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bkx MUS101 P2
MUS-101 Part #2: Music History
| Question | Answer |
|---|---|
| Style | How we define each period's treatment of the various musical elements |
| 400-1450 | Middle Ages |
| 1450-1600 | Renaissance |
| 1600-1750 | Baroque |
| 1750-1820 | Classical |
| 1820-1900 | Romantic |
| 1900-1945 | Modern |
| 1945-present | Post-Modern |
| Genre | A type of piece, such as a song, symphony, opera, dance piece, etc. |
| 4 Periods Within the Medieval Period | Early Christian Era, Early Middle Ages, Romanesque Period, Late Middle Ages (Gothic) |
| 5 Instruments From the Medieval Period | Recorder, lute, drums, bagpipes, organs |
| 5 Composers/Musicians From the Medieval Period | Leonin, Perotin, Phillip de Vitry, Francesco Landini, John Dunstaple |
| 5 Music Examples From the Medieval Period | Sacred: Gregorian chant & Motet, Secular: Ce fut en Mai, Puis qu-en oubli, La Quinte Estampie Real |
| Medieval Genre | Vocal & Instrumental; Vocal: Sacred & Secular; Instrumental: Dance |
| Medieval Form | Sacred music influenced by sacred texts; Secular music had more formal repetition; Instrumental music was dance-oriented and structured with formal repetition |
| Medieval Melody | Primary musical element - melodies were mostly vocal |
| Medieval Rhythm | Rhythmic notation did not exist early on; triple meter was common |
| Medieval Harmony | Drone harmony was common in early secular styles |
| Medieval Sound | Sacred music both monophonic & polyphonic; Secular music monophonic or homophonic |
| Monophonic | Music consisting of a single melody without accompaniment |
| Polyphonic | Producing many sounds simultaneously, particularly involving the simultaneous combination of distinct melodies |
| Homophonic | Music characterized by the movement of accompanying parts in the same rhythm as the melody |
| Text Setting | The relationship between melody and text |
| Syllabic | One note per syllable |
| Neumatic | 3 to 4 notes per syllable |
| Melismatic | Many notes per syllable |
| Cultural Context of Renaissance | Creativity, adventure, curiosity, individualism, novelty, rise of the merchant class, printing press, increased secularism, gunpowder, expanding role of musicians |
| 5 Key Figures of the Renaissance | Petrarch, Columbus and other explorers, Da Vinci and other artists, Copernicus, Martin Luther |
| 5 Composers/Musicians From the Renaissance | Johannes Ockeghem, Josquin Desprez, Giovanni Pierluigi da Palstrina, Orlando de LAssus, Claudio Monteverdi |
| 5 Instruments From the Renaissance | Recorder, lute, harpsichord, viol, crumhorn |
| Renaissance Sound | Vocal still predominant; texture is fuller/thicker than in Medieval Period |
| 2 Forms of Instrumental Music in the Renaissance | Ricercare and Fantasie; dancing music |
| 2 Popular Dances in the Renaissance | Pavan (stately duple meter) & Galliard (lively triple meter) |
| Text Painting (Word Painting) | Creating musical expression that mimics a particular word or phrase in the text |
| Cultural Context of Baroque Period | Age of Reason, scientific method, splintering of Protestant church, oppressive monarchies rule much of Europe, music was written to order, opera begins commercial music - the Period begins with the invention of the opera and ends with the death of Bach |
| 4 Composers from Baroque Period | Claudio Monteverdi, Antonio Vivaldi, George Frederick Handel, Johann Sebastian Bach |
| 5 Baroque Genres | Opera (Aria & Recitative), Concerto Grosso & Solo Concerto, Baroque Sonata, Dance Suite, Cantata (Solo Cantata & Lutheran Cantata) |
| Baroque Form | "Movement" = complete piece that is part of a larger composition; moods of movements usually contrast (fast, slow, fast, etc.) |
| Baroque Harmony | "Functional" harmony and the appearance of the major/minor system; figured bass (bass notes with numbers that indicate harmony) |
| Baroque Melody | More instrumental in conception (disjunct) |
| Baroque Rhythm | Repeated, recognizable rhythmic patterns are pervasive |
| Baroque Sound | Vocal music is almost always accompanied and a lot of music is now written for instruments alone; Unity of Mood; Doctrine of Affections; terraced dynamics (p and f) |
| Cultural Context of Classical Period | Age of Enlightenment, rise of the middle class and individualism |
| 3 Composers/Musicians From the Classical Period | Franz Josef Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven |
| Classical Genre | Symphony, chamber music, opera |
| Classical Form | One of the dominant elements of the Classical style: Sonata form, rondo form, theme and variations, DANCE FORMS are most common |
| Classical Melody | Tuneful, easy to sing, conjunct, symmetrical melodies |
| Classical Harmony | Simple major/minor |
| Classical Rhythm | Flexible, strong meter and pulse, strong rhythmic drive |
| Classical Sound | Homophonic texture, gradual dynamics, piano replaces harpsichord, contrasting moods within a piece, absolute music (music without extracurricular meaning) |
| 4 Sections of the Classical Orchestra | Strings, woodwinds, brass, percussion |
| Culture Context of the Romantic Period | Rejection of order and rationality, Dionysus, nature, individualism, creative spirit is more important than process and form and tradition, nationalism, fascination with the past, exoticism, mystery, escapism, adventure and love, excess emotion, etc. |
| 5 Composers/Musicians From the Romantic Period | Franz Schubert, Robert Schumann, Clara Schumann, Hector Berlioz, Franz Lizst |
| Romantic Form | Miniatures and giants |
| Romantic Rhythm | More shifts in tempo |
| Romantic Melody | Less symmetry than classical melodies; larger range, more expressive |
| Romantic Harmony | Expressive chromaticism, wide variety of keys, rapid modulation from one key to another |
| Romantic Sound | Expanded dynamics and tempo, expressive tones |
| Cultural Context of the Modern Era | Musical style becomes enormously diverse and fast-changing |
| 4 Composers/Musicians of the Modern Era | Arnold Schoenberg, Igor Stravinsky, Bela Bartok, Aaron Copland |
| Modern Form and Genre | Form and genres of Classical and Baroque Period are revisited along with a continuation of Romantic forms and genres |
| Modern Melody | Not tied to the major/minor system, often very dissonant, generally not easy to sing or remember |
| Modern Rhythm | Expanded vocabulary (division of the beat into more diverse groups), irregular phrase structures and meters, changing meters, polyrhythm |
| Modern Harmony | The Emancipation of Dissonance, new chord structures, alternative tonal systems |
| Modern Sound | Timbre is more important than ever, instrument special effects, percussion plays a prominent role, more emphasis on differentiation rather than blend of sound, "klangfarbenmelodie" ("sound color melody") |
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