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Time Line

Time Line Middle Ages (450-1450) Rome sacked by Vandals 455 Beowolf c. 700 First Crusade 1066 Black Death 1347-52 Joan of Arc executed by English 1431 Part II – The Middle Ages and Renaissance The Middle Ages Period of wars and mass migration

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Time Line

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  1. Time Line Middle Ages (450-1450) Rome sacked by Vandals 455 Beowolf c. 700 First Crusade 1066 Black Death 1347-52 Joan of Arc executed by English 1431 Part II – The Middle Ages and Renaissance

  2. The Middle Ages Period of wars and mass migration Strong class distinctions • Nobility: castles, knights in armor, feasting • Peasantry: lived in huts; serfs—part of land • Clergy: ruled everyone; only monks literate Part II – The Middle Ages and Renaissance

  3. The Middle Ages Architecture • Early: Romanesque • Late: Gothic Visual Arts • Stressed iconic/symbolic, not realism Late Middle Ages saw technological progress Part II – The Middle Ages and Renaissance

  4. Chapter 1: Music in the Middle Ages Church dominates musical activity • Most musicians were priests • Women did not sing in mixed church settings Music primarily vocal and sacred • Instruments not used in church Chapter 1

  5. Gregorian Chant Was official music of Roman Catholic Church • No longer common since Second Vatican Council Monophonic melody set to Latin text Flexible rhythm without meter and beat Named for Pope Gregory I (r. 590-604) Originally no music notation system • Notation developed over several centuries

  6. The Church Modes “Otherworldly” sound—basis of Gregorian Chant Different ½ and whole steps than modern scales Middle Ages and Renaissance used these scales • Some Western Music uses these scale patterns • What Do You Do With a Drunken Sailor?—Dorian mode • When Johnny Comes Marching Home—Aeolian mode Chapter 1

  7. Listening O Successores (You Successors) Hildegard of Bingen Listening Guide: p. 70 Brief Set, CD 1:50 Chant Originally written without accompaniment This recording includes a drone—long, sustained notes Note extended range of melody Written for nuns by a nun (to be sung in convent) Chapter 1

  8. Time Line Renaissance (1450-1600) • Guttenberg Bible 1456 • Columbus reaches America 1492 • Leonardo da Vinci: Mona Lisa c. 1503 • Michelangelo: David 1504 • Raphael: School of Athens 1505 • Martin Luther’s 95 Theses 1517 • Shakespeare: Romeo and Juliet 1596 Part II – The Middle Ages and Renaissance

  9. The Renaissance Rebirth of human learning and creativity Time of great explorers Humanism Fascination with ancient Greece and Rome Part II – The Middle Ages and Renaissance

  10. David by Michelangelo The Renaissance Visual art becomes more realistic • Mythology is favorite subject • Nude body, as in ancient times, is shown Weakening of the Catholic Church Education and literacy now status symbol • Result of invention of printing press Part II – The Middle Ages and Renaissance

  11. Chapter 2: Music in the Renaissance Church choirs grew in size (all male) Rise of the individual patron • Musical center shifted from church to courts • Court composers wrote secular and sacred music • Women did not sing in mixed church settings Chapter 2

  12. Musicians: higher status and pay than before • Composers became known for their work Many composers were Franco-Flemish • Worked throughout Europe, especially in Italy Italy became music capital in 16th century • Other important centers: Germany, England, Spain Chapter 2

  13. Characteristics of Renaissance Music Words and Music Vocal music more important than instrumental Word painting/text painting Chapter 2

  14. Texture Polyphonic Primarily vocal - a cappella • Instruments, if present, doubled the vocal parts Rhythm and Melody Rhythm “flows” and overlaps • Composers less concerned with metrical accents Smooth, stepwise melodies predominate • Melodies overlap rhythmically between voices Chapter 2

  15. Sacred Music in the Renaissance Two main forms: Motet • Short polyphonic choral work • Latin text usually overlaid with vernacular text • Often borrows lowest voice part from a chant Mass—the Catholic worship service • Long work that includes five main parts of service • Kyrie • Gloria • Credo • Sanctus • Agnus Dei Chapter 2

  16. Josquin Desprez 1440-1521 (contemporary of Columbus & da Vinci) Wrote both sacred and secular music • Worked with the Papal Choir in Rome • Worked for King Louis XII of France Leading composer of his time; famous while alive • His work influenced other composers • Was highly praised by Martin Luther Chapter 2

  17. Listening Ave Maria…Virgo Serena Josquin Desprez Vocal Music Guide: p. 82 Brief Set, CD 1:56 Listen for: Four voices Polyphonic imitation Overlapping voice parts Chapter 2

  18. Time Line Shakespeare: Hamlet 1600 Cervantes: Don Quixote 1605 Jamestown founded 1607 Galileo: Earth orbits Sun 1610 King James Bible 1611 Newton: Principia Mathematica 1687 Witchcraft trials in Salem, Mass. 1692 Defoe: Robinson Crusoe 1719 Swift: Gulliver’s Travels 1726 PART III—THE BAROQUE PERIOD

  19. The Baroque Style Time of flamboyant lifestyle Baroque style “fills the space” Visual Art • Implies motion • Note pictures p. 93 • Busy • Note pictures p. 94 PART III—THE BAROQUE PERIOD

  20. The Baroque Style Architecture • Elaborate • Note picture p. 95 Change in approach to science • Experiment-based, not just observation • Inventions and improvements result PART III—THE BAROQUE PERIOD

  21. Chapter 2:Music in Baroque Society Music written to order • New music, not old-fashioned, was desired Courts: • Music and musical resources indicated affluence Court Music Director • Good prestige, pay, and other benefits • Still considered a skilled servant Chapter 2

  22. Some aristocrats were musicians Church music was very elaborate • Most people heard music only in church Some, though few, public opera houses Music careers taught by apprenticeship • Orphanages taught music as a trade Chapter 2

  23. Characteristics of Baroque Music • Expresses one mood per piece Unity of Mood Rhythm • Rhythmic patterns are repeated throughout Melody • Opening melody heard again and again Dynamics • Volumes constant with abrupt changes Texture • Late baroque mostly polyphonic • Extensive use of imitation Chapter 1

  24. Chords and the Basso Continuo • Emphasis on way chords follow each other • Bass part considered foundation of the harmony • Basso Continuo: bass part with numbers to represent chord tones • Similar to modern jazz and pop “fake book” notation Words and Music • Text painting/word painting continues • Words frequently emphasized by extension through many rapid notes Chapter 1

  25. The Baroque Orchestra Based on violin family of instruments Small by modern standards Varying instrumentation • Combinations of strings, woodwinds, brass, & percussion (tympani) Nucleus was basso continuo unit Composers specified instrumentation • Timbre was subordinate to melody, rhythm, and harmony Chapter 1

  26. Baroque Forms Instrumental music frequently made up of contrasting movements • Movement: a piece complete in itself, also part of a larger whole • Performed with pause between movements • Unity of mood within individual movements • Movements often contrast with each other Chapter 1

  27. Chapter 3: The Concerto Grosso and Ritornello Form Concerto Grosso • For small group of soloists and orchestra • Multi-movement work • Usually 3 movements • Fast • Slow (usually quieter) • Fast (sometimes dance-like) Chapter 3

  28. Ritornello • Frequently used in first and last movements of concerto grosso • Theme repeatedly presented in fragments • Contrast between solo sections and tutti Chapter 3

  29. Listening Brandenberg Concerto No. 5 in D major First movement Johann Sebastian Bach Listening Outline p. 105 Brief Set, CD 1:63 For string orchestra and group of soloists Soloists: flute, violin, and harpsichord Ritornello form Chapter 3

  30. Time Line Seven Years’ War 1756-1763 Louis XVI in France 1774-1792 American Declaration of Independence 1776 French Revolution 1789 Napoleon: first French consul 1799 Napoleonic Wars 1803-1815 Goethe: Faust 1808 Austin: Pride and Prejudice 1813 PART IV—THE CLASSICAL PERIOD

  31. Fragonard: The Lover Crowned The Classical Era Scientific advances changed world view • Faith in the power of reason • Undermining of traditional authority • Social organization • Religious establishment • Age of Enlightenment • Rise of the middle class worker Visual Art • Moved away from ornate Baroque style PART IV—THE CLASSICAL PERIOD

  32. Chapter 1: The Classical Style Transition to Period: ~1730-1770 C.P.E. and J.C. Bach were early pioneers Music and visual arts stress balance and structure Three main composers: • Joseph Haydn • Wolfgang Amadeus Mozart • Ludwig van Beethoven Chapter 1

  33. Characteristics of The Classical Style Contrast of Mood • Contrast both between and within movements Flexibility of rhythm • Multiple rhythmic patterns in a piece Texture • Mostly homophonic, but with frequent shifts Chapter 1

  34. Melody • Tuneful, easy to sing, folk/popular-based Dynamics • Emotions expressed in shades of dynamics • Use of gradual dynamic changes • Related to development of the piano End of the Basso Continuo Chapter 1

  35. The Classical Orchestra Standardization of instrumentation Increase in size of orchestra • Still smaller than that of today Composers made use of various timbres available • Instruments not treated as all equal, as in the Baroque • Melodies move around between instruments Chapter 1

  36. Chapter 10: Joseph Haydn 1732-1809—early and mid-classical period Austrian composer (long life) Talent recognized early • At age eight was sent to Vienna to be a choir boy • Dismissed from school—voice changed • Worked in Vienna and continued studies Esterhazy family’s composer for 30 years • Employment status as skilled servant • Became famous in Europe at this time • Moved to Vienna at Prince’s death Made concert trips to London Prolific composer Chapter 10

  37. Haydn’s Music Pioneer in development of classical forms • Both Mozart and Beethoven were influenced by Haydn Made use of folk music in serious compositions 104 symphonies, 68 string quartets • Possibly invented the string quartet form Extensive output in other forms: • Piano sonatas • Piano trios • Divertimentos • Concertos • Operas • Masses Chapter 10

  38. Classical Forms Instrumental works usually in multi-movement form Frequently four movements • First—Fast • Second—Slow • Third—Dance-related • Fourth—Fast Multi-movement works for instrumental groups: • Symphony—for orchestra • String quartet—two violins, viola, and cello • Sonata—usually for one or two instruments Chapter 1

  39. Chapter 4: Theme and Variations Single part form—no large contrasting “B” section • ( A A’ A” A”’…) Basic idea presented, then repeated over and over • Each repeat alters (varies) the musical idea • Each variation is about the same length as the original idea • Variations may alter melody, harmony, rhythm, dynamics, timbre, or all of these Chapter 4

  40. Listening Symphony No. 94 in G Major, 1791 (Surprise Symphony) Franz Joseph Haydn Second Movement Listening Outline: p. 166 Brief Set, CD 2:32 Listen for: Theme and variations form “Surprise” chord near beginning Chapter 4

  41. Time Line Monroe Doctrine 1823 Hugo: Hunchback of Notre Dame 1831 Dickens: Oliver Twist 1837 Dumas: The Three Musketeers 1844 Poe: The Raven 1845 Darwin: Origin of Species 1859 American Civil War 1861-1865 Twain: Huckleberry Finn 1884 Bell invents telephone 1876 PART V—THE ROMANTIC PERIOD

  42. Romanticism (1820-1900) Stressed emotion, imagination, and individualism Emotional subjectivity basis of arts Favorite artistic topics: • Fantasy and the supernatural • Middle Ages/concept of chivalry and romance • Architecture revived Gothic elements • Nature as mirror of the human heart Period of the Industrial Revolution • Resulted in social and economic changes PART V—THE ROMANTIC PERIOD

  43. Chapter 1: Romanticism in Music Many important Romantic composers • Franz Schubert • Bedrich Smetana • Antonin Dvořák • Peter Tchaikovsky • Johannes Brahms • Giuseppe Verdi • Giacomo Puccini • Richard Wagner • Robert Schumann • Clara Schumann • Frederic Chopin • Franz Liszt • Felix Mendelssohn • Hector Berlioz Chapter 1

  44. Continued use of classical period forms • Much individual alteration and adjustment Greater range of tone color, dynamics, and pitch than in classical period Expanded harmony—complex chords Chapter 1

  45. Characteristics of Romantic Music Individuality of Style Composers wanted uniquely identifiable music • Worked to find their own voice In romantic music, it is far easier to identify individual composers through listening Chapter 1

  46. Expressive Aims and Subjects All approaches were explored: • Flamboyance, intimacy, unpredictability, melancholy, rapture, longing, … Romantic love still the focus of songs and operas • Lovers frequently depicted as unhappy and facing overwhelming obstacles Dark topics draw composers Chapter 1

  47. Colorful Harmony Chords built with notes not in traditional keys • Chromatic harmony Harmonic instability a consciously used device • Wide use of keys • Frequent and rapid modulation Chapter 1

  48. Expanded Range of Dynamics, Pitch, and Tempo Dynamics ff, pp expanded to ffff and pppp Extremely high and low pitches were added Changes in mood frequently underlined by (sometimes subtle) shifts in tempo • Rubato: slight holding back or pressing forward of tempo Chapter 1

  49. Forms: Miniature and Monumental Some composers went on for hours • Required hundreds of performers Others’ music lasted only a few minutes • Written for a single instrument Composers wrote symphonies, sonatas, string quartets, concertos, operas, and many other classically traditional works Chapter 1

  50. Chapter 7: Frederic Chopin Polish-born musician (1810-1849) Early to mid-romantic composer Went to Paris at age 21 • Europe’s romantic period artistic capital Wrote almost exclusively for piano • Made extensive use of piano pedals Composed mostly for chamber concert • Avoided concert halls Affair with Aurore Dudevant (a.k.a. George Sand) Chapter 7

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