Midterm Notes

Listening Middle Ages (450-1450) -O Successores by Hildegrard of Bingen (The only chant sung by girls) -Estampie- by anonymous, one of the earliest instrumental pieces of music, Medieval dance - Alleluia Nativitas by Perotin, gregorian chant, -Ecco La Primavera- by Francesco Landini from Ars Nova (new art) which was becoming popular in the 14th century in Italy and France, where syncopation developed -Agnus Dei,Guillaume Machaut, rst treatment of Mass as polyphonic Renaissance(1450-1600) - Ave Maria- Virgo Serena Josquin Desprez, motet (sacred music not sung during mass) - Pope Marcellus Mass, Kyrie by Palestrina, Council of Trent decided they should keep polyphonic music in mass - Now is the Month of Maying by Thomas Morely, madrigal - Plaudite by Giovanni Gabrielli, written in St. Marks Cathedral Baroque (1600-1750) - Concerto No. 5 by Bach - Little Organ Fugue in G minor by Bach - Tu Se Morta , from Orfeo (Baroque Opera piece) by Claudio Monteverdi - Didos Lament by Henry Purcell -Benjamin Britans piece, The Young Persons guide to the Orchestra, written in 1946 and borrowed from Henry Purcell- rondeau Abdelazer (The Moors revenge) - La PrimaveraVivaldi (movements- allegro, largo e pianissimo sempre) danza pastorale) unknown - Messiah by George Friedrich Handel Classical Period (1750-1820) -Symphony No 40 in G Minor by Wofgang Amadeus Mozart - Symphony No 94 in G Major by Joseph Hayden - Eine kleine Nachtmusik (A Little Night Music) by Wolfgang Amadeus Mozart - String Quartet Op .18 No. 4 in C Minor by Ludwig van Beethoven Orchestra - diagram of orchestra set up

Midterm Notes
I. Middle Ages A. (450-1450) 1. Purpose of Music a) mostly to serve the church b) outside the church, knights use them to gain clout c) truveres (Northern France) and troubadours (Southern France) traveled around but never made much money 2. characteristics a) homophonic 3. Musical Forms a) sacred (1) gregorian chant (a) consists of melody set to sacred Latin texts and sung unaccompanied (monophonic) (b) church modes i) scales used in chant (c) EX: O Successores (2) organum (a)polyphonic chants (b) EX: Alleluia: Nativas (1200?) (3) Mass ordinary (a) order i) kyrie ii) gloria iii)credo iv)sanctus v)agnus dei (b) EX: Agnus Dei (Mid1300s) b) secular (1) estampie (a) medieval dance, one of the earliest surviving forms of instrumental music (2) ballata (a) dance song (b) A BB AA (c) EX: Ecco la Primavera (1300s) 4. The Greats a) Hildegard of Bingen (1098-1179) b) Perotin (late 12th to early 13th century) c) Gullaume de Machaut (1300-1377) II.Renaissance A.(1450-1600) 1. Purpose of music a) for enjoyment b) for education

Midterm Notes
2. Characteristics a) vocal >instrumental b) word painting c) polyphonic d) a cappella- choral music e) rhythm is gentle and independent 3. Ensemble Shifts a) larger ensembles 4. Musical Forms of the Renaissance a) sacred music (1) motet (a) polyphonic choral work set to a sacred Latin text other than the ordinary of the mass (b) EX: Ave Maria (1502) (2) mass (a) polyphonic choral composition made up of 5 parts (b) EX: Pope Marcellus (1562-1563) b) secular music (1) madrigal (a) a piece for several solo voices set to a short poem, usually about love (b) EX: As Vesta Was Descending (1601) (2) fa-la (ballett) (a) a dancelike song for several solo voices (mostly homophonic) (b) EX: Now is the Month of Maying (1595) c) Venetian School (1) polychoral motets (a) motets for two or more choirs, often including groups of instruments (b) Plaudite (1597) 5. The Greats a) Josquin Desprez (1440-1521) (1) Palestrina (1525-1594) (2) Thomas Weelkes (1575-1623) (3) Thomas Morley (1557-1603) (4) Michael Praetorius (1571-1621) (5) Giovanni Gabrieli (1555-1612) III.Baroque A.(1600-1750) 1. Purpose of Music a) main source of diversion in the courts of the aristocracy b) grand music in churches c) commercial opera houses 2. Characteristics a) unity of mood b) rhythmic continuity

Midterm Notes
c) continuity of melodies d) elaborate melodies e) terraced dynamics f) organ and harpsichord main instruments g) thick textures (competing melodies) h) basso continuo and chords introduced i) gured bass (1) numbered bass part j) word painting- prosody (the marriage of the words and music) k) many include movements 3. Ensemble shifts a) Baroque orchestras grow in popularity (1) variable size, from 10-40 players 4. Musical Forms of the Baroque Period a) concerto grosso (1) a small group of soloist pitted against a larger group of players called the tutti, meaning all (2) fast, slow, fast (3) ritornello (refrain) form- the form of the rst and third movements of concerto grosso (4) EX: Brandenburg Concerto No. 5 in D Major (1721) (5) EX: La Primavera, Concerto for Violin and String Orchestra Op. 8 No. 1 (1725) b) fugue (1) a polyphonic composition based on one main theme, called a subject (2) only constant feature of fugues is how they begin: subject is presented by a solo voice, and then imitated by other voices individually thereafter (after a voice plays the subject, it is free to go on its merry little way) (3) subject can be varied in four ways (a) inversion (upside down) (b) retrograde (backwards) (c) augmentation (elongated) (d) diminution (shortened) (4) often introduced by a prelude (5) EX: Organ Fugue in G Minor (1709) c) opera (1) drama that is sung to orchestral accompaniment (2) involves libretto (text) (3) types of characters (a)dramatic soprano (b)lyric tenor (c) dramatic tenor (d)basso buffo (e)basso profundo (4) forms found within opera (a) recitative

Midterm Notes
i) vocal line that imitates speech- often linked two arias together; can be secco recitatives (only accompanied by basso continuo) or accompanied recitatives (with orchestra) (b) aria i) song for solo voice with orchestral accompaniment (c) ensemble i) song for three or more voices with orchestral accompaniment (d) overture i) the opening of an opera production; purely orchestral (5) ground bass or basso ostinato (a) characteristic of baroque works, a repeated pattern in bass with changing chords above it (6) dont forget the castrati! (7) EX: Euridice (1600) (8) EX: Orpheus (1607), speicically Tu Se Morta (9) EX: Didos Lament d) sonata (1) a composition in several movements for one to eight instruments (2) two high instruments and two low instruments e) suites (1) dance-inspired movements for an orchestra (2) sometimes preluded by a French overture (3) AABB form (tonic, dominant, dominant, tonic) f) chorale (1)hymn tune sung to German religious text (2) choral prelude reintroduces the melody to the congregation g) church cantata (1) song written for chorus, vocal soloists, organ and small orchestra (2) German religious text (3) Cantata No. 140: Wachet auf, ruft uns die Stimme (1731) h) oratorio (1) large scale composition for chorus, vocal soloists, and orchestra (2) usually set to narrative text (3)based on biblical stories, bunt not intended for services 5. The Greats a) Johann Sebastian Bach (1685-1750) b) Claudio Monteverdi (1567-1643) c) Henry Purcell (1659-1695) d) Arcangelo Corelli (1653-1713) e) Antonio Vivaldi (1678-1741) f) George Frideric Handel (1685-1759) IV.The Classical Period A.(1750-1820) 1. Purpose of Music 2. Characteristics a) contrast of mood

Midterm Notes
b) exibility and multiple rhythmic patterns c) mostly homophonic d) simply melodies e) gradual dynamic change f) end of basso continuo 3. Ensemble Shifts a) standard orchestra, opposing the varied orchestra of Baroque period (1) strings (2) woodwinds (3)brass (4)percussion 4. Musical Forms of the Classical Period a) often four movements in a given piece (1) fast (2) slow (3) dance-related (4) fast b) sonata form (1) exposition (a) rst theme in tonic key (b) transition to new key via bridge (c) theme in new key (d) closing section (2) development (a) new treatment of themes; different keys (3)recapitulation (a) rst theme in tonic key (b) bridge (c) second theme in tonic key (d) closing section in tonic key (4) Coda follows (5) EX: Symphony No 40 in G Minor (1788) (6) EX: Piano Sonata in C Minor, Op. 13 (1798) c) theme and variations (1) a basic musical idea- the theme- is repeated over and over and changed each time (2) A A A etc... (3) Symphony No 94 in G Major (1791) d) minuet and trio (1) used as the third movement of classical symphonies, string quartets and other works (2) A B A (minuet, trio, minuet) e) scherzo (1) like a minuet, but faster f) serenade (1) a work that usually light in mood, meant for evening entertainment

Midterm Notes
(2) EX: Eine kleine Nachtmusik (1787) g) rondo (1) features a main theme which returns several times in alternation with other themes (a) ABACA and ABACABA form (2) sonata-rondo (a) ABA-development section-ABA (3) String Quartet in C Minor, Op. 18, No. 4 (1798-1800) h) symphony (1) extended, ambitious composition typically lasting between 20 and 45 minutes, exploiting the expanded range and tone color and dynamics of the classical orchestra (2) fast, slow, dancelike, fast (3) EX: Symphony No. 94 in G Major (1791) (4) EX: Symphony No. 40 in G Minor (1788) (5) EX: Symphony No. 5 in C Minor (1808) i) concerto (1) a three-movement work for an instrumental soloist and orchestra (2) fast slow fast (3) cadenza (a) unaccompanied solo for soloist (4) EX: Piano Concerto No. 23 in A Minor (1786) j) chamber music (1) intimate room music 5. The Greats a) Wolfgang Amadeus Mozart (1756-1791) b) Joseph Haydn (1732-1809) c) Ludwig van Beethoven (1770-1827)