Li Pak-yiu 2010177332 MUSI2072 Week 1 Report

12th September, 2011

Summary of The musical map of Europe c. 1700. by Stephen Rose The article begins with a discussion of the increase in international musical knowledge exchange in Europe since the 16th century. Related activities include musicians studying abroad, journeys like the Grand Tour made by aristocrats and connoisseurs, international exchange of sheet music, to name a few. These resulted in a new musical scene of diverse styles, with the Italian, the French and the German as the major three. A detail description of the musical environment and various kinds of patronages follows. Basically the environment were in two poles: courts and public sphere. Courts were centre of musical activities throughout the 18th century, where elite musicians met. The fluctuating lives of court musician were highly dependent of their relationships with their patrons. With wealth and glory in this minute, unpredictability visited anytime when taste altered or lord deceased. On the other hand, public sphere emerged in early 18th century, in the form of concert series and music-meetings. With more personal freedom, musicians also earned from sheet music and tuition. Theaters and pleasure-gardens were where these musical activities happened. The vibrant scene of London was more note-worthy, for its fragmented market catering people of different social strata and tastes and diverse musical genres including foreign ones. In public scene, musicians had to consider more commercial elements in their public music lives. Periodicals specializing in discussion of music also started to appear. Before that, discussion of music was scattered across various publications form short essays to learned treatises. There was also interaction between courts and the public scene. Theaters and operacompanies depended on financial support of the court. Musicians earned most of their income from performances at houses of the aristocrats and private teaching, which invitations were attracted by

Li Pak-yiu 2010177332

12th September, 2011

their public performances. Hence, most musicians in that period shifted between employment in courts and as freelance. The latter half of the article turns the focus to the manifold musical geography of Europe in early 18th century. The three most distinctive national styles were Italian, French and German. Italian style was dominant in Europe since the 17th century. It was considered more superior due to the intrinsic musicality of Italian language. Compositions were noticed with bold modulations and lively expression of affections. Opera singers and virtuoso violinists were symbolic of Italian music. Italian Opera was popular in most European countries and viewed as cultural and prestigious credentials. Opera singers were top earners among musicians. Aristocrats and musicians from other countries also traveled to Italy to learn and enjoy music. These people helped boost the Italian musical economy. Leading figures include Corelli and Vivaldi. French people, on the other hand, tended to resist the cultural sprawl of Italian music and developed their own distinctive style. The style was notable with lyrical, ornamented melody in a simple and sweet quality, defined with its sense of beauty and bon gout and suitable to dance with. Strings players were also famous for their disciplined ensemble and bowing techniques. French were also pioneer in woodwind instruments. French style attracted musicians seeking alternatives of Italian music. Jean-Baptiste Lully was the style setter. Traditional German music was regarded as grave and contrapuntal. But by 1720, German musicians received attention for their mixed style of composition and performance that blended elements of French and Italian music. German themselves viewed the novel combination as unity desired by everyone, especially wars were not rare events then. Also the mixture was described as having universal appeal but innately German. Apart from the above three styles, musicians also explored popular and traditional music, like Scots songs and Polish dances. Cultural elites found barbarian beauty and wonderful ideas in them.