam III Discuss Final Exam: Part I. The Twentieth Century A. 10 Definitions B. 5 Listening Examples C. Mini Essay Part II. Semester in Review A. 10 Short Answers B. 5 Listening Examples
  • 2. Wrapping Up/Taking Stock From the beginning: What is music? Musical Contingency : Music means different things to different people in different places at different times
  • 3. The Middle Ages Music begins as Monophony Music as ritual, spiritual devotion: plainchant : music in the abbeys and monasteries Music as entertainment: courtly secular music: the Troubadours and Trouvères Development of polyphony – Organum = Notre Dame School ( Ars Antiqua ) Secular polyphony – Machaut and the 14th century motet ( Ars Nova )
  • 4. The Renaissance Begins with a simplification of texture: Homophony Codification of the Mass Development of Imitation ( Josquin ), leads to greater complexity Reforms of Palestrina : new simplification, concentration on the words, and careful treatment of dissonance and counterpoint (Prima Pratica) Early development of independent instrumental music Madrigal
  • 5. The Baroque Monteverdi and Opera (Seconda Pratica) Figured bass and functional harmony Rigid, ornate, static, stylized form of expression Flowering of instrumental music ( trio sonatas, instrumental suites, concertos [ Vivaldi ]) Late developments: Bach (fugue) and Handel ( oratorio )
  • 6. The Classical Era Roots in Galant Style : reaction against high seriousness and artificiality of baroque style – pleasing and direct Self-conscious simplification: regular phrases, emphasis on melody and straightforward harmonies Haydn : codifies classical symphony and string quartet Mozart : brings concerto and opera up to date with greater expressivity, flexibility and dramatic relevance Sonata Form
  • 7. The Nineteenth Century Beethoven : internalizes and then supersedes the high Viennese Classical style; emerges as quintessential romantic genius/artist Literary connections abound, from Schubert’s Lieder to the Character Pieces of Chopin and Schumann to: Program Symphony – Berlioz, Liszt, Tchaikovsky “ Neo”-Classical elements (preference for inherited genres and forms, clarity) – seen in Brahms, as well as some Schumann, Mendelssohn, Tchaikovsky, Dvorak Emerging Nationalism Opera : Continuous Opera ( Verdi and Wagner ); Gesamtkunstwerk , Lietmotiv ( Wagner )
  • 8. The Twentieth Century and the Present Impressionism Primitivism Atonality and Expressionism Neo-Classicism Serialism Experimentalism Conservatism Total Serialism Fluxus Minimalism Post-Minimalism Neo-Romanticism New Simplicity Toru Takemitsu (1930-1996) Japanese Arvo Pärt (b. 1935) Estonian
  • 9. Jimi Hendrix – White Men Can’t Jump : The difference between listening and hearing A final Appeal