Table of Contents

Preface ◆ xvii

1 MUSIC IN CLASSICAL ANTIQUITY ◆ 1Music in the Life and Philosophy of Ancient Greece ◆ 1

Music and the Doctrine of Ethos ◆ 3Characteristics of Music ◆ 4

Greek Music Theory ◆ 5Music in Ancient Rome ◆ 8

2 THE EARLY CHRISTIAN PERIOD 12The Growth of the Christian Church and Its Music ◆ 12The Jewish Heritage ◆ 13The Diversification of Practice ◆ 17

The Eastern Influence ◆ 17Local European Practices ◆ 19

3 THE ESTABLISHMENT OF A CATHOLIC TRADITION ◆ 21The Political-Cultural Situation at the Beginning

of the Ninth Century ◆ 21The Roman Liturgy ◆ 24

The Divine Office ◆ 25Mass ◆ 27

Aesthetic Considerations Regarding the Chant ◆ 29The Musical Style of the Chant ◆ 31The Music Theory of the Chant ◆ 33Later Developments in the Liturgical Chant ◆ 41

The Trope ◆ 41Liturgical Drama ◆ 43

4 SECULAR SONG AND INSTRUMENTAL MUSIC TO 1300 ◆ 46Secular Music Before the Eleventh Century ◆ 46Latin Songs ◆ 47

v

SEATON_FM_i-xxvi-hr.qxd 8-09-2009 9:49 Page v

Epics and Minstrels ◆ 48Troubadours and Trouvères ◆ 49German Court Music ◆ 53Monophonic Songs in Other Regions ◆ 54

Italy ◆ 54Spain and Portugal ◆ 54Britain ◆ 55

Instruments ◆ 55String Instruments ◆ 56Wind Instruments ◆ 57Percussion Instruments ◆ 57Organs ◆ 57

The Use of Instruments ◆ 58

5 THE DEVELOPMENT OF POLYPHONY ◆ 62The Significance of Polyphony ◆ 62Carolingian Polyphony ◆ 63Romanesque Developments ◆ 64

Free Organum ◆ 64Rhythmic Independence ◆ 65Florid Organum and Discant ◆ 66

Gothic Thinking and Style ◆ 67Notre Dame Polyphony ◆ 69

Rhythmic Order in Organum: Léonin ◆ 69Pérotin ◆ 72Cadences ◆ 74

The Motet ◆ 75Late Thirteenth-Century Developments ◆ 76

New Developments in Rhythmic Notation ◆ 77Hocket ◆ 78

Symbolic Values in Thirteenth-Century Polyphony ◆ 78

6 MUSIC IN THE FOURTEENTH CENTURY ◆ 82The Increasing Secularization of Culture ◆ 82Ars Nova ◆ 85Isorhythm ◆ 87The Roman de Fauvel ◆ 88Form in Secular Song ◆ 90Guillaume de Machaut ◆ 90

vi Table of Contents

SEATON_FM_i-xxvi-hr.qxd 8-09-2009 9:49 Page vi

Table of Contents vii

Ars Subtilior ◆ 92The Italian Trecento ◆ 92Cadence Patterns in the Fourteenth Century ◆ 94English Polyphony ◆ 96

Gymel and English Discant ◆ 96Secular Music: Rota ◆ 98

7 HUMANISM AND MUSIC ◆ 99The Rise of a Humanist Worldview ◆ 99The Hundred Years’ War and English Music on the Continent ◆ 102

John Dunstaple ◆ 103The New Style on the Continent ◆ 104

Guillaume Du Fay ◆ 105Gilles Binchois ◆ 108Polyphonic Cadences ◆ 108

The Idea of a New Music ◆ 110

8 THE SPREAD OF NEW MUSICAL IDEAS AND PRACTICESTO 1600 ◆ 112

The Growth of the New Styles in the North ◆ 112Johannes Ockeghem ◆ 112The Next Generation of Franco-Netherlands Composers ◆ 114Josquin des Prez ◆ 115

The Ascendancy of the Northern Style ◆ 117Music for Social Use ◆ 120Regional Variants of the Cosmopolitan Style in Secular Music ◆ 123

The French Chanson ◆ 123English Music ◆ 123German Music ◆ 124Spanish Repertoires ◆ 125The Italian Frottola and Madrigal ◆ 126

The Poetic Model for Musical Expression ◆ 129

9 INSTRUMENTAL MUSIC IN THESIXTEENTH CENTURY ◆ 132

The Place of Instruments ◆ 132Instruments and Their Combinations ◆ 132

Consorts ◆ 133Broken Consorts ◆ 135

SEATON_FM_i-xxvi-hr.qxd 8-09-2009 9:49 Page vii

viii Table of Contents

Plucked Instruments ◆ 135Keyboard Instruments ◆ 135

Tablature ◆ 135Instruments and Vocal Music ◆ 137Instrumental Adaptations of Vocal Music and Genres ◆ 137Instrumental Genres ◆ 139

Dances ◆ 139Variations ◆ 140Instrumental Pieces in the Style of Improvisations ◆ 140

10 THE REFORMATION AND MUSIC ◆ 142The Background of the Reformation ◆ 142The Music of the Lutheran Reformation ◆ 143The Calvinist Reformation ◆ 146The Reformation in England ◆ 148The Counter-Reformation ◆ 149

Palestrina ◆ 149Tomás Luis de Victoria and Orlande de Lassus ◆ 150

Faith, Music, and the Power of Words ◆ 150

11 THE CLOSE OF THE SIXTEENTH CENTURY ◆ 153Italian Music at the End of the Sixteenth Century ◆ 153Mannerism ◆ 155The Italian Style in England ◆ 157France ◆ 159The Venetian Style ◆ 159The Significance of Late Humanist Styles ◆ 162

12 RATIONALISM AND ITS IMPACT ON MUSIC ◆ 163An Age of Reason ◆ 163Aesthetic Considerations ◆ 164The Doctrine of Affections ◆ 166The Florentine Camerata ◆ 168Monody and the Basso Continuo ◆ 171Concertato ◆ 174Seconda Pratica ◆ 174Expression of New Ideas in New Styles ◆ 176

SEATON_FM_i-xxvi-hr.qxd 8-09-2009 9:49 Page viii

13 NEW GENRES AND STYLES IN THE AGEOF RATIONALISM ◆ 178

Three Styles ◆ 178The Creation of Opera ◆ 178

First Experiments in Opera ◆ 179Orfeo ◆ 180

Developments in Italian Opera ◆ 182Stylistic Trends ◆ 183

Vocal Chamber Music ◆ 185Texture and Form ◆ 186

Sacred Music ◆ 189Sacred Concerto ◆ 189Oratorio ◆ 190

Seventeenth-Century Instrumental Music ◆ 191The Fantasia ◆ 191The Sonata ◆ 192Sets of Variations ◆ 192Dance Music ◆ 194Improvisatory Instrumental Music ◆ 194

14 THE LATE SEVENTEENTH CENTURY ◆ 197French Opera in the Seventeenth Century ◆ 197

Historical Context ◆ 197The Beginnings of French Opera ◆ 199French Operatic Style ◆ 201

English Music in the Seventeenth Century ◆ 201The First Stuarts ◆ 201The Commonwealth ◆ 202The Restoration ◆ 202

Italian Opera ◆ 203The Cantata and Other Vocal Chamber Music ◆ 205German Musical Genres ◆ 206

Keyboard Music ◆ 207Musical Drama ◆ 209

The Development of Instrumental Forms and Idioms ◆ 209Style Developments in Instrumental Music ◆ 209Fugue ◆ 210The Suite ◆ 211

Table of Contents ix

SEATON_FM_i-xxvi-hr.qxd 8-09-2009 9:49 Page ix

The Ensemble Sonata ◆ 213Concerto ◆ 215

15 THE EARLY EIGHTEENTH CENTURY ◆ 220The Late Rationalist Period ◆ 220Opera Seria—Handel and Others ◆ 221The Intermezzo ◆ 224Opera in France ◆ 225Handel and the Oratorio ◆ 225Germany ◆ 228Johann Sebastian Bach ◆ 229

Bach’s Early Career ◆ 230The Court of Weimar ◆ 230The Court of Cöthen ◆ 232The City of Leipzig ◆ 233Bach’s Culmination of Stylistic Tradition ◆ 235

16 NEW CURRENTS IN THE EARLYEIGHTEENTH CENTURY ◆ 239

New Directions in Thinking and Style ◆ 239The Development of the Tonal System ◆ 240The Idea of the Galant ◆ 241

In France ◆ 241Outside of France ◆ 242

French and Italian Operatic Comedy ◆ 243La Guerre des Bouffons ◆ 244

The Empfindsamer Stil ◆ 245Carl Philipp Emanuel Bach ◆ 246Keyboard Instruments ◆ 247Song ◆ 248

Structure in Early Eighteenth-Century Instrumental Music ◆ 249Developments in Instrumental Music ◆ 250

17 THE ENLIGHTENMENT AND THE CLASSIC STYLE ◆ 255The Enlightenment ◆ 255The Classic Outlook ◆ 256Musicians in Late Eighteenth-Century Society ◆ 260

x Table of Contents

SEATON_FM_i-xxvi-hr.qxd 8-09-2009 9:49 Page x

Contrasting Careers for Musicians: Haydn and Mozart ◆ 262Franz Joseph Haydn ◆ 262Wolfgang Amadeus Mozart ◆ 264

Comic Opera in the Early Enlightenment ◆ 266Opera Seria and Opera Reform ◆ 266Instrumental Genres and the Sonata Plan ◆ 269

The Symphony ◆ 269The String Quartet ◆ 270The Keyboard Sonata ◆ 272The Concerto ◆ 272The Divertimento ◆ 273

The Sonata Form and Its Variants ◆ 273Harmonic Plan ◆ 273Thematic Plan ◆ 274Outline of Sonata Form ◆ 274Some Terminological Clarification ◆ 275Applications of the Sonata Procedure ◆ 275

Expression and Function ◆ 277

18 THE END OF THE EIGHTEENTH CENTURY ◆ 281The Position of Haydn and Mozart ◆ 281Chamber Music ◆ 283Symphony ◆ 285Concerto ◆ 286Mozart’s Mature Operas ◆ 287

Opera Seria ◆ 287Singspiel ◆ 288Collaboration with Lorenzo Da Ponte ◆ 288A Finale in the Popular Theater ◆ 291

A New Model for Expression ◆ 291The Enlightenment Beethoven ◆ 293

Beethoven’s Early Years in Bonn ◆ 293Beethoven’s First Decade in Vienna ◆ 294The Music of Beethoven’s First Vienna Period ◆ 295

The American Colonies and the Early United States ◆ 297

19 THE RISE OF THE ROMANTIC MOVEMENT ◆ 302Philosophical Roots of Romantic Thought ◆ 302

Table of Contents xi

SEATON_FM_i-xxvi-hr.qxd 8-09-2009 9:49 Page xi

Politics, Economics, and Social Change ◆ 303The Concept of Organic Unity ◆ 304

Romantic Art ◆ 304Themes in Romantic Art ◆ 306Techniques of Romantic Art ◆ 307

The Romantic Movement in the History of Musical Style ◆ 309Beethoven from 1802 ◆ 309

Beethoven and the Artist as Hero ◆ 310Beethoven’s Heroic Style ◆ 312Beethoven’s Sketchbooks ◆ 315Beethoven’s Personal Life in His Middle Period ◆ 315

Beethoven’s Last Period ◆ 315Beethoven’s Influence on Nineteenth-Century Music ◆ 318

The Romantic Lied ◆ 318Franz Schubert ◆ 320

Early Nineteenth-Century Italian Opera ◆ 323Gioacchino Rossini ◆ 324

Opera in France ◆ 325German Romantic Opera ◆ 326The Social Context for Music in the Nineteenth Century ◆ 327

20 DEVELOPMENTS IN ROMANTICISM TO 1850 ◆ 331The Context for Romanticism to the Middle of the

Nineteenth Century ◆ 331Composers’ Lifestyles ◆ 332Composers’ Literary and Artistic Activities ◆ 332

Romantic Lyricism in Italian Opera ◆ 334Style ◆ 335Performance Practice ◆ 336Giuseppe Verdi ◆ 336

French Grand Opera ◆ 339The Cult of Virtuosity ◆ 340Some “Serious” Performers ◆ 341Lyricism and Virtuosity—Chopin ◆ 342Salons and Drawing Rooms ◆ 344Instrumental Genres in Romantic Music ◆ 345

Piano Music ◆ 345Orchestral Music ◆ 346

xii Table of Contents

SEATON_FM_i-xxvi-hr.qxd 8-09-2009 9:49 Page xii

Romantic Musical Style ◆ 349Expansion of Sound Vocabulary ◆ 349Romantic Harmony ◆ 350

Form in Romantic Music ◆ 350Recognition of the Musical Heritage ◆ 352The Midpoint of the Nineteenth Century ◆ 353

21 THE SECOND HALF OF THENINETEENTH CENTURY ◆ 356

The New German School ◆ 356The Artwork of the Future ◆ 358

Wagner’s Music Dramas ◆ 360Wagner’s Librettos ◆ 362Wagner’s Musical Style ◆ 363Wagner in Social and Political History ◆ 366

Late Romanticism ◆ 367Austria ◆ 367France ◆ 369Italy ◆ 370

Influences of the New German Style ◆ 371Progressives in Vienna ◆ 371Richard Strauss ◆ 373Alexander Skryabin ◆ 373

Realism in Late Nineteenth-Century Opera ◆ 373Exoticism ◆ 375Late Nineteenth-Century National Styles ◆ 376

Bohemia ◆ 376Russia ◆ 377

Nationalism in Other Countries ◆ 379The Situation at the End of the Nineteenth Century ◆ 381

22 THE ARRIVAL OF THE TWENTIETH CENTURY ◆ 384A Turning Point in Artistic Ideas and Styles ◆ 384Impressionism ◆ 384

Claude Debussy ◆ 386Diffusion and Limits of Impressionism ◆ 388

The Aesthetics of Ugliness ◆ 389

Table of Contents xiii

SEATON_FM_i-xxvi-hr.qxd 8-09-2009 9:49 Page xiii

Primitivism ◆ 391Expressionism ◆ 393

Arnold Schoenberg ◆ 394Alban Berg ◆ 395Advantages and Problems in Atonal Expressionism ◆ 396

An American Original: Charles Ives ◆ 396

23 MODERNISM AND THE PERIOD BETWEENTHE WORLD WARS ◆ 401

Modernism ◆ 401A Period of Readjustment ◆ 402The Twelve-Tone Method of Composition ◆ 403

Schoenberg After 1920 ◆ 406Adaptations of the Twelve-Tone Method ◆ 406

Toward Serialism ◆ 408Artistic Objectivity ◆ 410Neoclassicism ◆ 411

France ◆ 411Stravinsky’s Neoclassic Music and Thought ◆ 412Germany ◆ 414

New Tonal Theory ◆ 415The Influence of Regional Musics ◆ 416The Music of Socialist Realism in the Soviet Union ◆ 419The United States ◆ 421

Jazz ◆ 422Incorporating Jazz into Traditional Genres ◆ 424

The Avant-Garde ◆ 424American Experimentalists ◆ 426

24 IN THE SECOND HALF OF THETWENTIETH CENTURY ◆ 429

History and Contemporary Music ◆ 429Composers in Late Twentieth-Century Society ◆ 430Total Control ◆ 431The Exploration of New Timbres: Extended Techniques ◆ 432Electronic Music ◆ 436

Computers ◆ 437The Performer ◆ 437

xiv Table of Contents

SEATON_FM_i-xxvi-hr.qxd 8-09-2009 9:49 Page xiv

Indeterminacy ◆ 439Indeterminacy, Performers, and Computers ◆ 439

Aesthetic Issues ◆ 440Postmodernism ◆ 441Postmodernism in Music ◆ 442

Postmodern Composer and Listener ◆ 442Diversity in Styles Based on the Western Tradition ◆ 443Juxtapositions and Fusions with Non-Western Musics ◆ 444Minimalism ◆ 444Mixed-Media and Performance-Oriented Music ◆ 446

Jazz and Popular Music ◆ 448Jazz ◆ 449Rock Music ◆ 450

The Situation at the Dawn of the Twenty-First Century ◆ 453

Appendix: Timeline ◆ 456Index ◆ 467

Table of Contents xv

SEATON_FM_i-xxvi-hr.qxd 8-09-2009 9:49 Page xv