lmimll1111111111111111111111111111111111 · • triads can also be either major or minor •...

__----lllMIMll1111111111111111111111111111111111111NEWFOLDER

mnml

m

m

mm

z_

mm

m

m

m

m

m

mmmm

--'-- Name: _bl_APf/ l/l_J (On(.,lfl(_

mmm

m

mmm/mm

i

mm

mm

m

mm

mm

mm

llllilllNlllMIIIIIIIIIIHIIIIIIIHIIIIIIIIIII=NEWFOLDER

CHAPTER 1• The five divisions of musical culture, as listed in our book, include:

I_/A_ o (1) North America and Europe,LAC_. o [2) Latin America and the Caribbean,IAF o (3) Sub-Saharan Africa,VI__I,J/x o (4) the Middle East and North Africa, and_,_'1 o (5) Asia and the Pacific Islands.

o These five large areas have something in common. They all contain cultures that havedeveloped sophisticated, "classical" repertory of music, played primarily byprofessional musicians.

CHAPTER 2• The 3 basic elements of music = melody, rhythm, harmony• Melody- important elements: shape, phrase• Leap is the most memorable part of the melody• Note Names = first 7 letters of the alphabet• Distance between two pitches = intervals• Time signature - 3,63=beats in a measure, 4=length of each note.• Triads can also be either major or minor• Cadences in music arelike punctuation in grammar

INSTRUMENTS

• String (Co)o Violin - smallest and highest in pitch. Most versatile instrument in orchestra. Wide

range, very expensive.o Viola - larger than violin and has a lower pitch. Mellower in sound. Plays in middle

range, filling harmonies and enriching the sound.o Violoncello (cello) - plays in the tenor and baritone ranges. Rich romantic sound.o Double bass - largest and lowest in pitch. Creates a firm harmonic bass.o Harp - evocative, ethereal sound.o Guitar - delicate and light sound.

• Woodwind/q")o Flute- bright, liquid upper notes and its haunting lower notes.o Piccolo - small version of the flute and is an octave higher. Very brilliant, even shrill.o ()boe and Bassoon - suave, yet edgy quality sound. Varies only slightly in pitch.

o E-nglish horn - rich evocative sound. Most distinctive instrument of the orchestra.o Contrabassoon - lowest woodwind instrument.o Clarinet - most versatile instrument of all the woodwind. Wide range, three registers.

Rich and melancholy.o Bass clarinet- rich, buttery sound.o Saxophone - smooth, flexible, melodious qualityo Recorder- soft sound. Fairly easy to play

• Brass (zA') _o French horn - "outdoor" sounds like hunting calls. Warm, rich qualityo Trumpet- highest pitched brass instrumento Trombone - sounds powerful and grand, sometimes even frightening. Favored in jazz

ensembles ,,-o Tuba - lowest pitched instruments, supporting bass. Sound is deep and round.

• Percussion (_/-_)o Pitched

• Ti__pani - sometimes called kettle drum_. Sound like a distant thunder orpowerful and stirring.

• Xylophone and Glockenspiel - very similar. Bright luminous sound.• Celesta - tiny upright piano. Tinkling, delicate and sweet sound.

o Unpitched• Snare drum- dry and crisp sound.• _- deep thump.

• Triangle- high hard noise

• Keyboard i_ _s - crashing s°und"o Piano- best known as a solo instrument but can be in orchestra

o Harpsichord - played like piano but chords are plucked instead of hit.o Organ_- "king of instruments" very rich sound.

o Synthesiz__er- electronic instrument. Imitates sound of other instruments.

CHAPTER 3

• Three types of listening:o Passive - playing music in the background. Soundtrackso Unconscious - not noticing it. Elevator musico Active- (committed) takes practice

CHAPTER 1

• ]apaneseShakuhachi: Koku-Reiboo 17 thcenturyo Refers to the death of Zen monk Fuke Zenjio Song is regarded as sacred and is to be played only by great masterso Only a few notes but a huge variety of soundso Doesn't have very smooth transitionso Simple resonating, peaceful sound

• Islamic Music: Turkish Call to Prayero God is great, God is good

I testify that there is no god hut GodI testify that Muhammad is the prophet of God

o Singingis very strained.o Very ornate, loud, passionate

• Indonesian Gamelan Music: Gangsaran-Bima Kurda-Gangsarano Picturesque or philosophical titles = "achieving one's purpose- angry hero"o Metallic instrumentso Random shouts andlaughtero Heavy bells and drumso Varies slowthen fast

o Heyyou[ Yes Sir!Are you really brave? Yes sir, I am!Then carry on! Yes, teacher, I obey!

• African Mbira Music: Mandarendare

o Mystical music used to communicate to the ancestorso Means"a place full of energy"o Three distinct layers of sound detected.o Constant change.o Very peaceful, repetitiouso Different sounds seem to join in and vary slightlyo Rain stick

CHAPTER 2 & 3:• Handel:Water Music

o King George I wanted to listen to this 3 times!o Forteand fortissimo

o Steady beato Allegro melodyo Song texture: melody with accompanimento "Echo" formo This music can be viewed as historical and individual

o Baroque period- 18 thcenturyo Easyto followo Sounds just likeMessiah music

• Dukas: Fanfare from La Peri

o Brass instruments playing together - T(gr.Jrrt_"o Playsloud and softo Grand music- sounds like majes W

• Schubert: Gretchan am Spinnrade (Gretchen at the Spinning Wheel)o Young woman yearning for her lovero Was 17 when he wrote this pieceo Dramatic and emotionally intenseo She talks about never being able to find peace again, she feels crazy and shattered.o Pretty piano in the background and flowy voice.

• Mozart: Minuet and Trio from Symphony No.18O lB th century ballroom danceo Binary formo Kind of sounds like Messiah too - very bouncy and happy.

• Harris: Crazeologyo Jazz trumpetero Bebop styleo Tenor saxophoneo Reminds me of New Orleans and eating outside at a nice restaurant.

• Maddalene: Monte, te chiamo (Death, I call on you)o Italian music from the Renaissance

o Because love causes so much sorrow, why not die? - Love Poemo End your life to end the paino Sounds like lots of voices, very angelic

lali The Jail's role in the Mandika culture is to be a historian andsinger of praises. His job is of paramount importance due tothe high regard of family status. Family history is entrusted in

_"_ rv_i_w_._k'odoJ._" the male jali, which is a job never to be allowed for women.The jali is able to evoke the noble ancestry of a patron or hecan turn praise into insult and innuendo. He is also calledupon to determine questions of inheritance.

Hardingfele The hardingfele is a Norwegian fiddle, therefore its originbeing the country of Norway. It is a violin that has been

_'Nov-_OOiO._ F'idd_ ex.h_t_ _lv.it_s_ adapted to folk culture. It has extra strings that are not' bowed, but vibrate when the fiddle is played. Its sound is

highly resonant and penetratin 8.Mbria Thumb piano from Africa. The sound on the mbira is created

by holding the box in both hands while the thumbs pluck thestrips. The sound is soft, buzzy, watery, plunky. Players arealso often able to enhance the buzz by attaching metal bottle

" _S-YxUrwYDPi O.yx_" tops to the wood or wrapping small pieces of metal aroundthe tongues. The mbira is regarded as sacred by certain tribesand is used to summon the spirits of their ancestors.

Shamisen A three-stringed, long-necked lute. It is one of the three

t, _ _rci _o3- \O_q_ t_e,P._.J,z_It3V-G" instruments that make up the traditional ensemble of Edomusic, which also includes a singer.Koto A delicate, thirteen-stringed plucked zither. It is one of the

,c 19 _'-_rac_ /nluCJ/_Cg_ &q_'_ three instruments that make up the traditional ensemble ofEdo music, which also includes a singer.13amelan Small orchestra from Indonesia primarily made of metal

percussion. Gamelan means "musical ensemble" and includes -_a wide variety of instruments. The sound is unique, with its

_c_¢,_ or_-h,-O_ _, highly varied metallic sounds, its wide range from the deep

gong to the highest xylophone and its interlocking melodies. ¢Gamelan performance is quite ceremonial, sit on floor. _

Shakukachi An end-blown, bamboo flute. A lapanese master of this _- ',_o4,a:u-t._ r,_oj_lo:_ _lt.rtc, _Ao " instrument bends pitches, plays notes between the notes andgenerally utilizes every melodic possibility available to him.Shawm A short woodwind instrument played in Eastern Europe. It is

played in public places such as the marketplace or the town,_ O3oOzJ.Loitld pl_ in P_.Eo_" square, lt is extremely loud and piercing and can be heard at a

considerable distance.

Didjeridoo A long hollowed out eucalyptus branch, played like a trumpet.Can produce only a small number of notes, but the subtlety of

"Ea..Ccxlqpl_s -I-rurala-rt" --i2r_ t3ua_rt_" the instrument lies in its tonal qualities. This instrument isthe most dramatic illustration of the importance of tone color.For the Australian aboriginal people.

Alto Low women's voice rangeBass Low men's voice rangeBaritone A voice between tenor and bass

_Beat ,_ The regular pulse of music. Tempo or rhythm indicated by aconductor. Measure is the grouping of beats.Binary Form Focuses on the idea of contrast. There are two sections, A and

B, each of which are easily repeated to make the pattern_BB.

Form The organizing structure of a composition, whether it issimple or complex. All art needs form. Different types:

_lS'ba-r--:_rr-'_ ternary form, binary form, sonata form, theme and variationsIL form.FHarmony Third basic element of music. Harmony is the combination of

a melody and its accompaniment. A composer can create_ Cce_ct_ -t"_a:_val_rlirc_q4" different moods and feelings by changing the harmony in a

piece of music.Harmophony Is music that moves by chords. The most common form, called

song texture, involves a solo voice with chordal_twus_ r_ovcj_l _ Oooc'd_ " accompaniment. Can be used to describe instrumental music.

Ex: folk singer with guitar.Major Scale Pieces that use a major scale are said to be in the major mode.

Major scales seem to sound positive and optimistic. All major

"l:x:_-_iVr,, o(_-irvxis_¢ so_ncl. " scales use this same pattern: whole, whole, half, whole, whole,whole, half. Start at any note and reproduce this pattern ofintervals. Some major scales need quite a few sharps or slats.

Melody Can be short or jagged, long, simple or complex. Popular_. melodies are an important element of all cultures. Consists of

,a__.lcdjC rno'l-iOn- s'_e4_, I_l:_, c_-__s" different types of melodic motion. Most melodies contain amixture of steps, leaps and repeated notes.

Minor Scale Pieces that use a minor scale are said to be in the minor mode.Minor scales seem to sound a little sad or thoughtful. Useswhole and half steps. Whole step, half step, whole step, whole

"_a_l,_rrt_l .q_t.r_" step, half step, whole step, whole step. Easiest scale is Aminor, because it has no sharps or flats.

Monophony A texture that involves melody with no accompaniment. Can

utrel_ w/ NO _cc.O-o_tt_i_5 -'_ be produced by one or more people. Solo singing or singing in-- unison.

Mezzo Soprano A voice between soprano and alto.Polyphony Music in which you can hear two or more distinct musical

_f-lWOor- _ rc_cd.i_s t_o't_" lines at once. This kind of texture is obviously more complex.Ex: Bethoven.

Pitch Term used to describe the exact highness or lowness of anote. The rate at which an object vibrates determines the

pitch that we hear. Faster vibrations, higher pitch.Rhythm Is the fundamental component of all music. Rhythm is built

_j.,x_- \co cx_x- k:t:_ '_ into our bodies: beating hearts and motions in our limbs.Rhythm is one of the most distinguishing features in music.

Soprano High women's voice range.Sonata Form Employed as the structure for many large movements, uses

both the idea of contrast and the idea of departure and return.

Begins with a large opening section, which contains two

, _rfrr._b--_¢ _ _ _ r-_'-t3rVx" contrasting smaller units. Followed by a middle section thatcontrasts with the opening in harmony, tonality, atmosphere,and presentation of thematic material. The opening section

IL then reoccurs, modified.F1'exture An important aspect of harmony. Texture describes the way

in which different musical sounds are combined. 3 types:

monophony, homophony, polyphonyTenor High men's voice range.

Timbre Apart from the way they are made, what most distinguishes

JUrc_z_p__lOt-_t one instrument from another is the tone color, or timbre, ofthe sound it makes.

9 ITempo Speed of the music indicated by a composer. This can be donein two different ways: first way is to use a word indication at

i _ t:_ rr_LE_" the beginning of piece - largo, allegro, presto. The second wayis by metronome marking.

Ternary Form ABA form. This is the most frequent form in small units such

,_, _eornrr_Orl,_rctallUtli-i_" as melodies and themes. But this form is also common on afar larger scale in music. Can be used for a whole movement.

Theme and Variation Form Involved the idea of contrast_ A theme is presented and thenplayed several more times, but each time occurs in a varied

iiCOr_'Ob--'t- - _ _riO3L_ way. Each time the theme is recognizably changed andrecognizably the same.

Lesson 8 - The Twentieth Century Page 1 of 2

The Twentieth Century III

Ib Objectives

• Discuss and describe different aspects of 2Oth century music.

Reading Assignment

Chapter 13, "The Twentieth Century III: Popular Music in the United States"

Listening Assignment

Note: Please read note on page 432 of the text regarding listening examples for Chapter 13.

Vocabulary

protest song - p. "_%|- 4_-

Motown - lo. _,5I_

rockabilly - p.4_-4_c_ • _

Important Composers

Stephen Foster- _,_Irving Berlin- 4_1Chuck Berry-4_lt)The Beatles- 44_Woody Guthrie-,4_lCole Porter - _lRichard Rogers - ,4_Elvis Presley- 4_3ClBob Dylan- ,'_i_'|,limi Hendrix-_

Study Notes

So, you think you know so much about pop music? I have to tell you I took a summer course on popmusic, and it proved to be one of the most challenging courses I have ever taken. We hear pop,rock, and country in all their manifestations every day, but we take little time to truly understand it.The author of the text does a fair job of tracing the history of popular music in America.

favorite performer will be omitted. The study.of pop music is beginning to beUndoubtedly, youraccepted as a field of academic study, a notion that was unheard of twenty years ago. This one timeI really wish I could hold discussions with you. People have very strong opinions about "their"music, and ! have bad hours of lively informative debate over the years with my students about popmusic. As you read this chapter, I want you to begin to listen to your daily musical choices with acritical ear. What is your reaction to the fact that the publisher is unable to receive permission tocopy any of the music? The debate about downloading music from the Internet is continually beingwaged. ! will throw my personal opinion in here, and say that I find it ironic that an industry thathas spent so much time advocating free-thought, free-love, free-drugs, if-it-feels-good-do-it

Lesson 8 - The Twentieth Century ............................... Page 2of2 .....IU- ..................

mentality, suddenly wants us all to take the moral high ground when it comes to their pockets! Ithink one of the most important concepts to grasp as you read this chapter is that we find for thefirst time in the 2000 year history of music, this term "industry" being used. If you look up thedefinition of "industry," very few of the definitions refer to art. What do you think would have

happened to Mozart in our culture? We know more about the personal life of Brittany Spears thanwe do all of the classical composers in this book combined. What effect does this availability ofpersonal information have on performers? On the listeners? I hope that you have enjoyed thiscourse, and that it will shape the way you choose music in the future.

Lesson Assignment TO_

Complete Lesson 10 Assignment .

You may use your book and other resources to complete your lesson assignment.

TO_'

This concludes Lesson 10,

•.,.,

http://learn.ou.edu/content/enforced/751309-22881.200920/lessons/lessonl 0.htm 3/28/2010

l_sson 8 - The Twentieth Century http://learn.ou.ed u/content/enforced/751309-22881.200920/less.., t

The Twentieth Century

Objectives

• Discuss and describe different aspects of 2Oth century music.

Reading Assignment

Chapter 11, "The Twentieth Century I: The Classical Scene"


Disc 3, Track 28: Stravinsky:First Movement from Concerto in E-fiat (Dumbarton Oaks)Disc 3, Track 30: Schoenberg:'Madonna u from Pierrot LunaireDisc 3, Track 31: Schoenberg:Theme and Sixth Variation from Variations for Orchestra, Op. 31Disc 3, Track 36: Webern:Third Movement from Five Movements for String Quartet, Op. 5.Disc 3, Track 37: Ives: Second Movement from Three Pieces in New England (Putnam's Camp,Redding, Conn.)Disc 3, Track 41:Copland: Fanfare for the Common ManDisc 3, Track 45:Boulez: Structures IDisc 3, Track 47:Wilson: SometimesDisc 3, Track 50:Zwinch: Third Movement (Rondo) from Symphony No. 1

Vocabulary

:_'ZO postmodernism 3-j_ minimalism ____atonalit'y

_j___. pentatonic scale _)_ whole-tone scale _9 octatonic scale

_7._ polytonaliW ___ quarter tones _1-'_ teleharmonium

'_.5 theremin _'Z._ symbolism _C)polyrhythms

bi-tonality _j_J_neo-classicism _'_ serialism

_" expressionism _j_:_ twelve-tone system _,_ primitivism

Important Composers

Arnold Schoenberg _(J_,aron Copland

Claude Debussy _¢j_George Gershwin_'_)Igor Stravinslcy _ Leonard Bernstein

_Alban Berg _ Karlheinz Stockhausen._[ Anton Webem _>3-/Hilton Babbitt_,_ Bela Bartok 3_'_]ohn Cage

_F__Dmitri Shostakovich _ Lukas Foss 41__j____tten _>S Philip Gl_s's_

Ij(_ Charles Ives _j_ John Adams__Jj_Edward McDowell _ Oily Wilson_3Amy Beach _ Ellen Taaffe-Zwilich_J,0_William Grant Still

I of 2 3/28/10 7:26 PM

Lesson 8 - The Twentieth Century http://leam.ou.edu/content/enforced/751309-22881.200920/less...

Study Notes

I like to call this the century of -isms. If you glance through the vocabulary list above, you see awhole slew of -isms. In the past we had fairly nicely delineated music periods for a hundred years orso. Why, suddenly, do we find so much divergent music happening? Well, there are several reasons.From the turn of the 20th century on, we see an increase in the rate of technological advances,particularly the disseminating of information. With the inb-oduction of the telephone, radio, andtelevision, people were exposed to different ideas in minutes instead of months or years.

Consequently, people react much quicker, either embracing and then tiring of a genre, or being sorevolted by something, that they become reactionary against it. The impressionists, headlined inFrance, were closely allied with the painters of the same school and a group of poets called thesymbolists. They were all reacting against German romanticism and all it stood for. They wereinterested in a more subjective and ethereal world, contrasted with the wild, almost unstable nature

of Romanticism. In turn, the Gerrnan's rejected impressionism with its fuzzy lines, halos, and wateryimages for expressionism, characterized by harsh lines, stark contrasting, and violent images.Composers, too, became weary of all that tonality had to often Like an old horse, it had run a goodrace, and just could not trot out for one more show. The Second Viennese School, under thetutelage of Arnold Schoenberg, sought to abandon the traditional notions of major and minor,releasing composers from bondage to the key signature. Instead of music being governed by keys, itwas governed by numbers and repetitive patterns of notes. The atrocities of World War II brought aninflux of talent to the United States, as victimized people from around the world sought refuge onour shores. Some of the greatest American composers came to this country under these and othertragic circumstances, and their music still enriches our lives today.

Although this chapter focuses on the art music of the time, there is no denying that popular music,jazz in particular, had a profound impact on the composers of the time. Suddenly, their patrons arethe public, and the public can be very fickle. We begin to see a schism in classical music, where anumber of composers relegate themselves to university settings, composing experimental music,while other composers choose more "pop" oriented themes that endear them to publicperformances. This is not to say that either of these is superior to each another. They borrow freelyfrom each other. Electricity becomes a musical instrument. Through tape media, synthesizers, andother electronic instruments, composers are able to use sounds that don't exist in the natural world.By the 1960s, technology had joined in the creation of music, adding a completely new spectrum ofsound palates to eager composers and audiences alike. As I mentioned earlier, one of the mostpopular albums of the 1960s is "Switched on Bach" by Walter Carlos, in which the intricatelypolyphonic compositions of Johann Bach are performed on the newly invented Moog synthesizer.

Government sponsorship of classical music remains in some counb'ies, but most orchestras, ballets,and opera companies must rely on grants, philanthropic organizations, and public ticket sales tosustain themselves. The sheer variety of music available during this time is remarkable, and youshould have little difficulty in distinguishing these pieces from each other.

,Ig

)_ Lesson Assignment TO_

Complete Lesson 8 Assiqnment.


ATOP_

Th_ concludes Lesson 8.

2 of 2 3/28/10 7:26 PM

Lesson 8 - The Twentieth Century Page 1 of 2

The Twentieth Century II

Objectives

• Discuss and describe different aspects of 20th century music.

)P Reading Assignment

Chapter 12, "The Twentieth Century II: Jazz, An American Original"

)) Listening Assignment

Disc 3, Track 60:Ellington: "It Don't Mean A Thing"Disc 3, Track 65:The Charlie Parker Quartet: "Confirmation"

Vocabulary

z_0 fusi°n 40"L syncopation z_lT._scat singing

z_ rag time .z_0_0 12-bar blues _ Dixieland

"_11 swing _z_ bebop z_l-] cool jazz

_:_ free jazz

Ik Study Notes

I would love to tell you I know everything about jazz. I don't. It is such a specialized field of study.Many universities offer courses and degrees in jazz studies, and if you are really interested in that, !encourage you to seek out a university near you that offers these courses. Mr. Yudkin does a verythorough job of tracing the history of jazz. But, as with the succeeding chapter on pop music, wedon't always have the historical paper trail, or academic records to follow musical development.Because jazz relies on improv, it must be captured in that moment. [ think jazz could not existwithout recording technology, and without the ability to record, performance jazz would not haveflourished in the way that it has. I remember an episode of the Cosby Show some years back. It iswell known that Bill Cosby is a great aficionado of jazz, and he included cameos by many great jazzperformers. In this episode, Bill and some friend of his are preparing for a record auction. They aresitting in the basement listening to different recordings of the same piece from different years. (Ifyou have any friends or family who are really into jazz, you know what ! am talking about.) Theycarefully catalog the differences in the solo work from the 1962 performance at Birdland versus the1963 performance at the Apollo, for example. They speak their own language.

Like pop music, jazz can be separated into a number of different genres, but many of the styles andinfluences overlap. With the advent of jazz, especially bebop, we also begin to see the devastatingeffect of drug abuse, and how it took many genius minds from the music world. There was a time

when the walls between classical and jazz were impenetrable, but composers such as GeorgeGershwin, Leonard Bernstein, and Aaron Copland, who were very well respected in the classicalworld, lent credence to jazz by acknowledging its influence in their classical compositions. Today,performers like the multitalented Marsalis brothers are also bridging the gap between these twoworlds.

A

htto://leam.ou.edu/contenffenforced/751309-22881.200920/lessons/lesson09 him 3/28/2010

Lesson 8 - The Twentieth_ Century .............................. Page 2 of 2 .

Lesson Assignment



Tg_

This concludes Lesson 9.

'2

http://learn.ou.edu/content/enforced/751309-22881.200920/lessons/lessonO9.htm 3/28/2010

Lesson 7 - The Romantic Era Page 1 of 3

The Romantic Era

Objectives

• Discuss and describe the various changes in music associated with this very prolific and creative period.

Reading Assignment

_"The Nineteenth Century I: Early Romantic Music"

_Chapter 1_, "The Nineteenth Century II: Mid-to Late-Romantic Music"


V_isc 2, Track 59: Franz Schubert: Die Forelle_)isc 2, Track 62: Franz Schubert: Fourth Hovement from Quintet in A Major, D. 667vl_isc 2, Track 69: Fanny Mendelssohn Henseh Lied from Song without Words, Op. 8, no.3v_isc 3, Track 1: Fryderyk Chopin: Prelude in E Minor, Op. 28, for Piano_)isc 3, Track 4: Robert Schumann: Traumerei, from Kinderszenen, Op. 15, for Piano_l_isc 3, Track 7: Franz Liszt: TranscendentalEtude, No. 10, in F Minor

Disc 3, Track 11: Giuseppe Verdi: Othello (Excerpt)Disc 3, Track 15: Johannes Brahms: Forth Movement from Symphony No. 4 in E HinorDisc 3, Track 21: Giacomo Puccini: "Un bel di" from Madama ButterflyDisc 3, Track 24: Gustav Mahler: "Urlicht" from Symphony No. 2 in C Hinor

) Vocabulary

_c_, 'polonaise, __ _r-_prelude _

_AOsymphoDY ' ,_concerto, Z-_ 2-13

cha_racter pieces, _A.:( strophic songs .2q_.programmatic.symphony

]__.through-composed songs _ verismo _ 0

_,grand=opera _3_=id_e:fixe 2_r_opera-comique

•2._:waltz • --___lyric'opera, _(D music:drama'

_orchestrahsong:cycle, _c_ 'leitmotiv" 2_(._'_

Important Composers

_A_ Franz Schubert "_1¢- _t_ Leos3anacek._._'_Hector,Berlioz _ '_ Edvard:Grieg__ Felix_Nendelssohn _.qLoErique Granados_SC_Fanny Mendelssohn Hensel _c_,]saac Albeniz2.aJ=i.Fryd eryk_Ch opin _cl{._,Man uel de:Fa Ila2(._7_Robert Schumann _.°l(._Camille ,Saint-Sa Ens

_(_(_Clara Schuman-ri _Gabriel Faure•_,q_.Franz Liszt _V._ Pyotr =llyich _Tchaikovsky_

_l Giuseppe VerdF_" ,_OOJohannesoBrahms

Lesson 7 - The Romantic Era . Page 2 of 3

_Richard'Waghe_f'_ " / _ Giacomo.Puccini_'_Modest:Mussorgsky _Jt| Gustav.Mahler

'_ntonin:Ovorak- _ Bedrich Smetana"

Study Notes

The Romantic era has produced some of the most universally loved pieces of music in all history.You will no doubt notice the number of important composers has increased exponentially. Recently,the world was swept away by the sheer grandeur of The Lord of the Rings Trilogy. As I sat in thetheater, I must confess to being completely overwhelmed by the sense of adventure the filmmakerscreated. The power, beauty, and dangers of Middle Earth were so real, I felt as if it were a real placeI could step off into, rather than just a creation of an amazing intellect. That was the goal of theRomantic composers. The days of Mozart, the powdered wigs, faces, and palatial rooms with theiropulent facades are gone, fallen under the weight of the American and French revolutions. Peopleare no longer interested in pretense; they want spectacle and wonder. They want stories thatresonate with real human passion that remove them from their day-to-day drudgery.

We find a variety of things happening in the period; composition becomes both larger and smaller atthe same time. The smaller compositions are a result of the new middle class, the merchant classthat has suddenly found wealth. It was not uncommon for their children or wives to take music

lessons. The need for compositions designed to be played in the intimacy of a home or parlor for thepersonal enjoyment of the amateur musician opened up a whole new avenue for composers. Thisdoes not suggest these were simple compositions in any sense of the word. Although amateurs inthat they did not maintain their livelihood through performance, many were very accomplished andthe pieces are quite challenging. But, there was a growing class of professional musicians wholimited their study to one instrument, to become so proficient on it as to be the undisputed masterof it. The great violinist, Paganini, who was reported to have sold his soul to the devil in exchangefor his talent, was one of the first international superstars of music. He inspired others, like Liszt ..... "_and Chopin, to create for themselves equally stellar careers. Composers were delighted to supply,these titans with extremely difficult music that not only showed off the performers' abilities, butcreated fame for the composers, as well. Many of the concertos written in this era are still regardedtoday as mainstays of the repertoire and are performed widely around the world.

Opera, with its predilection to the spectacular, flourishes as well. Many of these operas are wellknown to even the most novice music lover. Madame Butterfly and La Boh_rne are two Puccinioperas that have been used by Hollywood in countless motion pictures because of the timelessbeauty of their stories. And who can forget, "Kill the Wabbit?" Friz Freeling's almost irreverent saluteto The Ring Cycle has made it more of a household word that Richard Wagner ever could. Themodern art of film music owes much to Wagner. Our strong association of characters with thememusic is a direct result of Wagner's vision for his musical dramas. And, harkening back to ouropening, I am sure that Tolkein in his desire to create a mythology of Middle Earth, took many cuesfrom Wagner. There are many similar elements in both stories, and both men were dedicated topreserving the legends of their people. And what would Christmas.be without the Nutcracker? Icould go on, but the point is that many of the pieces that we collectively hold dear to us come fromthis very exciting period of music.

A

Supplementary Activity rqp

Notice how the concept of leitmotiv has created film music. This can be noticed my readily in the qStar Wars Saga, The Lord of the Rings Trilogy, and other films that employ classical scores. Many ofthe pieces from these chapters are also used in cinema, television and advertising. See how oftenyou can identify a piece.

Lesson Assignment

Lesson 7 - The Romantic Era Page 3 of 3

Complete Lesson 7 Assionment.


VOCABULARY

Enlightenment. A "philosophical movement/led by the great FrenchphilosopherslVoltaire!andiRousseau _.They attempted toapply principles of scientific objectivity to issues of social

justice. The enlightenment favored the _m_ the_[dTvne,_reas_opOrer r_._o_,.a_.nd_ ty_v__R tt_.

Opera Buffa Comic opera - In ItalyOpera Comique Comic opera - In FranceSingspiel Comic opera - In GermanySymphony The_mgst_important_genEe of instrumental music in the

Classic era. The symphony beg_its life a_s_an_intr_oducto_y

pieceLt0]Italian_. The most !rnPortant ce0ter ofsymphonic composition and performan_ze in-the earlyClassic era was Mannheim, in Germany.

Overture An instrumental$ifit-f6_d_ctionin three st$ort movements:fast-s/ow-_. The Italian name for this type of operaoverture was sinfonia.

Sonata Form The most important single-movement form in Classicmusic. This form was used for almost all _t_of Classic instrumental music. Although it is called sonataform, it was used for the first movements not only ofsonatas, but also of symphonies, string quartets and manyother genres. Sonata form is intellectually demanding, andcomposers used it for their most _-ri6_u-sidea-_.

Exposition One of the three sections of sonata form. Expositionbegins in the tonic key and presents the _p.en]ng_mate-r_lof the piece. Then it moves to a second key and presentsnew material in that key. The exposition ends with a clearcadence. In Classic sonata-form movements, theexposition is_orm_y playe-d-tvvi(_e-?

Development One of the three sections of sonata form. Thedevelopment section_xplores many diffe_-fit_keys'. Itusually moves quickly from key to key, has a great deal ofcounterpoint, mixes up short phrases of the previousmaterial, and is generally q_uuitet_b-uLent_.Thedevelopment leads dramatically into the recapitulation,usually without an intervening cadence.

Recapitulation One of the three sections of sonata form. Recapitulation[_-_i_g__b-E_t_ll_'rie_'music__of_-tl_@_xp_i_!oq_but with onecrucial change: The material that was previouslypresented in the second key is now played in the homekey, so that the movement can end in the key in which itbegan.

Aria Form ._c-_l_ _ '

movement of a sonata, a symphony, or a string quartet.This movement is designed to be lyrical and songlike. Ariaform is ABA, with a slow, lyrical opening section.A {melody and first key)B (new melody, new key)A (repeated, often embellished)

Minuet and Trio Form Is the standard form for third movements in sonatas,

"...... Most important characteristics:

-_E_-O _vE_- -It is always in a 3/4 meter[I_-E_T- 0F-SY_H-0_y_ -It has a moderate tempo

-It is always in ternary form (minuet-trio-minuet)-The trio always presents come kind of contrast to theminuet

Rondo Form _ used for the last (([ourth) m'ovem_ent of

symphonies, " Rondos are_fT_ with a _j_.J_.t._h._tune that keeps onreturning or coming round again.

COMPOSERS

Johann Stamitz - (p.170) The concertmaster and conductor of the

Ma_rlbeim orchestra who was famous for his rjgor0us discipline_ He was alsoa prolific composer who wrote more than sixty symphonies. His symphoniesestablished the norm for the Classic symphony for the remainder of theeighteenth century.

Franz Joseph Haydn - (p. 175) Hadyn was born in Austria and spent hischildhood in Vienna as a choirboy. He worked most of his life in Esterhaza,where he was the Prince's music director until he was 60 and a new princecame into reign who didn't appreciate music. By this time, his work wasinternationally known and was considered one of the greatest composers ofthe age. Hadyn's music was regarded as genial and lively, and much of itsdepth, wit, and brilliance went unnoticed.

Wolfgang Amadeus Mozart - (p.182) For most listeners, Mozarts music iseasier to appreciate than Hadyn's. Compared to Hadyn, Mozart wears hisheart on his sleeve. His music is more colorful, more intense. He was born

into a musical family and his father dedicated his entire life to helping hisson, Wolfgang, succeed. His father considered him to be "this miracle Godhas caused to be born in Salzburg." Mozart had much difficulty finding a jobuntil he finally decided to freelance and became one of the most brilliantmusicians in history. Mozart was highly successful, won great fame, andmade quite a lot of money. He became ill and died at the young age of 35.

Leopold Mozart - (p.182) Mozart's father. He was a distinguished violinistand composer who held the post of deputy music director at the court of thePrince-Archbishop of Salzburg in Austria. He was also the author of animportant book on violin playing. He decided to devote his career topromoting the abilities of young Wolfgang. He referred to his son as "thismiracle God has caused to be born in Salzburg."

Ludwig van Beethoven - (p. 198) Beethoven was born in Bonn, Germanyto a family of musicians. When he was 22 he moved to Vienna to study withFranz Haydn which didn't last long, but he did begin giving his firstperformances and compositions (mostly keyboard and chamber works). Atthe age of 32 he first discovered he was losing his hearing and contemplatedsuicide but decided his first responsibility lay with his music. Even afterbecoming totally deaf, he was unable to perform or conduct, but continuedto compose until the end of his life. He could hear everything inside hishead.

MUSIC - NEED TO KNOW

• Music for Lesson 6o Disc 2, Track 12: Haydn: Minuet and Trio from Symphony No. 45

in F-sharp Minorl-Io Disc 2, Track 17: Haydn: Fourth Movement from String Quartet,

Op. 33, No. 2 in E-flat Majorl-1o Disc 2, Track 20: Mozart: First Movement from Symphony No.

40 in G Minor, K. 5501-1o Disc 2, Track 28: Beethoven: Six Easy Variations on a Swiss

Tune in F Major, WOO641-1o Disc 2, Track 37-51: Beethoven: Symphony No. 5 in C Minor

._ I_1"

.. CHAPTER 7&B NOTES

From Absolutism to Enlightenment to Revolution• The 18 th century was a time of profound social and political change.• Began with death of the most powerful absolute rule in Europe = Louis XIV of France• The whole period was colored by the philosophical movement known as the Enlightenment.• T_he Enlightenment]

o '_ge of Reason" - applied scientific method to human societyo Favored:

• Human over divine

• Reason over religion• Clarity over complexity

o Tried toimprove• Education

• Eliminate prejudice

• Break down class structure that separated people from one anothero _l!,mg_a_e cr,eated eq_ - Valued individual freedom and_equal3 over the older class

system.

• Vienna was, by the end of the century, the musical.center_of_Europe.• Enlightenmen_

o England had a thriving economy - rich aDd varied culturedo People claimed f£eeeeexpre_ssion and le_isure time as their own.o "Liberty, Equality, Brotherhood"

• Brotherhood was the concept behind many new organizations founded in theeighteenth century.

• This idea of brotherhood did not include women - Very few became important rolesin society, but many were accomplished music teachers, singers, instrumentalistsand authors.

The Musical Public

• The flourishing economy created a large and prosperous middle class.

• Peoplefelttheywere entitled_to=privilegesandculturaldivers.ions '•. Public Concerts became the primary musical forum - whereas before private courts and saloons

were the only places music was performed.

• There was also an increase in the number of musicaLconsu_rners• Middle-class men and women wanted to learn to play music themselves

• This social change affected the status of performers and composers - some began to make a livingon their own = Haydn.

• [_T_p_fin-_jwas even hffected by publico Now designed to appeal to a broader public. It has to be lighter, clearer, and_more

a ccessibl_e.o Easier_tolisten to and easier to play.

General Characteristics of Classic Music

• Primary Feature of Classical Music:LBal_dpropoFl_io-_,cl_ity_d_iT6ilit _• Classic music was a reaction to the complexity of Baroque music.

o Has only: Accompaniment and melody.• Technical Aspects

o B_alalan-cedmelodicphrase_ - the length is much shorter than that of baroque music. Usuallymade upofonly2 or 4 bar phrases.

• Makes music more clear and balanced

• Establishes regularityo _l_ - harmony is simple, logical, and clear.o t_l$_pani_ - use the simple "walking bass," where bass line moves mostly by •

step.

Genres of Classic Music

• Genres = opera, symphony, string quartet, and sonata.o . Mozart = piano concertos and string quintets

• All secular

• Operao People criticized Baroque opera as artificial, which resulted in NEW opera --) Comic Operao Cgmic_Qpera = features simpler music, down-to-earth characters, and amusing plots.

• Symphonyo _j_mportantgenr_ee of instrumental musico Haydnand Mozart

o Most important center_of:sy__mphgnic co_mmpositionand performance = Mannheim,Germany.

• This is where the orchestra of Johann Stamitz was supported.• He established basic structure of Classic orchestra: Strings, Woodwinds, and

Trumpets and Drums.• Chamber Music

o Music designed to be played in smaller rooms - mainly popular types: String Quartet andThe Sonata.

o String Quartet - two violins, a viola, & a cello• Provides balance between high and low instruments• All instruments belong to same family--) blend smoothly• Follows pattern with 4 Movements:

• Fast and serious

• Slowand lyrical• Graceful

• Livelyo Sonata - keyboard or keyboard + I instrument

• Contains some of the most interesting music• Have improvisatory effect

Convention in Classic Music• Because of strict social culture - music also had strict rules

• Classified by:o Instruments used for particular types of workso The number of movements

o The approximate length of each movement

o The keys usedo Also controlled the form (sonata form, aria form, minuet-and-trio form, and rondo form).

• Composers were respected not for their originality of their work, but for its quality.o Why Haydn and Mozart stand out - demonstrate the most skill, the greatest

resourcefulness, and the widest range of expression.

Forms of Classic Music

• _ For_o Most important single_-movement form

cl .

o _movement'= : formo Used this for their most_ideaso Most important to listen to beginning sectiono Has 4 Sections:

• Exposition• Development• Recapitulation• Coda

• _A_i_Form]oo Used for the second moyement- usually slowo _-yr i_ l-a_d _-oh-glik_o ABA form

• _d:TFi6-Fb¥_o Is the standard form for third_movements in sonatas

• Omitted from piano sonataso It is two parts that are repeated: AABBo Important characteristics:

• It is always in a ¾ meter• It has a moderate tempo• It is always in ternary form (minuet-trio-minuet)• The trio always presents come kind of contrast to the minuet

o Used forthelast(fougth)moyementl

o Fairlyfast,witha_r c_h_e thatkeepson returningorcoming round again.• F BA-C D-A7

The Early Classic Period• A new musical style began to appear that was lighter, more accessible, more varied, and less

demanding = Galant

The Classic Masters

• Franz Joseph HfHay_o Born: Small village in_Aus_o Choirboy in Vienna till voice changedo Made his own living and made plenty of connections for future careero Hired as assistant director to the household of Prince Paul Anton Esterhazy - promoted to

music director till new Prince who did not like music and disbanded orchestra

o Haydn at 60 moved back to Vienna.• Haydn's Music

o Regarded as genial and lively, and much of its depth, wit, and brilliance went unnoticed.o In the middle of his career he began to display a mood of melancholy and longing that has

not been there before.

• He abandoned this after a few years because prince did not like it.o Haydn liked to play tricks on his listeners

• False recapitulation• His _jJoke_Quartets_

• Wolfgang Amadeus[_.,____o Easier to appreciate than Haydn's Music.

• _ _ _._--o Wore his heart of his sleeve -) More _olorfdland move _ntense_o Born into a musical family --) Leopold Mozart was his father.

• Father decided to devote his career to promoting the abilities of his son.• Almost lost job due to this

o Wolfgang was uniquely, breathtakingly gifted.o Began c-o__mpo_q_sm/gOt4_ge_.o Wherever he traveled to, he picked up the musical style of the region and of the prominent

local composers.o Finding Mozart a job was not easy

• Employers said he was "overqualified" for positionso Finally, worked at the same place as his father but was not happy there. He was given a

promotion, but after one incident was outraged and he demanded his release.o _He then began his freelance career

• Imitated and dedicated style to Haydn's string quartetso Greatest achievement in his_

• Display understanding ofh. uman_nature and all its richness.o Died at 35

• Mozart's Music

o Accessible and profound

o Explore the great themes of human existence: lije and death, love, tragedy, romance,desp_a rapdhope.

o Truly "Classic" music

Ludwig van_• Like all great artists who live at a time of change, Beethoven was both a beneficiary of that change

and partly responsible for it.o Child of one era and the founding father of another.

• Early Lifeo Born: IB_G_-V_o Family of professional musicianso Moved to Vienna to study with Franz Joseph Haydno He hated being dependent and often refused to play for whom he was working for.o Deafness

• Made his music feel melancholic• Became increasingly introverted and antisocial• Contemplated suicide, but decided that his first responsibility lay with his music.• Deafness prevented him from performing and conducting, but he continued to

compose• Could hear everything inside his head.

• " The Heroic Phase

o Idea oftri_umpho.ver adyersity _l[o Determined tooq_evercome.all_life_s_problemso Compositions were very long- most distinguishing feature.o Became very famous_very_althy in this middle periodo Known for being strong and patriotic

• Also dramatic and powerful

• Personal Crisis and Halt to Productivityo Brother died and custody of nephew was given to Beethoven after a long struggle.o Karl, however, was unhappy with his uncle's strict rules and tried to kill himself.o After this, Karl was sent back to live with his mother and later joined the army.

• Late Years

o Last 3 years =o_lystring quartet_• His greatest and most difficult music

o Music was veryricho No longer concerned with drama and heroism, but with pursuing the path of his own

creativity.o Demanding and difficult to listen to.o Died at 56.

Beethoven's Music

• Represented as serious music• Stylistic ("fingerprint") traits:

o Lo_ngpowerfulcrescend_thatseemtocarrythemusicinexorablyforward.o Themes that sound exact!y right__played quietly and very loudo Dramatic use of classic structures such as sonata form

o Sudden key chan_that nonetheless fit into a powerful harmonic logic

Lesson 5 - The Baroque Era _Page I of 3

The Baroque Era

J_Objectives

• Discuss your listening experience and provide an overview of the following compositions:

Monteverdi: Excerpts from OrfeoPurcell: "Dido's Lament" from Dido and AeneasVivaldi: "La Primavera" from The Four SeasonsBach: St. Matthew Passion

Handel: "Halleluyah Chorus" from Messiah.

Reading Assignment

Chapter 6, '%he Baroque Era 1600-1750"


Disc 1, Track 40-42: Monteverdi: Excerpts from OrfeoDisc 1, Track 43: Purcell: "Dido's Lament" from Dido and AeneasDisc 1, Track 47: Vivaldi: "La Primavera" from The Four SeasonsDisc 2, Track 1: Bach: St. Matthew PassionDisc 2, Track 8: Handel: "Halleluyah Chorus" from Messiah.

Vocabulary

o Baroque basso continuo o concerto

* recitative - operas " aria

° cantatas - program music . sonatas

• prelude • fugue chorale

o da capo *oratorio castrato

- Passion

Important Composers

Claudio Monteverdi I_. _

Henry Purcell I'_OArcangelo Corelli I_'_-I'_

Antonio vivaldi_ - _j_ 41Johann Sebastian Bach I'_--I #_'_George Frideric Handel,s_ Ir'_

Study Notes

When ] said previously that I Coved the Renaissance it was only because we had not gotten to the

http://leam.ou.edu/content/enforced/751309-22881.200920/lessons/lesson05.htm 1/26/2010

Lesson 5 - The Baroque Era Page 2 of 3

Baroque. You will be pleased because we will finally be talking about music and composers that youhave heard of. The familiarity will be welcomed, I am sure. The Baroque period has three distinctsections: the early, middle, and late. It is mostly the late Baroque composers with their wildlycontrapuntal polyphony and driving rhythms that are the most well known. The poor middleBaroque composers are all but forgotten.

The early Baroque is all about opera. They were weary of all the complex polyphony of the lastrenaissance that was, in their opinion, obscuring the meanings of the words. There was also arenewed interest in the writings of the Greek masters. If you have ever read a Greek play, likeOedipus or Electra or Agamemnon, you will hopefully remember that often there was a choruswhose job it was to make moral judgments about the actions of the main character. The reasoningof these gentlemen and a few ladies who had arranged themselves into "camaratas" was that thesechoruses should be sung rather than spoken, and thus became the first operas. Early operas werealmost exclusively on mythological or historical subjects, and employed a new kind of singing, themonody. Monody is difficult to describe, except that is not very melodic and is very much tied tothe text. Eventually, the monody gave way to more melodic singing, as we have in the Monteverdiand Purcell examples. Opera is divided into two main sections: recitative and aria. Recitative is likethe dialogue in a play, helping to move the action and events of the story forward. The aria is theplace where all the emotional energy is spent. There is no better example of this than "Dido'sLament" when Dido is preparing to commit suicide, and seeking comfort from her friend, Belinda.

The oratorio was written to combat the popularity of opera. Opera performance was prohibitedduring the feasts of Lent, which lasted for 40 days, and Advent and Christmas, which lasted justabout as long. That left 80 days or so that composers, singers, and instrumentalist could not makeany money. The church also frowned on Opera because of its emphasis on pagan and immoralinfluences. Early attempts at religious opera failed, and they were subjected to the samerestrictions as secular opera, but composers eventually stumbled on a formula that generallypleased everyone. Oratorio is similar to opera in that it uses solo singers to tell stories usingrecitative and arias, but has no costumes, sets, lighting or other special effects. It also has largechorus parts that help in telling the story. And, of course, it uses Biblical stories. Oratorios wereparticularly popular in England because they could be written in English and were considerablycheaper to produce. Handel and his Messiah is undoubtedly the most famous example from thegenre.

The religious music of Bach is steeped in the Lutheran church. The St. Matthew Passion, based onthe last days of .Jesus Christ, is one of three that Bach wrote. The Passion is similar to oratorio inthat it tells a religious story, using soloists to portray characters and choruses to expand onemotional content. After listening to Bach's musical interpretation, you might compare it to themusic in Mel Gibson's film, The Passion of the Christ. Because Bach spent the preponderance of hislife as a church organist, much of his compositional output is for that instrument. Reportedly, hesat at the keyboard on Sunday mornings and improvised some of the most complex pieces ofmusic.

Supplementary Activity

The French film II Farinelli is about one of the most famous castrati. While it is a weird film in its

subject matter, it has some really beautiful and historically accurate recreations of opera of theperiod, as well as a highly realistic portrayal of George Handel. If it is near Christmas, see if youcan attend a performance of Handel's Messiah.

_ Lesson Assignment

Complete Le_sspn__5 Assjg nm e nt.


http://learn.ou.edu/content/enforced/751309-22881.200920/lessons/lesson05.htm 1/26/2010

Lesson 5 - The Baroque Era Page 3 of 3 1

TOP


http://learn.ou.edu/content/enforced/751309-22881.200920/lessons/lesson05.htm 1/26/2010

- • Lesson 4 - The Renaissance Page 1 of 2

The Renaissance

Objectives

• Discuss the nature of the Renaissance: a rebirth in music, art, and literature, and a renewal of interest inthe philosophies of ancient Greece and Rome.

Reading Assignment

Chapter 5, "The Renaissance 1400-1600"


Disc 1, Track 29: Aquinas: "Pange Lingua" (Hymn)Disc 1, Track 30: Desprez: "Kyrie" from Pange Lingua MassDisc 1, Track 31: Palestrina: "Exsultate Deo"

Disc 1, Track 33 and Track 34: Morley: "Sweet Nymph Come to Thy Lover;" "Fire and Lightning"Disc 1, Track 35: Gabrieli: "Canzona Duodecimi Toni"

_ Vocabulary

Renaissance imitative polyphony Counter-Reformation

madrigal word-painting conzona

Important Composers

.lohn Dunstable _C_O-tO_Guillaume DuFay

: Josquin Desprez _O_.Giovanni Pierluigi da Palestrina I O_'- |O_Thomas Horely 1l_,I|lMaddalena Casulana:_ b II_

Giovanni Gabrieli _91Tielman Susato |l_-I_

Study Notes

I love the music of the Renaissance. It is so lively and fun. Composers had great fun with textpainting. Many of the madrigals of this era utilize this element, which attempts to solidify themeaning of the text by having the actual music emulate whatever it says..If it talks about clouds,stars or other celestial objects, the vocal line will be high and lofty sounding. Words about the tearth, death, or other terrestrial matters tend to be low and grounded. And there are a myriad ofoptions in between these two! ! know of one madrigal that is all animal sounds, with the sopranosas birds, the altos as cats, and the tenors as cows. What great fun this music was. It was designedfor participation. After dinner, the part books would come out and people would sit around the tablesinging madrigals. Could be a great activity next time you have guests that linger too long!

Church music of this time is some of the greatest ever written. In the aftermath of the Reformation

http://learn.ou.edu/content/enforced/751309-22881.200920/lessons/lesson04.htm l/26/2010

",-- --Lesson 4 - The Renaissance Page 2 of 2

and the Counter-Reformation, composers found new inspiration for their energy. The new imitativepolyphonic style was more melodic and tuneful than the organum of the previous centuries. InGermany especially, the Lutheran movement, with its emphasis on hymn singing sparked moresimplistic music in the vernacular of the people. One of the more interesting aspects of polyphonicmusic of this era was the use of the cantus f'trmus. The cantus firmus could be a chant, but oftenwas a piece of a popular tune that the composer used to construct a wholly new composition. Thisis not unlike what happens in popular music today, when a disco classic or some other "old" song isrecycled with new lyrics and melody woven through it. Modern artists probably think they are beinginnovative, but truthfully this technique is almost 1,000 years old! There really is nothing newunder the sun!

,4L

Supplementary Activity TOP

Attend a Medieval fair or a Renaissance fair.

Attend or rent a Shakespearean play or another play of the era. Notice how music is included inthe production.

Lesson Assignment

Complete Lesson 4 Assignment.


TOp


I

http://learn.ou.edu/content/en forced/751309-22881.200920/lessons/lesson04.htm 1/26/2010

- The Middle Ages Page l of 2

The Middle Ages

Objectives

• Begin to discuss and describe the early music of Western Europe, as performed in the Catholic Church

Reading Assignment

Chapter 4, "The Middle Ages 400-1400"


Disc 1, Track 24: Anonymous: KyrieDisc 1, Track 25: Dia: A chanterDisc 1, Track 26: Perotinus: Videmunt OmnesDisc 1, Track 28: Machaut: Doulz Viaire Gracieus

Vocabulary

• plainchant • lute o troubadours

• vielle liturgical . Mass: Kyrie

. secular Gloria . strophic

Credo . caccia Sanctu

• rondeau Agnus Dei - toe1

Importan t Composers

• Leonius• Perotinus• Guillaume de Machaut• Beatriz de Dia

Study Notes

You will notice we have a new category for this chapter, that of important composers. From thispoint on, you will be learning about the men and women responsible for creating these great worksof art. There are very few from this chapter because of the anonymous nature of most of themusic, but in subsequent chapters you will find quite a few. Some will be familiar, and others willbe new. When you are study the biographical information, make note of their country of origin,important places they worked Orstudied, compositions that are considered important, and otherinformation that might be considered interesting or distinctive. An example of this is Beethoven'sdeafness, or Bach's blindness, or Tchaikovsky being married to a woman he never mat.

Most the music that has survived this period was written for a particular purpose. The vastmajority was for the Catholic Church. These beautiful and mystical chants were relegated to the

http://learn.ou.edu/content/en forced/751309-22881.200920/lessons/lesson03.htm 1/26/2010

Lesson 3 - The Middle Ages Page 2 of 2

cathedrals and churches of Europe, and the music of the common people has for the most partbeen lost. We know that music played an important role in day-to-day life, as we haveiconographic evidence in books, murals, and tapestries. The elements of the Mass, The Kyrie, theGloria, the Credo, the Sanctus, and the Angus Dei, will eventually become galvanized into a purelymusical form away from its religious origins, so it is important to keep them in the back of yourmind for future reference.

In many ways, the music of the next two chapters will be the least familiar to you. This can makelistening and understanding it challenging. It is important toremember that this music is at theinception of everything you listen to, even rock and roll. All of it owes its existence to the music ofthis era. Many students are surprised to find a hypnotic beauty in its ethereal quality. But it cansound strikingly similar, so be careful. Since most of this music has words, and most of the titlescome from the first word, concentrate on the texts to help you identify the piece and composer.

Remember that like much of the music from the first chapter, most of this music was written for apurpose beyond that of pure entertainment. In many ways, music as pure entertainment is aproduct of the 19th century, and certainly would be alien to the people of this era. It is importantto realize that the socioeconomic makeup of Europe at this time has a dramatic effect on the musicthat survives. No one believed for an instant that people in the field digging turnips were singingGregorian chants, but most of the people were illiterate with no way to record their music. We areleft with iconographic evidence--murals, tapestries, and paintings--that suggests music was playedand enjoyed by all classes of people, but the only written musical examples we have come from theRoman Catholic Church and the troubadours and trouveres of France. The elements of the Ordinaryof the Mass are important, not just from their religious perspective, but because they areeventually going to evolve into a musical form that composers will use apart from the liturgicalsetting in a purely concert form. Just as poetry has forms like sonnets or haikus or limericks, musicalso has forms that composers closely follow. The Mass will become one of the longest enduringforms. Even today, composers still compose along these Mass elements.

Lesson Assignment

Complete Lesson 3__Assig_nment.


top


http://learn.ou.edu/content/enforced/751309-22881.200920/lessons/lessonO3.htm 1/26/2010

•qs .Lesson 3 Assignment - MUNM-1113-450 - The Understanding ofMusic - University of... Page 1 of 3

rnstructions Lesson 3 Assignment

, The results that are i _ Quizzes Home ._]" Summary _ Submissions L_g_J Reportscurrently available foryour attempt are listedto the right•

, L_ege_nd _ _

Correct Response Alexandra Richoux (username: rich4105)

, _ Incorrect Response _ •

c_ Correct Answer O To submissions

Attempt 1

• Written: Feb 5, 2010 10:11 PM - Feb 5, 2010 10:54 PM

Submission View

Your quiz has been submitted successfully.

Question 1

Long Answer:Answer the following question(s) as completely as possible.

O _.Define liturgi_.Liturgical is the kind of music that was designed for use in the Christian (Roman Catholic) liturgy.also composed for events of semireligious character, such as possessions and coronations Mostand ceremonial music is vocal music. The melodies are very smooth and flowing.

The correct answer is not displayed for Long Answer type questions.

@ Hide Feedbac_k

: _ medieval period designed for use in the Roman Catholich Chruch. t

Question 2

O IDefine secular]Secular means "nonreligious." It describes one of two innovations that evolved during the later meIt had vital consequences for the entire later history of Western music. The topics included new id_love. political loyalty, or dancing. This broadened the scope of music immensely.


(_) H__cleFFeedback

Question 3

Plainchant is defined as the vocal music for the church services from the early Middle Ages. Many"Gregorian chant" aller the famous Pope Gregory I. During the early middle ages, thousands of chcomposed. Plainchant is monophonic: only one line of music is performed at a time. Sounds limitirplainchant is extremely varied. It varies in range from simple melodies to highly elaborate ones, th_singers can change, or the text can be set in different ways. Lastly, the most important element of

by the system of melodic modes, i

The correct answer is not displayed for Long Answer type questions•

Hide Feedbac._k

Plainchant is monophonic vocal music for church services from the early middle ages-'},r

Question 4

O _ the troubadours?)

http://_earn__u_edu/d2_/_ms/quizzing/user/quiz-submissi_ns-att_mpt_d2_?isprv=&qi=8725_.__2/18/2010

.,, . Lesson 3 Assignment - MUNM-I 113-450 - The Understanding ofMusic - University of... Page 2 of 3

I

Troubadours ware Poet-musicians who composed songs for the performance in the many small mcourts of southern France. They wrote their own poetry and music and the subjects they favoredfriendship, ceremony and poetry itself. Primary topic was courtly love. Most troubadours were menwere a few songs written by women troubadours.


@ Hid# Feedbac_k

_rwetfth century poet-musicians who composed songs for performance in Southern France./

Question 5

O [Define ceccia, lA favorite kind of Italian song. The name is a play on words - caccia means "hunt" and the song ohunting scenes. But ceccia also means a musical round, in which the voices sing the same musicdifferent times. This gives the impression of a melody "chasing" itself. Italian ceccias are great funvery realistic and lively.


Hide Feedback

FAn Italian song whose name means to hunt and often described outdoor hunting scenes/

Question 6

O _.Define rondeau IRondeau is a kind of peDro when the refrain comes at the beginning and at the end, and its first linmiddle of the poem too.


HideFeedback

IA poem that has a 2-line refrain.]

Question 7

C) _Define viell_• • A vielle is a bowed instrument used in the Medieval period (looks like violin placed in lap).

The correct answer is not displayecl for Long Answer type questions.

Hide Feedback

_A-bowed string_

Question 8

A lute is a plucked instrument similar to a guitar.


Hide Feedbac_

[Apl_ked in_t _imila r to'ag uitars]

Question 9

O IGive a brief biography of de Machaut/Machaut was a French master composer. Educated at Rheirns (NE France) and was soon well kn jadministrator, poet, and composer. Had a very busy and productive life. Wrote some sacred music qIwere polyphonic secular songs. His musical style is both subtle and intense.


Question 10

O _nef biography of de Dia'.Beatriz de Dia, also known as Comtessa de Dia, lived in the late twelfth century. She was the wifeof Poitiers and the lover of a well-known nobleman, who was himself a troubadour. She was also.,

http://_earn_u_edu/d2_/_ms/quizzing/user/quiz-submissi_ns-att_mpt_d2_?isprv=&qi=8725_ 2/18/2010

.Lesson 3 Assignment - MUNM-1113-450 - The Understanding of Music - University of... Page 3 ot"3

composer of "many good songs."


Question 11

(_ [Li,_tento "A chanter"'(_i_ 1 track 25)and "Doulz Viaire Gracieus" (disc I track 28. How do thetext'compare to contemporaryIove'songs?F-_

I believethat thete_t-f_m- A_hanter" is very similar to contemporarylovesongs, however,the m=more like folk musicthan that of today. I can compare the textof thissongto many countrysongsasTaylor Swift'ssong,PictureTo Burn.The musicof thispiece, althoughcalming and beautifulistraditionalthan it is today.Doulz Viarire Gracieus, on the otherhand, remindsme verymuch of liturgicalmusic.The text, by ="faithful"even remindsme of speakingto God. I believe thissounds a lot likepresent day musicI Ibut I wouldsay it is stillverydifferentfrom contemporary 10vesongs in both the text and musicals,


Attempt Score: 25 /

Overall Grade (highest attempt): 25 /

http://leam_u_edu/d2_/lms/quizzing/user/quiz submissi_ns-at_empt_d2l?isprv=&qi=8725_._ 2/18/2010

- -Lesson 4 Assignment - MUNM-1113-450 - The Understanding of Music - University of... Page 1 of 3

Instructions Lesson 4 Assignment

.Thorasuitsthatara Qoi=aHome L su, missions_0;lRapo,currently available foryour attempt are listedto the right.

Legend

Alexandra Richoux (username: rich4105),_ Correct Response

Incorrect Response O To Submissionst:_ Correct Answer

Attempt 1

Written: Feb 12, 2010 12:47 PM - Feb 12, 2010 1:34 PM

Submission View


Question 1


O [Define Renaissance!(1400-1600) Renaissance means "rebirth" and is used to indicate that during this period there wa=interest in the humanistic values of classical Greece and Rome. Music played an important role in

society. The overall sound is much smoothei and _nore homogeneous with less contrast than musmedieval times.


@ Hide F_6b_a_q_k

Question 2

• O [Define Reformation,]Reformation was the protestant movement that was begun by the Ger_nan theologian Martin Luth(marked ultimately by rejection'or modification of some Roman Catholic doctrine and practice and t

of the Protestant churches.']:he Counter-Reformation then began partly in reaction to the ProtestaReformation:. ,- :-'.


Hide Feedback

htThhe movement by the German theologian Martin Luther in reactio_-to-_isu-_'sE£]

protestant began

e catlloiic Church;_'-_-1

Question 3

0 Define imitative polyphony.Imitative Polyphony is a form of polyphony in which all the musical lines present the same musicalafter the other. As each line enters, the previous ones continue, so there is a constant sense of ovstrictest kind of imitation is a round, in which all the voices sing exactly the same thing in turn. Butis much freer than that. "I


Hide Feedback

_rent melodic lines are performed at the same time, but each line presents the same musical-/

, __/

Question 4

http://_earn_u_edu/d2_/_ms/quizzing/user/quiz-submissi_ns-attempt_d2_?isprv=&qi=87251 ... 2/18/2010

-Lesson 4 Assignment - MUNM-I 113-450 - The Understanding of Music - University of... Page 2 of 3i=

O _ve a brief biography of John Dunstable.]

John Dunstable was an early Renaissance composer of England. Although born in England, he s;years in France at the height of his career. He wrote music of great beauty and sophistication, hisoften unifed by musical phrases that recur in different movement; his motets are based on Latin t_taken from the Bible or designed to celebrate an important civic event; and his secular songs are tpart gentle love songs in French or galian.


Question 5

O _ive a brief biography of Guillaume DuFay/Guillaume DuFray was an early Renaissance composer of France. Was born in northern France bextensively throughout Europe and spent many years in Italy. He was therefore exposed to the velmusical styles of northern and southern Europe and played an important role in bringing about afttwo in his own music. Like Dunstable, he wrote music of great beauty and sophistication, his massunified by musical phrases that recur in different movement; his motets are based on Latin texts elthe Bible or designed to celebrate an important civic event; and his secular songs are usually thre(love songs in French or Italian.


Question 6

_'Ust the elements of the Ordinary of the MasS..]O

The five elements that make up the Ordinary of the Mass are: the Kyrie, Gloria, Credo, Sanctus, a


@Hid_ F_ed I_ack

_yde, G/one, Credo, Sanctus, and Agnus Oei 1

Question 7

O TGive a bripf biography of Josquin Despr_. 1Josquin Desprez was the most versatile and gifted composer of the mid-Renaisance. He was fror_France and spent much of his career there, as well as at some of the cathedrals end courts of Ital,,lifetime he became quite famous and rich noblemen were eager to hire him for their households. Jcomposed prolifically in the three main genres of Renaissance music: Masses, motets, and seculabrought tile Renaissance technique of musical imitation to new heights of clarity and flexibility, Thrcharacteristics of Josquin's special musical style are: 1. Simple imitation 2. Overlapping cadencesimitation.


Question 8

O _.DefineCounter-Reformation.Counter-Reformation was a time of Catholic reformation beginning with the Council of Trent. The (Reformation was not primarily concerned with music, but music played a role in the deliberations ¢reformers. The Council of Trent was a council of cardinals that met from time to time over a periodyears to discuss needed reforms in church administration and liturgy. Music was discussed only dtyears. The complaints heard included: 1. Secular songs were bring used as the basis for sacred oSingers had become too theatrical and were distracting people form the liturgy, and 3. Polyphony I

too complicated and florid, obscuring the sacred words.


(_ Hi_deFeedbac.__

[_emOVement which began as a reaction to the Protestant Reformation, and partly as t_lt o_sire to reform the Cattlo lic Church fro m withinjF

Question g

O "Define madrigal.]

Madrigal is the distinctive type of secular song in Italy from the late Renaissance. Madrigals are sepieces for a small group of singers, usually unaccompanied. The favorite topics were love, descripand sometimes war or battles. The music for madrigals mingles chordal and imitative textures andreflects the meaning of the text.


htto://learn.ou.edu/d21/lms/ouizzin_/user/quiz submissions atte nt_t.cl2l.isp v=&c i=87251... 2/18/2010

•Lesson 4 Assignment - MUNM-I 113-450 - The Understanding of Music - University of... Page 3 of 3

@ Hide Feedback

SeCula r voca! pieces for a small group of singers, usually unaccompanied, favoring topics _

f na ure, and sometimes wars and battlesj/ -- -- J

Question 10

O Define word-painting]Word-Painfing means echoing the meaning of words in music. It is the musical technique of writin(reflects the literal meaning of a song.


Hide Feedback

Ec_g the meaning of words in music. 1

Question 11

o _Listen to "Sweet Nymph Come to Thy Lover" (disc 1 track 33) and "Fire and Lightning" (disc 1 track S

_y use word painting.in these two example, s? JIn "Sweet Nymph Come to Thy Lover" - the song is very lightand beautiful, which echoes the ima(nymph." Also I felt as if the line where they say 'Where the sweet nightingale" is very emphasizedheavily which makes me feel like the song is calling out to this person and confused as to where t(In "Fire and Lightning" - there is a greater distinction between the music. The first line is very stronin direct correlation with the words "fire and lightening from heaven and hell." Then, however, as v,the second line, the music turns soft and beautiful in reflection of the word "sweetly." This pleasan_continues until the last word of the song. "spiteful," which is sung with dissonance.


@ Hide Fe_edback

rEchoing the meaning of words in musicJL I

Attempt Score: 25 /

Overall Grade (highest attempt): 25 /

http://learn.ou.edu/d21/lms/quizzin_/user/quiz submissions attempt.d21?ist_rv=&ei=87251... 2/18/2010

• Lesson 1 Assignment - MUNM-I 113-450 - The Understanding of Music - University of... Page 1 of 2

Attempt 1

Wntten; Jan 24, 2Of0 5:09 PM - Jan 24, 2010 5:42 PM

Submission View


Question t 2 1 2 points

Answer the following question(s) as completely as possible.

What is the role of the ja/i in the MandiP.acuItureof Gambia and Senegal?

The Jail's rolein the Mandika culture is to be a historianand singerof praises, His job is of paramountimportance due to the high regard of familystatus.Family historyis entrusted in the male jafi, which is a jobnever to be allowed for women. The jail is able to evoke the nobleancestry of a patron or he can turn praise intoinsultand innuendo.He is also called upon to determine questionsof inhedtance.


Hide FeedbacL5

He isa professional musicianthat servesas the historianof the tribe andthe officla_singer of praises.

Question 2 51 5 points

What are the five divisionsofmusical culture?

The five divisionsof musicalculture, as listed in our book, include:(1) NorthAmerica and Europe, (2) LatinAmericaand the Caribbean, (3) Sub-Saharan Africa, (4) the Middle East and North Africa, and (5) Asia and thePacific Islands,These five large areas have something incommon. They all contain cultures that havedeveloped sophisticated,"classical" repertoryof music, played primarily by professionalmusicians.


Hide Feedback

Not_hAmerican and Europe;Latin America and the Caribbean: Sub-Saharan Africa; The Middle East and NedhAfrica; andAsia and the Pacific Islands.

Question 3 2/2 points

'Whatcountry is the origin of the hardingfele?

The hardingfele is a Norwegianfiddle, therefore itsoriginbeing the country of Norway, It is a violin that has beenadapted to folkculture. It hasextra stnngsthat are not bowed,but vibrate when the fiddle is played, Its soundishighly resonantand penetrating.


@ _edt_ack

Norway


How is soundcreated on the mbira?

The sound on the mbirais created by holdingthe pox in bothhands while the thumbs pluckthe strips,The soundis soft, buzzy,watery, plunky.Players are also often able to enhance the buzz by attaching metal bottle tops tothe woed or wrappingsmall pieces of metalaround the tongues The mbira is regarded as sacred by certainthbesand is used to summonthe spiritsof theirancestors, Mbira instrumentalists play a short melodicpatternover and over again untila new change is introduced,which occursover a long period of time.


@ F_ideEe#dt_&cl3_

also Called the "thumb piano",the smallwooden box is held in the hand while the thumbs puckthin metal stdps.


"_._,(_lJ_ A shamisenis a three-strthged, long-necked lute, It is one of the three instruments that make up the traditionalensembleof Edo music,which also includesa singer.

_=_. "_T_ _7 The correct answer is not displayed for Long Answer type questions.

"_f*_-._l "*_ A three-stdnged, longnecked lute from Japan.


htt_://_earn__u_edu/d2_/_ms/quizzing/user/quiz--submissi_ns_att_mpt_d2_?isprv=&qi=872 48___ 2/18/2010

3

Lesson 1 Assignment- MUNM-Il13-450- The Understanding ofMusic - University of... Page 2 of 2 i

What is a ko/o?

A koto is a delicate, thirtoen-stringedpluckedzither. It is oneel the threeinstruments that make up the traditionalensemble of Edo music, which also thdudes a singer.

The correct answer Is not displayed for Long Answer typequestions.

_) Hide Feedba_;_

A kyoto is a delicate thirteen-stdngedpluckedzither.

QuesUon 7 tO 110 points

Tell me aboutyourself, and how musicdefines your place inculture. Includeyour age. musical tastes,experiences, religiousor ethnic backgroundwhiChmight shapeyour personalmusic choices.

My name is Alexandra Nathalie Richouxand I will be turning21 in exactly2 weeks! I prettymuchenjoy all typesof music besidesscreaming and hard metal, whichI cannot stand. My favodte is probablycountry. I have grownup catholic and therefore prettyconservative. My mom's sideof the familyis from Argentina and my dad isFrenCh so I am very culturallydiverseand have a ve_ openmind. I lovetravelingand have traveled to manydifferenceplaces. Musicdefinitely playsa great deal in my life. I enjoy songsthat I am able to relate to andusually use musicto get me througha hardtime or to help me feel betterafter a stressfulday. I am veryinterested in this classand because I wouldlove towork foran Internationalcompany one day. I wouldassumethai the knowledgeof music from all over the woddwill bevery beneficial.Hope you are having a wonderfulweekend!

The correct answer Is not displayed for Long Answer type questions.

http://_earn_u_edu/d2_/_ms/quizzing/user/quiz-submissi_ns-att_mpt_d2_?isprv=&qi=872 48_ 2/18/2010

.Lesson 2 Assignment - MUNM-1113-450 - The Understanding of Music - University of... Page 1 of 2

Submission View

released: Oct 9, 2007 10:25 AM

QuesUon 1 2 l 2 points

Fill in the Blank:Place the correct answer in the blank. Be sure to check your spelling,

What are the three basic elementsof music?m_e_lody__ ,_' (33.33%)

___ythm ,_' (33.33%)harmony__ _' (33.33%)

Question 2 2 I 2 points

What is the term for the highnessor lowness ofa note?__pitch -_"


What is the regular pulse of the music?beat ,_"


What is the speed of a piece ofmusiccafled?tempo


What 2 scalesdominateWestern European music?major__ _' (50%)

__ _raiDer _' (50%)



What is harmony?

Harmonyis the thirdbasic element of music. It isthe combinationof a melodyand its accompaniment.Acomposercan create differentmoodsand feelingsbychangingthe harmonyin a piece of music.


Harmony is the combinationof a melodyand _tsacoompamment.


Definemonophony

Monophonyis a texture that involvesmelody with no accompaniment. Itcanbe producedby one or more people.Monophonictexturemeanssolo singingor singingin unison.(Example: Asingle person singingin theshower ofa family singingin the car)


H_d___F_Lb_

Monophony ismusicthat involvesa melody with no accompaniment.


Definehomophony.

Homophonyis music that movesbychords. The mostcommon form of homophony,also called song texture. JI

involves a solo_voicewith chordal accompaniment.Song texture can alsobeused to desc_be instrumental _I) music. (Example:Folk singer accompanyingherselfon the guitar) -i I

The correct answer is not displayed for Long Answer type questions,

@ H_de_Feod_

Homophony is music that moves by chords.


Definepolyphony,

http://_earn._u.edu/d2_/_ms/quizzing/user/quiz-submissi_ns-attempt.d2_?isprv=&qi=872 49... 2/18/2010

.Lesson 2 Assignment - MUNM-1113-450 - The Understanding ofMusic - University of... Page 2 of 2

Polyphony is music in which you can hear Iwo or more distinctmusical linesat once. Thiskind of texture isobviouslymore complex. (Example:a Beethoven symphony)


Polyphony is musicinwhich you can hear twoor more distinctmusicallines atonce.


What formsare discussedinChapter 2?

A form is the organizingstructureofa composition,whether it is simple orcomplex, all art needs form.Thedifferent types discussedinChapter 2 are: ternaryform. binaryform. sonataform. theme and variationsform.1. Ternary formis the most frequentform in smallunits suchas melodiesand themes, ABA form. Thisform,however, is also common on a far largerscale inmusic. Can be used fordwhole movement.2. Binaryformfocuses onthe idea of contrast.There a re twosecbons, Aand B. each of which a reeasilyrepeated to make the paffem AABB.3. Sonata formis employed as the structure for many large movements.Ituses boththe idea of contrastand theidea of departureand return. Beginswith a large openingsection,whichcontainstwocontrastingsmallerunits.Followedby a middle sectionthat contrastswith theopeningin harmony,tonality, atmosphere, and presentationof thematicmaterial.After thiscontrastingsection,the openingsection thenreoccurs, modified.4. Lastly.the theme and variationsformalso involvesthe idea of contrast.A theme is presented and then playedseveral more times, buteach time occursin a variedway. Each time thetheme is recognizablychanged and yetrecognizablythe same.


@ Hice2_

Ternary,Binary,Sonata,Theme.and Variation


Definetimbre.

Timbre is the tone coloror tone quaIdyof the soundan instrumentmakes,Apart from the way they are made.what most distinguishesone instrument from another is the tonecolor, ol timbre.


What distinguishesone instrumentfrom another.


Listas manydifferentinstrumentsfromthe five families of instrumentsasyoucan. Include at least two from eachfamily.

1. Strings- violin,viola, violoncello(cello). doublebass. harp,and guitar2. Woodwinds- flute, oboe. clarinet, bassoon.Englishhorn,contrabassoon,clarinet, bass clarinet, saxophone.and recorder3. Brass Instruments- French hem, trumpet, trombone,andtuba.4, PercussionInstruments- timpani,xylophone,glockenspiel,snare drum,bass drum, triangle, and cymbals,5. KeyboardInstruments- piano, the harpsichord,the organ, and the synthesizer.


9isprv=&qi=87249...http://learn.ou.edu/d21/lms/quizzing/user/quiz submissions_attempt.d21. 2/18/2010

STUDY voc_ u_oQ_r_

°_ THYLoUqH _m_T- uST_ _ 0J-_APTER_

f

VOCABULARY

Lute A plucked instrument similar to a guitarMass: Kyrie "Lord"Secular "Nonreligious" music that evolved

during the later medieval period.Strophic The same music is repeated for all the

stanzas of the poem.

IMPORTANT COMPOSERS

Leonius & Perotinus Two composers created the first greatcollection of polyphony in the history ofWestern music. They probably wereofficials at the cathedral. Leonius was theelder of the two and started the

collection; Perotinus added to it andextended the range and scope of themusic. Piece known as = Magnus LiberOrgani

• Middle ages = Christianity, most music from this time was designed for use inthe liturgy.

• Late medieval times = rise of secular music and polyphony which changedthe history of Western music.

o This started the idea that composers could devote their attention totopics outside religion - like love, politics, dancing.

• Polyphony gave rise to harmony which is one of the main features thatdistinguishes most Western music from that of other cultures.

• Plainchant text setting can be syllabic or melismatico Syllabic - with one note for every syllable of the texto Melismatic - with a large number of notes sung to a single syllable

• 4 main medieval modes: dorian, Phrygian, Lydian, mixolydian• Paris is the city where the most significant amount of polyphony was

composed in the twelfth and thirteenth centuries

VOCABULARY

Madrigal The distinctive type of secular song inItaly from the late Renaissance.Madrigals are secular vocal pieces for asmall group of singers, usuallyunaccompanied. The favorite topicsWere love, descriptions of nature, andsometimes war or battles. The music for

madrigals mingles chordal and imitativetextures and sensitively reflects themeaning of the text.

Conzona A serious contrapuntal instrumentalpiece based on the style of secular songs.The master of the canzona was GiovanniGabrieli.

IMPORTANT COMPOSERS

• Giovanni Pierluigi da Palestrina (p.107) - born in Palestrina, Italy he wassent to Rome as a choirboy to study and sing. The purity, serenity, andperfection of his music have made him the most highly regarded composer ofthe late Renaissance. The principle characteristics of his style are balance,control, evenness, clarity and perfect text setting. He was able to createpolyonic music appropriate for church that could be heard clearly and thestyle was not too elaborate. The overall effect conveyed by his music isachieved by careful control of two primary elements: the structure of theindividual melodic lines ad the placement of dissonance.

• Thomas Morely- the guiding force for the development of Englishmadrigals. He was a gifted composer and the author of an important textbookon music. He was granted sole permission to print music for the whole ofEnglad and published more madrigals than any other English composer.

• Maddalena Casulana - an Italian woman. She was a prolific composer andwrote both sacred and secular music; she also sang and played the lute. Themadrigal we heard, Morte, te chiamo, has a serious text about love, life anddeath, which is clearly expressed by the music.

• Giovanni Gabrieli - master of the canzona. He was organist and composerat St. Marks church in Venice. There they has two choir lofts facing eachother, and Gabrieli took advantage of thid yo place contrasting groups ofinstruments in the two lofts, creating an early version of stereo sound.

• Tielman Susato - Flemish composer and publisher. He was part of the"dance music" of the Renaissance period.

BAROQUEMASTERS

• Antonio Vivaldi (135-138} - trained for priesthood and had the nickname "The Red Priest."Illness prevented him from continuing priestly duties and became director of music at aresidential school for orphaned girls and young women. He wrote so many pieces for them thatsome of it has still not be published. His music was heard and influence felt in all of Europe. Hismusic was imitated by Sebastian Bach. Most famous concerto: The Four Seasons.

• Iohann Sebastian Bach (139-143) - J.S. Bach was one the most influential musicians of all time,and certainly one the greatest composers in history of music. Bach's entire career was spent in oneregion of Germany. Bach never saw himself as an artistic genius, but rather as a hard workingcraftsman. During his life he was not widely known outside the relatively small circle of his familyand acquaintances, and he traveled very little. Audiences have been attracted to Bach's music forits careful organization, clear tonal direction, expressive nature, and intellectual brilliance.

• George Frideric Handel (148-155} - Although Handel's life overlapped Bach's, their careers wereremarkably different. Handel traveled extensively and became an International celebrity. Handel'scareer was built on the nearly 40 operas he wrote, mostly for the London stage. He made and losta great deal of money, loved food and drink, and had a quick temper and a broad sense of humor.His first real success was Messiah in 1741. Toward the end of his life, Handel became blind but he

continued to perform on the organ and to compose by dictation. His music is attractive and easy tolisten to, it sounds simple and tuneful.

VOCABULARY

Basso Continuo "Continuous bass." Whether the upper parts of a baroquecomposition have strong rhythmic drive or extensive melodies,the bass part is always the driving force, both harmonically andrhythmically. Since the bass line is almost never silent in aBaroque composition, it is known as the basso continuo. It isusually played by a combination of a keyboard instrument and alow melody instrument.

Passion A composition based on the gospel account of the last days ofJesus. A musical setting of the story of the death andresurrection of Jesus.

Oa capo Means "from the beginning." A form of Baroque aria built in ABAformat with ornaments n the return of A.

Chorale The most distinctive musical feature of a Protestant service. It isa hymn with a steady rhythm and simple tune, usually sung inunison by the whole congregation.

Recitative Developed out of the early experiments with monody. Isdesigned to imitate as closely as possible the freedom andexpressiveness of speech. Is always sung by one singer withaccompanying basso continuo. Later on came to represent theconversational form of this music. (Aria is the other).

Aria The lyrical part of recitative music. Are usually written in setforms, with a fixed pattern of repetition.

Program Music Music that is designed to tell a story.

Crelude (Sometimes called "toccata" or "fantasia") is a rambling,improvisatory piece of the kind that organists play to fill in timebefore, during, or after a church service.

Fugue Is a carefully worked out polyphonic composition that uses atheme that occurs in all the voices, or musical lines, in turn.

IMPORTANT COMPOSERS

• Claudio Monteverdi (125) - the greatest composer of his age. Monteverdi made importantcontributions in two distinct historical periods. He wrote many pieces in Renaissance style,especially madrigals, but he was also the first great opera composer of the Baroque era. Famousone: Orfeo.

• Henry Purcell (130) - most talented English composer of the late seventeenth century. He wrotea large amount of vocal and instrumental music, including sacred music for the Anglican church,secular songs and cantatas, and chamber music for various combinations of instruments. Famousopera: Dido and Aeneas.

• Arcangelo Corelli (132-133) - the composer who first brought Italian violin music tointernational prominence. He expanded the technique of violin playing, using repeated notes, fastscales and double stops. His aim was to "show off the violin" and only wrote sonatas andconcertos.

Chapter 4

Anonymous: KyrieVery flowy, repetitiveCatholic Mass Chant - in Greek

3 repetitionsLyrics: Lord Have Mercy, Christ Have Mercy, Lord Have Mercy

Dia: A chanterWoman troubadour

This song is "strophic" - same music is repeatedLanguage - Occitan (South France)Lover has scorned her, she expresses her pain at him treating her so badlyInstrument = vielle (bowed instrument)Loud, rough violin soundWoman's voice, very bouncy, switches pitches a lot. Ornate and high.Kind of sounds Irish

Music switches and flute sound begins to play. Beautiful and ornateNear the end - flute, drums and violin are playing

Perotinus: Vidernunt Omnes -- F_, t_oe_E_r_O_LE_Sounds like many ghostly voices, but high.Reminds me of being underwater - very melodicSinging sounds a lot like just vowels. Very almost angelic

Macbaut: Doulz Viaire Gracieus

Example of a rondeauWomen singing_ very high pitchedMusic echoes her voice in certain partsInstrument: Recorder and lute

Lyrics: Sweet, gracious countenance I have served you with faithful heart.

Chapter 5

Aquinas: "Pange Lingua" (Hymn) C.,OLO?._,___.I _._a5_,3"Strophic" musicOne roans voice, no music, and very church-like soundLyrics: Urge praise for the miracle of Christ's birth and death

Desprez: "Kyrie" from Pange Lingua Mass _X_-o4_E-Bass, Tenor, and Soprano voices in rounds. Echoing each otherNo music in background

Palestrina: "Exsultate Deo"

Sounds like little kids in beginning and mixed in with older men.Very joyful and cheery. Kind of sounds like rounds.Uses lots of word paintingPerformance by the Christ Church Cathedral - Oxford, EnglandLyrics: Sing out in praise of God

Morley: "Sweet Nymph Come to Thy Lover;"2 women singing in roundsVery high and ornate

Lyrics: lover singing this song to her beloved

"Fire and Lightning"2 men singing in roundsVery loudLyrics: imagery of thunder and storms to describe the "stormy nature" of love.

Gabrieli: "Canzona Duodecimi Toni" - I'a_3uf_ l'_rv_Contrasts two brass choirsAlmost sounds like into to wedding or for a royal ballTrumpets tune in

Chapter 6Monteverdi: Excerpts from Orfeo

Rosa del Ciel - very intense passion, maybe about love? Piano and harp in background.Man kind of opera like.Lo Non Diro - Woman with piano/harp background. Opera like.Lasciate I Monti - women and men singing in rounds with orchestra in background. Joyful,tambourine in background

Purcell: "Dido's Lament" from Dido and Aeneas

Piano and harp in background. Gentle woman's voice, almost offkey.Sounds sad and creepy. Operatic

Vivaldi: "La Primavera" from The Four SeasonsSounds like Handel messiah, but more high and ornate.No words

Very cheerful

Bach: St. Matthew Passion

Sounds like it's telling a storyWoman with high pitch voice - operaVery ornate, but softBouncy and happy music in the background

Handel: "Halleluiah Chorus" from Messiah.CHOIR

l_:ss-on I_ Music A round the World http://learn.ou.edu/content/en forced/751309-22881.200920/less...

Music around the World

Objectives

• Describe various types of music and instruments that are used around the world in non-Western cultures.

Reading Assignment

Chapter 1, *Music Around the World"


Disc 1, Track 1: Japanese shakuhachi: Koku-ReiboDisc 1, Track 2: Islamic music: Turkish Call to PrayerDisc 1, Track 3: Indonesian gamelan music Gangsaran-Bima Kurda-GangsaranDisc 1, Track 6: African mbira music: Mandarendare

_ Vocabulary

o jali {p.o) "hardingfele *mbrta

o shamise(_nA_). kota(.O3_) . gamelan(-P" _'_

• shakukachi shamn • didjeridoo/_A_ _)L,o. 237

Study Notes

This chapter w___ill-in_dduce'yoE-tbSome of the sounds on non_-Wb'_tei-n-mu-si_From our perspective,we think of our musical tastes as being quite di_rs_,, b_t-in-a-global'sense, there is very littlebetween rock and roll and country western as far as how the music is constructed. If you find thischapter interesting, I would encourage you to take World Music or Native American Husic, both ofwhich are offered on the OU campus. These two classes will further expose you to the wild varietyof music, as well as give a more in-depth understanding of the music's role in culture.

Since the concept of listening might be new to some of you, I would encourage you to listen to theexamples.several_times_while you read_the_listeningguides in your text. You}nust be prepared

a_s_wer spec tic quest ons about the mus c on your ex_aswel_a-bl-e'to identify the music! Ifthere are texts to the music, make sure you have a good understanding of what is being saldj-"While I will never ask you to recall exact lyrics, espeL_ciall_-f6__ son_ no--TinEn_hsh,yo_-_mi_-ghtbeasked what is happening or what character is speaking or how they are interacting. I wouldencourage you to take your CD's with you (or your IPOD) so that you can bestudying your musicwhile you go about your normal daily activities. Who knows: you might find a new favorite piece ofmusic before the semester is over!

The most important concept to glean from this chapter is the great variety of music methods in theworld. There are some concepts that seem to be universal across all cultural lines, the use ofinstruments, for instance. And although these instruments differ greaUy from culture to culture,you find that most fit into one design style or another: those with strings, wind instruments, andtwo types of percussioninstruments, those which are hollow, and those whichare solid.Instruments differ in their construction, depending on the natural resources available. Ustencarefully to_the listening.examples.provided._Choose to focus on 'what makes the music distinctive. ]Fo_-what-purpose, if any, was_thismusic creat_e.d_'?Careful study o_fmu_i_-from_ther c_ltures ca_

I of 2 1/19/10 11:39 AM

I_esson 1"-Music Around the World http://learn.ou.edu/content/enforced/751309-22881.200920/less...

help you better understand the music you listen to, and how it shapes your role in society.

We frequently think of our personal musical tastes as being uniquely different from those of thenext person. As we listen to Ozzie Osborne, we think we have little in common with the person wholistens to Dolly Patton. But when we begin to listen to the non-Westernized music from around theworld, it becomes obvious that Ozzie and Dolly have much more in common than we might initiallythink. AII_ rnus-ic, _music, rap music, and rock music that is _ss consumed in th-_

U_.!ted_States.has.at " " -- -'- -- " -" ...... •its roots Western Classical mustc.Jlf you th nk of t n o_er terms, they are alldifferent flavors of ice cream; at the heart, they are made up of the same ingredients: milk, eggs,

cream,, sugar, but with subtle variations to create diverse styles. Listening to truly different musichelps us to hear the sameness of what we listen to every day.

Supplementary Activity _;OP

If you are on the OU campus, or near some other university, or if you are lucky and are taking thisclass from some other country, seek out opportunities to hear non-Western music performed by itsnative people. Many of the cultural groups on campus have special events to highlight the food andcustoms of their culture, and will be delighted in your interest in their music and dance.

_Watch a non-Western film, paying close attention to how music is used, and how it increases yourfeeling of assimilation in the culture.

Lesson Assignment



TOP

Th_ Concludes Lesson 1.

2 of 2 1/19/10 I1:39 AM

_w

(_ OA_AM ESE_ _ Z_V_U_CJA!

°iE_Ly M_OOL-E: rqGeSI

°I FEUD_ L_ OEIE_,OB __CL-.',DC:,F_S :

- _L_caEou5 Oj4_

- C-.HOBAL si_q_%

-- MF- OIEV'_L 0-OU IETLy O 12_ ES-_

- _?-ELAT_VE.PE_z_C_E._ PF-4D&P-EE_-O/

- CI3LASmP_FUL b4U_a_0_

- T]_EZ_TEIeAL._ _BiSTV-utdE_

- F_r_rd-l_D_E_'_0_'_OST ScbO_y = F_DC_Y_OS_C

- _Lov-U- _9-_-_n

-S_Ay-oH_CJ4_ _ _4ECX) F_UTE Wl _ _E.-R V,o___S

uOI4E @ EICaHT-TEI4THS _'

- FYLOFOu_O _YST_0._L.. _UZ'.L_Td

- C_)_E oF T_E CLDEST I?E_O__S A_j_jT _F__J I_AO_

FuV-E-E-F-_B-I I)E_.T_.

- I_EICJF-- \5 SAO_JFJEO ,_'_-_O S_OOLO o_JLy 6E p(./IyF__l)BY

qCEaS _W.S__ZS.

VEc_y S_P_LC _F_SG_4_-n_4_ %ou_b

° P_ACEFL_L., _(}UBT_qlNS_EE-

o MOT B_T_-_ T_ZA_,S_T_G_ BET_EF__ NO_S

tINDOmES_A ML_SIC = Pr4 _L\/ IqE_L_LOK_

SMACC OP-QPaESTI_A= C_IE.u_

_lT C_m_-L__qq_p c_a FLOOV_•- I"40 S_-_C_E,.S

- o94N_o _sY U_'_-_L-F_x/ pA-Q_.O_S

LIST_I_q

Lesson 2 - The Elements of Music Page 1 of 2

The Elements of Music

Objectives

• Discuss the elements of music.

• Learn how to become a more active listener.

Reading Assignment

Chapter 2, "The Elements of Music"

Chapter 3, 'q-he Art of Listening"


Disc 1, Track 7: Handel: Water MusicDisc 1, Track 8: Dukas: Fanfare from La P&iDisc 1, Track 9: Schubert: Gretchan am Spinnrade (Gretchen at the Spinning Wheel)Disc 1, Track 14: Hozart: Minuet and Trio from Symphony No. 18 in F Major, K. 130Disc 1, Track 17: Harris: Crazeo/ogyDisc 1, Track 23: Maddalene: Morte, te chiamo (Death, I call on you)

_ Vocabulary

melody rhythm harmony

pitch beat tempo

major scale minor scale harmony

texture monophony polyphony

homophony form ternary form

binary form sonata form theme and variation form

soprano mezzo soprano alto

tenor baritone bass

timbre

Note: Please familiarize yourself with the members of the string, woodwind, brass,percussion and keyboard family of instruments.

Study Notes

Chapter 2 contains a wealth of information that will help you better assimilate the followingchapters, so read it carefully and commit as much of it to memory as possible. A number of termswill be familiar to those of you who read music, and possibly very confusing to those of you whodon't. It is important to understand that you are not expected to become proficient music readers

http://learn.ou.edu/content/enforced/751309-22881.200920/lessons/lessonO2.htm 1/26/201 O.

Lesson 2 - The Elements of Music Page 2 of 2

just by reading this chapter. Learning to read music is much like learning a second language: ittakes many years of practice to become a skilled conversationalist. Rather, the aim of this chapteris to expose you to the language of music. One of the reasons for the almost universal acceptanceof Western music around the world is that it is created in a manner that is consistent, whether youare in London, or New York, or Kuala Lumpur. This "universal" language allows the music to beaccessible to anyone who knows the language, in the same way computers do. Like computers,music uses a separate system of words and symbols that go beyond the cultural barriers and allowspeople from a variety of backgrounds to communicate. In the course of your study, you willfrequently have musical examples for reference. Try to grasp the major concepts of the musiclanguage, just as a vacationer will leave Paris with a few important French phrases.

Chapter 3 is designed to help you become an active listener. For the first time in human history,we are constantly bombarded with music on an almost hourly basis every day. We have slowly lostthe art of listening. We have learned to tune so much of it to the background, that in many wayswe have become sloppy when it comes to really processing music as thought. We are bombardedby music all day; whether in our cars, our homes, or the shopping malls. We have learned to tuneit to background noise, even if it is a music that we enjoy. Modern rock and pop concert goersfrequently engage in conversation and other activities that have little to do with the music itself.How many times have you listened to a song, and on about the 100th hearing you realize that youare just now understanding the words. Classical music is often much more complex than most ofthe music we listen to from day to day, and it takes repeated hearing to assimilate the complexlayers of sound the composer has created. [ can't encourage you enough to do both casuallistening, as in having the music on in the background, and careful listening when you sit andconcentrate on the music and the listening guides in your text. Keep your CDs in your car, or carrythem with you in your Walkman. Casual listening, along with a few episodes of diligent study time,will help you to commit these songs to heart. Quite often it is much easier to recall something thatwe have a gut-wrenching visceral reaction to, so don't be surprised if the piece you hate the moststays with you all day!

A

) Supplementary Activity Top

Throughout the course, make every attempt to attend a live musical event, especially one of aclassical nature. There is a variety offered on the OU campus, as well as other universities nearyou. Some professional music ensembles even offer students discounted tickets shortly before thebeginning of a performance.

Lesson Assignment

Complete Lesson 2_Assiignme__t.


TOP


1

http://learn.ou.edu/content/en forced/751309-22881.200920/lessons/lessonO2.htm l/26/2010

lmimll1111111111111111111111111111111111 · • triads can also be either major or minor •...

Documents