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ELEMENT 1

SOUNDS: PITCH, DYNAMICS AND TONE COLOR

1. Sounds bombard our ears everyday example; the squeaks and honks of traffic, a child’s laugh the bark of dog and the patter of rain.

2. Sounds may be perceived as pleasant or unpleasant. Fortunately, we can direct our attention to specific sounds, shutting out those that don’t interest us. Especially at the party for instance, we can choose to ignore the people near us and focus instead on a conversation across the room. Actually, we shut out most sounds, paying attention only to those of interest.

3. Sounds begin with the vibration of an object, such as a table that is pounded or a string that is plucked.

4. The vibrations are transmitted to our ears by a medium, which is usually air. As a result of the vibrations, our brain there impulse are selected, organized and interpreted.

PITCH: HIGHNESS OR LOWNESS OF SOUNDS

1. Pitch is the relative highness or lowness that we hear in a sound. No doubt you’ve noticed that most men speak and sing in a lower range of pitches than women or children do.

2. The pitch of sounds is determined by the frequency of vibrations. The faster of vibration, the higher of pitch, the slower of vibration, the lower of the pitch.

3. In general, the smaller the vibrating object, the faster is vibrations and the higher its pitch.

4. In music, a sound that has a definite pitch is called a ‘Tone’. The vibration of a tone is regular and reaches the ear at equal times intervals.

5. Two tones will sound different when they have different pitches. The distance in pitch between any two tones is called an interval.

6. When tones are separated by the interval called an octave they sound very much alike.

7. The interval of an octave is important in music. It is the interval between the first and last tone of the familiar scale. Sing this scale slowly.

Do Ti La So

FaMe

Re

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Do

8. The distance between the lowest and highness tones that a voice or instrument can produce is called its pitch range or simply its range.

9. The range of average untrained voice is between 1&2 octave; a piano’s range is over 7 octaves. When men and women sing the same melody, they usually sing it an octave apart.

DYNAMICS

1. Degrees of loudness or softness in music are called dynamics. Our second property of sound, loudness is related to the amplitude of the vibration that produces the sound.

2. A performer can emphasize a tone by playing it more loudly than the tones around it. We call an emphasis of this kind a dynamic accent.

3. Skill full, subtle changes of dynamic add spirit and mood to performances. Sometimes these changes are written in the music, often though they are not written but are inspired by the performer’s feeling about the music.

4. When notating music for others to read, composers have traditionally used Italian words and appreciation to indicate dynamic. E.g.;

Italian Term Symbol English Term

Pianissimo pp Very Soft Piano p Soft Mezzo Piano mp Moderately

Softly Mezzo Forte mƒ Moderately Loud Forte ƒ Loud Fortissimo ƒƒ Very Loud

5. For extremely soft and dynamic levels, a composer will sometimes use ppp or Pppp and fff or ffff. These symbols and words are used.

Decrescendo ( decresc.)Or

Diminuendo (dim.) Gradually Softer

Crescendo (Cresc.) Gradually Louder

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HUMAN VOICE

1. The human voice consists of sound made by a human using the vocal folds for talking, singing, laughing, screaming. The vocal folds, in combination with the lips, the tongue, the lower jaw, and the palate, are capable of producing highly intricate arrays of sound.

2. The tone of voice may be modulated to suggest emotions such as anger, surprise, or happiness. Singers use the human voice as an instrument for creating music.

VOICE TYPES AND THE CORDS THEMSELVES

A labeled anatomical diagram of the vocal folds or cords.

3. Men and women have different vocal cord sizes; adult male voices are usually lower-pitched and have larger cords. The male vocal cords (which would be measured vertically in the opposite diagram), are between 17 mm and 25 mm in length.

4. Matching the female body, which on the whole has less muscle than the male, females have smaller cords. The female vocal cords are between 12.5 mm and 17.5 mm in length.

5. As seen in the illustration, the cords are located just above the trachea (the windpipe which travels from the lungs). Food and drink

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does not pass through the cords but is instead taken through the esophagus, an unlinked tube. Both tubes are separated by the tongue and an automatic gag reflex. When food goes down through the cords and trachea it causes choking.

6. Cords in both sexes are ligaments within the larynx. They are attached at the back (side nearest the spinal cord) to the arytenoid cartilages, and at the front (side under the chin) to the thyroid cartilage. Their outer edges, as shown in the illustration, are attached to muscle in the larynx while their inner edges or "margins" are free (the hole). They are constructed from epithelium, but they have a few muscle fibres on them, namely the vocalis muscle which tightens the front part of the ligament near to the thyroid cartilage. They are flat triangular bands and are pearly white in colour—whiter in females than they are in males. Above both sides of the vocal cord (the hole and the ligament itself) is the vestibular fold or false vocal cord, which has a small sac between its two folds (not illustrated).

7. The difference in vocal cord size between men and women means that they have differently pitched voices. Additionally, genetics also causes variances amongst the same sex, with men and women's voices being categorised into types. For example, among men, there are baritones and tenors, and sopranos and altos among women. There are different methods for categorizing voices, such as the fach in German opera, and vocal weight in British opera.

VOICE REGISTERS

1. The human voice is capable in most cases of being a complex instrument. Humans have vocal folds which can loosen or tighten or change their thickness and over which breath can be transferred at varying pressures. The shape of chest and neck, the position of the tongue, and the tightness of otherwise unrelated muscles can be altered. Any one of these actions results in a change in pitch, volume, timbre, or tone of the sound produced.

2. One important categorization that can be applied to the sounds singers make relates to the register or the "voice" that is used. Singers refer to these registers according to the part of the body in which the sound most generally resonates, and which have correspondingly different tonal qualities. There are widely differing opinions and theories about what a register is, how they are produced and how many there are. The following definitions refer to the different ranges of the voice.

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SPEAKING VOICE (CHEST)

1. The chest voice is the register typically used in everyday speech. The first recorded mention of this register was around the 13th century, when it was distinguished from the throat and the head voice (pectoris, guttoris, capitis -- at this time it is likely head voice referred to the falsetto register, see falsetto article) by the writers Johannes de Garlandia and Jerome of Moravia.

2. The speaking voice is named as "the chest voice" in the Speech Level Singing method. It is so called because it can produce the sensation of the sound coming from the upper chest. This is because lower frequency sounds have longer wavelengths, and resonate mostly in the larger cavity of the chest. A person uses the chest voice when singing in the majority of his or her lower range.

3. It was discovered via stroboscope that during ordinary phonation, or speaking in a man the vocal folds contact with each other completely during each vibration closing the gap between them fully, if just for a small length of time. This closure cuts off the escaping air. When the air pressure in the trachea rises as a result of this closure, the folds are blown apart, while the vocal processes of the arytenoid cartilages remain in apposition. This creates an oval shaped gap between the folds and some air escapes, lowering the pressure inside the trachea. Rhythmic repetition of this movement a certain number of times a second creates a pitched note. This is how the chest voice is created.

4. The tonal qualities of the chest voice are usually described as being rich or full, but can also be belted or forced to make it sound powerful by shouting or screaming.

5. When talking about a singer's vocal range, usually only the chest voice is counted. When a singer or person shouts or screams, this is in the chest voice; however, use of overly strong chest voice in the higher registers in an attempt to hit higher notes in the chest can lead to forcing. Forcing can lead consequently to vocal deterioration.

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TONE COLOR

1. We can tell a trumpet from a flute even when each of them is playing the same tone at the same dynamic level.

2. The quality that distinguishes them our third property of musical sound is called ‘Tone Color’ or timbre (pronounced tam’ber).

3. Tone color is described by words such as bright, dark, brilliant, mellow and rich

PERFORMING MEDIA: VOICES AND INSTRUMENTSVoices

1. Throughout history, singing has been the most widespread and familiar way of making music.

2. Singer seems always to have had a magnetic appeal, and even today adoring audiences imitate the looks and lifestyles of their favorites.

3. The classification of voice ranges for women and men follows, arranged from highest to lowest. The four basic ranges are:

Women MenSoprano tenorMezzo-Soprano baritoneAlto (or contralto) bass

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Musical Instrument

1. An instrument may be defined as any mechanism-other than voice –that produces musical sounds.

2. Western musicians usually classify instrument in six broad categories:

Strings (such as guitar and violin)

Woodwind (flute and clarinet)

Brass (trumpet, trombone)

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Percussion (bass drum, cymbals)

Keyboard (organ , piano)

Electronic( Synthesizer)

RHYTHM

1. Is basic to life.2. Rhythm forms the lifeblood of music, too. In its widest sense,

rhythm is the flow of music through time.

Beat

1. When you clap you hands or tap your foot to music, you are responding to its beat.

2. Beat is a regular, recurrent pulsation that divides music into equal units of time.

Meter

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1. In music we find a repeated pattern of a strong beat plus one or more weaker beats. The organization of beats into regular groups is called meter.

2. A group containing a fixed number of beats is called a measure. The are several types of meter, which are based on the number of beats in a measure.

Tempo

1. The speed of the beat is known as tempo, the basic pace of the music.

2. A tempo indication is usually given at the beginning of a piece. As with dynamics, the terms that show tempo (at the left) are in Italian.

Largo very slow, broad Grave very slow, solemn Adagio slow Andante moderately Moderato moderate Allegretto moderately fast Allegro fast Vivace lively Presto very fast Prestissimo as fast as possible

MUSIC NOTATION

1. System of writing music so that specific pitches and rhythms can be communicated.

2. It is explained here–very briefly-primarily to help you recognize rising and falling melodic lines and long and short notes so that you can follow the music examples in this book.

Notating Pitch

With music notation, we can indicate exact pitches by the upward or downward placement of symbols-called notes-on staff.

Notating Silence (Rests)

Duration of silence is notated by using a symbol called a rest. Rests are pauses; their durations correspond to those of notes.

Notating Meter

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A time signature (meter signature) shows the meter of a piece. The upper number tells how many beats fall in a measure; the

lower number tells what kind of note gets the beat.

SHEET MUSIC

1. Sheet music is written representation of music. This is a homorhythmic (i.e., hymn-style) arrangement of a traditional piece entitled Adeste Fideles, in standard two-stave format for mixed voices.

Tibetan musical score from the 19th century.

2. Sheet music is a hand-written or printed form of musical notation; like its analogs -- books, pamphlets, etc. -- the medium of sheet music typically is paper (or, in earlier times, parchment). Use of the term “sheet” is intended to differentiate music on paper from a recording, broadcast, or live performance, and more specifically usually refers to the print publication of commercial music alongside the release of a new film, show, record album, or other special event which involves music.

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3. A common alternative (and more generic) term for sheet music is score, and there are several types of scores, as discussed below. (Note: the term score can also refer to incidental music written for a play, television programme, or film; for the last of these, see film score.)

PURPOSE AND USE

1. Sheet music can be used as a record of, a guide to, or a means to perform, a piece of music. Although it does not take the place of the sound of a performed work, sheet music can be studied to create a performance and to elucidate aspects of the music that may not be obvious from mere listening. Authoritative musical information about a piece can be gained by studying the written sketches and early versions of compositions that the composer might have retained, as well as the final autograph score and personal markings on proofs and printed scores.

2. As with literature, one must be able to read musical notation in order to make use of sheet music. The skill of sight reading is the ability of a musician to perform an unfamiliar work of music upon viewing the sheet music for the first time. Sight reading ability is expected of professional musicians and serious amateurs who play classical music and related forms. An even more refined skill is the ability to look at a new piece of music and hear most or all of the sounds (melodies, harmonies, timbres, etc.) in one's head without having to play the piece.

3. With the exception of solo performances, where memorization is expected, classical musicians ordinarily have the sheet music at hand when performing. Even in jazz music, which is mostly improvised, sheet music is used to give basic indications of melodies, chord changes, and arrangements.

4. Handwritten or printed music is less important in other traditions of musical practice, however. Although much popular music is published in notation of some sort, it is quite common for people to learn a piece by ear. This is also the case in most forms of western folk music, where songs and dances are passed down by oral -- and aural -- tradition. Music of other cultures, both folk and classical, is often transmitted orally, though some non-western cultures developed their own forms of musical notation and sheet music as well.

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5. Although sheet music is often thought of as being a platform for new music and an aid to composition (i.e., the composer writes the music down), it can also serve as a visual record of music that already exists. Scholars and others have made transcriptions of western and non-western musics so as to render them in readable form for study, analysis, and re-creative performance. This has been done not only with folk or traditional music (e.g., Bartók's volumes of Magyar and Romanian folk music), but also with sound recordings of improvisations by musicians (e.g., jazz piano) and performances that may only partially be based on notation. An exhaustive example of the latter in recent times is the collection The Beatles: Complete Scores (London: Wise Publications, c1993), which seeks to transcribe into staves and tablature all the songs as recorded by the Beatles in instrumental and vocal detail.

The Score

A score a sow the music for each instrumental or vocal category in a performing group; often, an orchestra score will show more than fifteen different staves of notation

MELODY

1. For many of us, music means melody. We sung in school, cars, camps, and the shower.

2. Melody is easier to recognize than to define. It must have something special since melody is common to the music of all peoples, but probably the elusive ‘something’ the evokes so much feeling will never be trapped in a dictionary definition.

a) Row, Row, Row Your Boat

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b) Mary Had a Little Lamb (2)

HARMONY

1. When folksingers accompany themselves on guitar, they add support, depth, and richness to the melody. We call this harmonizing. Most music in Western culture is a blend of melody and harmony.

2. Harmony refers to the way chords are constructed and how they follow each other.

KEY

1. Practically all familiar melodies are built around a central tone. The other tones of the melody gravitate toward this central one.

2. Since the central tone is especially stable and restful, a melody usually ends on it.

MUSICAL TEXTURE

1. We use the term ‘musical texture’ is refers to how many different layers of sound are heard at once, to what kind of layers they are (melody or harmony), and to how they are related to each other

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Monophonic TexturePolyphonic TextureHomophonic Texture

PERFORMANCE

1. Without a performer, music would remain soundless on page. Unlike books and painting, music speaks to us through a re-creator, a musician who makes the printed music sounds.

The ConductorThe PerformerRecorded and live performanceJudging Performance

THE MIDDLE AGES

1. Beginning around 450 with the disintegration of the Roman Empire, This era witnessed the “dark ages”, a time of migrations, upheavals, and wars.

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2. The later middle Ages also witnessed the crusades, a series of wars undertaken by European Christians-Primary between 1096 and 1291-to recover the holy city of Jerusalem from the Muslims.

3. During the Middle Ages a very sharp division existed among three main social classes: nobility, peasantry, and clergy.

MUSIC IN THE MIDDLE AGES (450-1450)

1. Most important musicians were priests and worked for the church. An important occupation in thousands of monasteries was liturgical singing.

2. Boys received music education in schools associated with churches and cathedrals.

3. Women were not allowed to sing in church but did make music in convents.

GREGORIAN CHANT

1. For over 1,000 years, the official music of the Roman Catholic Church has been Gregorian chant, which consists of melody set to sacred Latin texts and sung without accompaniment.

2. The chant is monophonic in texture. The melodies of Gregorian chant were meant to enhance specific parts of religious services.

3. Gregorian chant conveys a calm, otherworldly quality; it represents the voice of the church, rather than of any single individual. Its rhythm is flexible, without meter and has little sense of beat.

THE CHURCH MODES

The church modes were the basic scales of western music during the middle Ages and Renaissance and were used in secular as well as sacred music.

Example, the sea chantey what shall we Do with the4 Drunken Sailor? Is in a mode called Dorian, and the Civil War song When Johnny Comes Marching Home is in the Aeolian mode.

SECULAR MUSIC IN THE MIDDLE AGES

Much music outside the church

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The first large body of secular songs surviving in decipherable notation was composed during the twelfth and thirteenth centuries by French nobles called troubadours and truoveres.

The songs were usually performed by court minstrels and most of them deal with love; but there are also songs about the Crusades, dance songs and spinning songs.

Estampie (Thirteenth Century)

A medieval dance. In the manuscript for the Estampie, a single melodic line is notated and

as usual no instrument is specified. Accompanied by a rebec (a bowed string instruments) and a pipe (a

tubular wind instrument)

School OF Notre Dame: Measured Rhythm

The intellectual and artistic capital of Europe- became the center of polyphonic music.

Two successive choirmasters of Notre Dame, Leonin and Perotin are among the first notable composers known by name. They and their followers are referred to as the School of Notre Dame.

Music of Leonin and Perotin used measured rhythm, definite time values and clearly defined meter.

Example of Notre Dame polyphony, is a Alleluia:Navitas (The Birth;1200?) by, Perotin.

Composers and Works Medieval Ages

Francesco Landini (?-1397) ~ Ecco la primavera (Spring has come; Fourteenth Century) ~ Song two voices.

Guillaume de Machaut (1300-1377) ~ Notre Dame Mass-Angus Dei (Mid-Fourteenth Century) ~ Choral

Time Line: Renaissance (1450-1600)

Dates Music Arts and Letters Historical and Cultural Events

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1450 - 1500

Josquin Desprez, Ave Maria..Virgo Serena (c.1475)

Botticelli, La Primavera (1577)

-Fall of Constantinople (1453)-Gutenberg Bible (1456)-Columbus reaches America (1492)

1500 - 1600

-Giovanni Pierluigi da Palestrina, pope Marcellus Mass (1563)-Thomas Weelkes, As Vesta Was Descending (1601)

-Leonardo da Vinci, Mona Lisa (c.1503)-Michelangelo, David (1504)-Raphael, School of Athens (1505)-Titian, Venus and the Lute Player (c.1570)-Shakespeare,Romeo and Juliet (1596)

-Martin luther’s ninety-five theses, start of the Reformation (1517)-Council of Trent (1545-63)-Elizabeth I, Queen of England (1558-1603)-Spanish Armada defeated (1588)

THE RENAISSANCE

The fifteenth and sixteenth centuries in Europe have come to be known as the Renaissance. People then spoke of a “rebirth”, or “renaissance”, of human creativity.

Consider the voyages of Christopher Columbus (1492), Vasco da Gama (1498) and Ferdinand Magellan (1519-1522).

Remarkable life of Leonardo da Vinci (1452-1519), who was a painter, sculptor, architect, engineer as well.

Dominant intellectual movement, which was called humanism, focused on human life and its accomplishments.

Painters and sculptors were attracted to subjects drawn from classical literature and mythology. Once again they depicted the nude human body, which had been a favorite theme of antiquity but an object of shame and concealment during middle Ages.

MUSIC IN THE RENAISSANCE (1450-1600)

In keeping with the Renaissance ideal of the “Universal man”, every educated person was expected to be trained in music.

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Musicians worked in churches, courts and towns. Church choir grew in size. (The papal choir in Rome increased from ten singers in 1442 to twenty-four in 1483).

King, Princes, and Dukes competed for the finest composers. Women functioned as virtuoso singers several Italian courts

during the late Renaissance. A court music director would compose secular pieces to entertain

the nobility and sacred works for the court chapel. The nobility often brought their musicians along when traveling from one castle to another.

CHARACTERISTICS OF RENAISSANCE MUSIC

Words and Music

Vocal music was more important than instrumental music. The humanistic interest in language influenced vocal music, creating a close relationship between words and music.

Renaissance composers often used word painting, musical representation of specific poetic images. For example , the words ‘descending from heaven’ might be set to descending melodic line and running might be heard with a series of rapid notes.

Texture

The texture of Renaissance music is Polyphonic. A typical choral piece has four, five or six voice parts of nearly

equal melodic interest. Homophonic texture, with successions of chords is also used

especially in light music like dance. Sounds of music fuller than medieval music.

Rhythm and Melody

Rhythm is more a gentle flow than a sharply defined beat. This technique makes singing Renaissance music both a pleasure

and a challenge, for each singer must maintain an individual rhythm.

Pitch patterns in Renaissance melodies are easy to sing. The melody usually moves along a scale with few large leaps.

SACRED MUSIC IN THE RENAISSANCE

Two main forms of sacred Renaissance music are motet and the mass.

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The Renaissance motet is a polyphonic choral work set to a sacred Latin text other than the ordinary of the mass.

Mass is a polyphonic choral compositions made up of five sections. Kyrie, Gloria, Credo, Sanctus and Agnus Dei.

COMPOSERS AND WORKS (MOTET AND MASS)

Josquin Desprez (1440-1521),- a contemporary of Leonardo da Vinci and Christopher Columbus , was master of Renaissance music.Josquin‘s composition, which include masses, motets and secular vocal pieces.Josquin’s works; Ave Maria….Virgo Serena (Hail, Mary…Serene Virgin; 1502) – Choral works; Latin prayer to the Virgin is set to delicate and serene music.

_ Short melodic _ Presented by the soprano voice and imitated by the alto,

tenor and bass.

Giovanni Pierluigi da Palestrina (1525-1594) – devoted himself to music for the Catholic Church.Palestrina’s music includes 104 masses and some 450 other sacred works.Palestrina’s works reflect this emphasis on a more spiritual music.Palestrina’s works; Pope Marcellus Mass (1562-1563)

– Polyphonic masses_ A Capella choir of six voice parts; soprano, alto, two tenors, and

two basses

SECULAR MUSIC IN THE RENAISSANCE

Vocal Music

Increasingly popular Music was set to poems in various languages, including Italian,

French, Spanish, German, Dutch and English. Renaissance secular music was written for groups of solo voices

and for solo voices with the accompaniment of one or more Instrument.

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In famous piece entitled La Guerre (The War), the Frenchman Clement Janequin (1485-1560) vividly imitated battle noises, drumbeats and fanfares.

The Renaissance Madrigal

A piece for several solo voices set to a short poem, usually about love.

Madrigal originated in Italy around 1520, during a creative explosion in Italian poetry.

Sung by cultivated aristocrats – Italian madrigalists were Luca Marenzio (1553-1599) and Carlo Gesualdo (1560-1613), the infamous prince of Venosa who had his wife and lover murdered after finding them together in bed.

The time of Queen Elizabeth I (1533-1603) and William Shakespeare (1564-1616) was as much a golden age in English music as it was in English literature.

English madrigal became lighter and more humorous than its Italian models and its melody and harmony were simpler

Composers and works (Madrigal)

Thomas Weelkes (1575-1623), an organist and church composers.Weelkes’s As Vesta Was Descending comes from The Triumphes of Oriana (1601), an anthology of English madrigals written to honor Queen Elizabeth, who was often called Oriana.

The Renaissance Ballett (Fa - La)

A simpler type of secular vocal music than madrigal, a dance like song for several solo voices

Homophonic in texture, with the melody in the highest note. Originated in Italy. It was cultivated in England from around 1595 to the 1620s.

Composers and Works (Ballett)

Thomas Morely (1557-1603), an English composer best known for his madrigals.Now Is the Month of Maying (1595) _ Five Voices

_ Morely’s carefree melody gracefully evokes the flirtatious mood of

the poem.

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INSTRUMENTAL MUSIC

Traditionally, instrumentalist accompanied voices or played music intended for singing.

Instrumental groups performed polyphonic vocal pieces, which were often published with the indication to be sung or played.

Soloist used the harpsichord, organ or lute (a versatile plucked string instrument with a body shaped like half a pear) to play simple arrangements of vocal works.

Much of this instrumental music was intended for dancing, a popular Renaissance entertainment.

Dance music was performed by instrumental groups by soloist like harpsichordists and lutenist.

Example; outdoor instruments like the trumpet and the shawm (a double - reed ancestor of the oboe) and soft indoor instruments like lute and recoder (an early flute).

Composers and Works (instrumental music)

Terpsichore by Michael Praetorius (1571-1621), a German composer and theorist. (Terpsichore was the Greek muse, or goddess, of the dance)._Collections of over 300 dance tunes arranged for instrumental ensemble.Passamezzo and Galliard, by Pierre Francisque Caroubel._ Stately is a dance in duple meter_ Instrument – String, Woodwind, Brass, Keyboard and Percussion.

THE VENETION SCHOOL: FROM RENAISSANCE TO BAROQUE

During the sixteenth century, Venice an independent city-state on the north-eastern coast of Italy- became a center of instrumental and vocal music.

Importance both by means of magnificent processions and through its architecture and painting.

The focal point for music in Venice was St. Mark’s Cathedral. The Cathedral was colorful and wealthy.

Employed up to twenty instrumentalists and thirty singers for grand ceremonies within the Cathedral and in St. Mark’s Square.

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Music directors and organists at St. Mark’s:

i. Adrian Willaert (1490-1562)ii. Andrea Gabrieli (1520-1586)iii. Andrea’s, nephew Giovanni Gabrieli

Giovanni Gabrieli and the Polychoral Motet

(1555-1612), a native of Venice was the most important Venetian composer of the late RenaissanceStudied with Uncle Andrea Gabrieli and was n organist at St. Mark’s from 1585 until his dead.Compositions include organ and instrumental ensemble works and poly choral motets (motets for two or more choirs often including groups of instruments). Gabrieli ‘s sonata pian e forte (1597) is famous as one of the earliest instrumental ensemble pieces in which dynamic and instrumentation are specified by the composer.

PLAUDITE (Clap your Hands; 1597)

Spectecular polychoral motet plaudite was intended for joyful ceremony at St.Mark’s Cathedral.

The motet is written for a large vocal and instrumental ensemble of twelve voice parts divided into three choirs, performing groups, that contrast in register

THE BAROQUE STYLE (1600-1750)

The baroque period (1600-1750) is known as “age of absolutism” because many rules exercised absolute power over their subjects.

Churches used the emotional and theatrical qualities of art to make worship more attractive and appealing.

During the baroque period, Europe was divided into Catholic and protestant area.

The middle class too influenced the development of the baroque style. In the Netherlands for example, prosperous merchants and doctors commissioned realistic landscapes and scenes from everyday life.

BAROQUE MUSIC (1600-1750)

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During the period from 1600 to 1750. The two giants of baroque composition were George Frederic Handel and Johann Sebastian Bach.

The baroque period can be divide into three phasesi. Early (1600-1640)ii. Middle (1640-1680)iii. Late (1680-1750)

Early baroque composers favored homophonic texture over the polyphonic texture typical of Renaissance music.

The middle phase of the baroque (1640-1680), the new musical style spread from Italy to practically every country in Europe.

The late baroque period (1680-1750), which produced most of the baroque music heard today.

Many aspects of harmony-including an emphasis on the attraction of the dominant chord to the tonic-arose in this period.

Characteristics of Baroque Music

Unity of Mood Baroque piece usually expresses one basic mood. Emotional

states like joy, grief and agitation were represented, at the time, these mood were called affections,

Rhythm Rhythmic patterns heard at the beginning of a piece are

repeated throughout it. Rhythmic continuity provides a compelling drive and energy –

the forward motion is rarely interrupted. The beat, for example is emphasized far more in baroque music

than in most Renaissance music.

Melody Many baroque melodies sound elaborate and ornamental and

they are not easy to sing or remember. Baroque melody gives an impression of dynamic expansion

rather than of balance or symmetry. A short opening phrase is often followed by a longer phrase with unbroken flow of rapid notes.

Dynamic

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Paralleling continuity of rhythm and melody in baroque music is continuity of dynamic. The level of volume tends to stay constant for a stretch of time.

When the dynamics do shift, the shift ids sudden, like physically stepping from one level to another.

This alternation between loud and soft is called terraced dynamics. Gradual changes through crescendo and decrescendo are not prominent features of baroque music.

Texture

Polyphonic : two or more melodic lines compete for the listener’s attention in texture

Chords and the Basso Continuo

In a sense, chords were mere by-products of the motion of melodic line. Baroque period chords became significant in themselves.

The new emphasis on chords and the bass part resulted in the most characteristic feature of baroque music, an accompaniment called bass continuo (Italian for continuous bass).

The basso continuo offered the advantage of emphasizing the all-important bass part, besides providing a steady flow of chords.

Words and Music

Baroque composers used music to depict the meaning of specific words. Heaven might be set to a high tone, and hell to a low tone.

Baroque composers often emphasized words by writing many rapid notes for a single syllable of text; this technique also displayed a singer’s virtuosity.

The individual words and phrases of a text are repeated over and over as the music continuously unfolds.

The Baroque Orchestra

Evolved into a performing group based on instrument of violin family. By modern standard the baroque orchestra was small, consisting of from ten to thirty or forty players.

Used of woodwind, brass, and percussion instruments was variable.

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Composers frequently rearranged their own or other composers work’s for different instrument.

Often one instrument was treated like another. An oboe would play the same melody as the violins, or the flute and trumpet would imitate each other for extended sections on a piece.

Baroque Form

A movement is a piece that sounds fairly complete and independent but is

part of a longer composition. Baroque composition in three movements may contain

contrasts between a fast and energetic opening, a slow and solemn middle and a conclusion

That is quick, light and humorous

MUSIC IN BAROQUE SOCIETY

Before 1800, most music was written to order, to meet specific demands that came mainly from churches and aristocratic court.

In every case, the demand was for new music; audiences did not want to

listen to pieces in an “old-fashioned” style. The music director supervised performances and composed

much of the music required, including operas, church music, dinner music and pieces for court concerts.

Churches also needed music, and church music was often very grand. Along with an organ and a choir, many baroque churches had an orchestra to accompany services.

Baroque musicians earned money by writing operas for commercial opera houses; such houses were located mainly in Italy.

Many baroque composers began their studies as choirboys, learning music in the choir school.

THE CONCERTO GROSSO AND RITORNELLO FORM

In a concerto grosso, a small group of soloist is pitted against a larger group of players called the tutti (all).

Between two or four soloist play with anywhere from eight to twenty or more musicians for the tutti.

First and last movements of concerti grossi are often in ritornello form, which is based on alternation between tutti and solo sections.

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In ritornello form the tutti opens with the theme called the ritornello (refrain) – The theme, always played by the tutti, return in different keys throughout the movement.

Composers and Works

Brandenburg Concertos No.5 in D Major (about 1721), by Johann Sebastian Bach.Brandenburg Concerto No.5 uses a string orchestra and a group of soloists consisting of a flute, violin and harpsichord.

The Fugue

Polyphonic composition based on one main theme, called a subject.

Different melodic lines, called voices, imitate the subjectThe top melodic line –whether sung or played is the soprano

voice and bottom is the bass.

- The opening of a fugue in four voices may be represented as follows:

Sopranosubject………………………………………………………ect.

Alto subject……………………………………………..ect.Tenor subject....................................ect.Bass Subject………………………..ect.

Composers and Works (Fugue)

One of Bach’s best-known organ pieces is the Little Fugue in G minor, so called to differentiate it from another, longer fugue in G minor.

Another Element in Fugue;

i. Countersubjectii. Episodesiii. Pedal point (or organ point)iv. Inversionv. Retrogradevi. Augmentationvii. Diminution

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viii. Prelude

THE ELEMENTS OF OPERA

This unique fusion of music, acting, poetry, dance, scenery and costumes is a theatrical experience offering over whelming excitement and emotion.

In opera, characters and plot are revealed through song, rather than the speech used in ordinary drama.

Opera demands performers who can sing and act simultaneously. On stage are star solo singer, secondary soloist a chorus and sometimes dancers- all in costume.

Lighting and stage machinery are intricate and are used to create the illusion of fires, floods, storms and supernatural effect.

The creation of an opera involves the joint efforts of a composer and a dramatist. The libretto or text of the opera is usually written by librettist, or dramatist, and set to music by the composer.

The basic voice ranges (soprano, alto, tenor, bass) are divided more finely in opera. Some of the voice categories of opera are as follows:

Contralto soprano – Very high range; can execute rapid scales and trills Lyric Soprano – Rather light voice; sings roles calling for grace and

charm. Dramatic soprano – Full, powerful voice; is capable of passionate

intensity Lyric tenor – Relatively light, bright voice Dramatic tenor – Powerful voice; is capable of heroic expression Basso buffo - Takes comic roles; can sing very rapidly Basso profundo – Very low range, powerful voice; takes roles calling for

great dignity.

The main attraction for many opera fans is the aria, a song for solo voice with orchestral accompaniment.

Opera composers often lead into an aria with a recitative, a vocal line that imitates the rhythms and pitch fluctuations of speech.

When three or more singers are involved, the composition is called an ensemble.

An opera chorus generates atmosphere and makes comments on the action.

Rising just over the edge of center stage, near the footlights, is prompter’s box. In this cramped space, invisible to the audience, is the prompter, who gives cues and reminds the singers of words or pitches if they momentarily forget.

Most operas open with a purely orchestral composition called an overture or a prelude.

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OPERA IN THE BAROQUE ERA

Born in Italy Prepared by musical discussions among a small group of nobles,

poets and composers who began to meet regularly in Florence around 1575.

This group was known as the Camerata (Italian fellowship or society) included the composer Vincenzo Galilei, father of the astronomer Galilei. Baroque opera marked the rise of virtuoso singers. Chief among these was the castrato, a male singer who had been castrated before puberty.

Castration of boy singers was common in Italy from 1600-1800; it was usually done with the consent of impoverished parents who hoped their sons would become highly paid opera stars.

Composers and Works (Opera)

Claudio Monterverdi (1567-1643)The most important composers of the early baroque era, was born in Cremona, Italy.Served at the court of Mantua for twenty-one years, first as a singer and violist, then as music director.Monterverdi Works :a) Orfeo (Orpheus, 1607).b) L’Incoronazione di poppea (The Coronation of Poppea, 1642).

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Henry Purcell (1659-1695)Called the greatest composers, Was born in London His father Musician in the king’s service.Became a choirboy in the Chapel Royal, and by his late teens his extraordinary talents were winning him important musical positions.Henry Purcell Works:

a) Dido and Aeneas (1689)

THE BAROQUE SONATA

Originated in Italy but spread to Germany, England and France during the seventeenth century.

Played in palaces, in homes and even in churches. One of the main developments in instruments in instrumental

music was the sonata, a composition in several movements for one to eight instruments.

Composers often write trio sonata, so called because they had three melodic lines: two high lines and a basso continuo.

There are two instruments (commonly, violins, flutes or oboes) and two instruments for the basso continuo a keyboard instrument (organ or harpsichord) and a low instrument (cello or bassoon).

Composers and Works (Sonata)

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Arcangelo Corelli ~ The most prominent Italian violinist and composer of string music around 1700 was Arcangelo Corelli (1653-1713)Studied in Bologna ~ spent most his adult life in Rome.Arcangelo Corelli works:

a) Trio Sonata in A Minor, Op.3, No. 10 (1689)

Antonio Vivaldi (1678-1741) ~ was born in Venice.

His father was violinist at St. Mark’s Cathedral.Most of his life, Vivaldi was a violin teacher,

composers and conductor at the music school of the Pieta, an institution for orphaned or illegitimate girls in Venice.

Also wrote for Venetian opera houses and sometimes took leave to visit foreign courts.

Vivaldi works:a) La Primavera (Spring), Concerto for Violin and String

Orchestra, Op.8, No.1 from The Four Seasons (1725)

Johann Sebastian Bach (1685-1750) ~ Born in Eisenach.His father,grandfather, and great-grandfather were all church organists or town musicians in Germany.Bach Works:

a) Prelude and Fugue in C Minor from The Well Tempered Clavier, Book 1 (about 1722)

b) Brandenburg Concerto No.5 in D Major (about 1721)

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c) Mass in B Minor (Begun 1733)

THE BAROQUE SUITE

Baroque composers wrote suites, which are set of dance-inspired movement.

Whether for solo instruments, small group, or orchestra a baroque suite is made up of movements that are all written in the same key but differ in temp, meter and character.

Works Composers (Suite)

Suite No.3 in D Major (1729 – 1731), by Johann Sebastian Bach

i. First Movement: Overtureii. Second Movement: Airiii. Third Movement: Gavotteiv. Fourth Movement: Bourreev. Fifth Movement: Gigue

THE CHORALE AND CHURCH CANTATA

The chorale, or hymn tune was sung to a German religious text. Chorales were easy to sing and remember, having only one note to a syllable and moving in steady rhythm.

These melodies were often harmonized for church choir. The hymn melody was sung in the top part and the tones of the supporting harmonies were sung in the three lower parts.

THE CHURCH CANTATA

Cantata originally meant a piece that was sung, as distinct from a sonata, which was played.

It was usually written for chorus, vocal soloist, organ and a small orchestra. It had a German religious text, either newly written or drawn from the bible or familiar hymns.

Works Composers (Cantata)

Cantata No.140: Wachet auf, ruft uns die stimme (Awake, a Voice Is Calling Us,; 1731) by, Johann Sebastian Bach

To fully appreciate it, we perhaps should imagine ourselves as pious Lutherans of his time.

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THE ORATORIO

Like an opera, an oratorio is a large-scale composition for chorus, vocal soloist and orchestra; it is usually set to a narrative text.

Differ from opera in that it has no acting, scenery or costumes.

Most oratorios are based on biblical stories, but usually they are not intended for religious services. Today they are performed in either concert halls or churches.

Composers and Works (Oratorio)

George Frederic Hande (1685-1759)l ~ Was born in halle German one

Month before Johann Sebastian Bach.

A masterof Italian opera and English oratorio. Handel not from a musical family ; His father was barber- surgeon who wanted his son to study with the local organist who was also composer

Handel Works ~ Messiah (1741),is in three parts Part I- starts with the prophecy of the

Messiah’s coming and makes celestial announcements of Christ’s birth and the redemption of humanity through his appearance,

Part II – has been aptly described by by one Handel Scholar as “the accomplishment of redemption by the sacrifice of Jesus, mankind’s rejection of God’s offer and mankind’s utter defeat when trying to appose the power of the Almighty.

Part III – Expresses faith in the certainty of eternal

Life through Christ as redeemer.

Works ~ Comfort Ye, My People ~ Accompanied recitative for tenor, string and basso

continuo Larghetto (slow but less than largo)

~ Ev’ry Valley Shall Be Exalted –Aria for tenor, string and basso continuo

~ For unto Us a Child Is Born – Chorus, String, Basso Continuo

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George Frideric Handel

Born: February 23, 1685 – HalleDied: April 14, 1759 – LondonNationality: German born English composer

Handel's Family Background:

Handel was born to Georg Handel (1622-97) and Dorothea Taust (1651-1730). Handel’s father, Georg, was a barber-surgeon for the Duke of Saxe-Weissenfels; his mother was the daughter of a pastor.

FAMOUS WORK

Water Music, Royal Fireworks Suite, Messiah, Six Organ Concertos, Zadok the Priest, Rinaldo

English Songs Love’s but the frailty of the mind - HWV 218 ’Twas when the seas were roaring - HWV 228(19

Opera Almira - HWV 1 - 1704 Nero - HWV 2 - 1705 Rodrigo - HWV 5 - 1707

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TIME LINE: CLASSICAL PERIOD (1750-1820)

Dates Music Arts and Letters

Historical and Cultural Events

1750-1770

- Haydn, String Quartets Op. 1 (c.1757)- Haydn, Symphony No.1 in D Major (1759)-Mozart, Symphony No. 1 in Eb Major, K. 16 (1764)

- Publication of the French Encyclopedia begins (1751)- Voltaire, Candidate (1759)- Rousseau, The Social Contract (1762)

- Seven Years War (1756-1763)- Watt invents steam engine (1769)

1770-1820

- Haydn, Symphony No. 45 in F# Minor (Farewell,11772)- Mozart, Don Giovanni and Eine kleine Nachtmusik (1787)- Mozart Symphony No.40 in G Minor,K.550 (1788)- Haydn Symphony No.94 (Surprise,1791)- Haydn Trumpet Concerto in Eb Major (1796)- Beethoven, Piano Sonata in C Minor, Op.13 (Pathetique,1798)_ Beethoven, Symphony No.5 in C Minor (1808)- Beethoven, Symphony No.9 in D Minor (Choral,1824)

- Fragonard, The Swing (1776)- David, Death OF Socrates (1787)- David Napoleon at St. Benard (1800)- Goethe, Faust (1808)- Austen, Pride and Prejudice (1813)- Goya, The Third of May, 1808 (1814)- Scott, Ivanhoe (1819)

- Louis XVI reigns in France (1774-1792)- American Delaration of Independence (1776)- Joseph II reigns in Austria (1780-1790)- French Revolution begins (1789)- Napoleon becomes first consul of France (1799)- Napoleonic Wars (1803-1815)- Congress of Vienna (1814-1815)

THE CLASSICAL ERA

Philosophers and writers-especially Voltaire (1694-1778) and Denis Diderot (1713-1784) – saw their time as tuning point in history and referred to it as the “age of enlightenment”.

The ideas of enlightenment thinkers were implemented by several rules during the eighteenth century. For example, Emperor Joseph 11 of Austria.

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Violent political and social upheaval marked the seventy-year period from 1750 to 1820.

Later eighteenth century there was yet another change in taste, in rococo art was thought frivolous, excessively ornamented, and lacking in ethical content.

THE CLASSICAL STYLE (1750-1820)

In music history, the transition from the baroque style to the full flowering of the classical is called the preclassical period.

Mid-eighteenth century composers entertained their listener with music offering contrasts of mood and theme. The theme style gallant (gallant style) was applied to this light, graceful music.

Characteristics of the Classical Style

Contrast of Mood Dramatic

Rhythm Flexibility of rhythm adds variety to classical music.

Texture In contrast to the polyphonic texture of late baroque music,

classical music is basically homophonic.

Melody Classical melodies are among the most tuneful and easiest to

remember. The themes of even highly sophisticated compositions may have

a folk or popular flavor. Example; ‘Twinkle, Twinkle, Little Star’.

Dynamics and the Piano Classical composer’s interest in expressing shades of emotion

led to the widespread use of gradual dynamic change-crescendo and decrescendo.

The End of the Basso Continuo

One reason why the basso continuo became obsolete was that more and more was music written for amateurs, who could not master the difficult art of improvising from a figured bass.

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The Classical Orchestra

Unlike the baroque orchestra, which could vary from piece to piece, it was a standard group of four sections:

o Strings: 1st Violin, 2nd violin, violas, cellos, double basseso Woodwinds: 2 flutes, 2 oboes, 2 clarinets, 2 bassoonso Brass: 2 French horns, 2 trumpetso Percussion: 2 timpani

Classical composers exploited the individual tone colors of orchestral instrument. Unlike baroque composers, they did not treat one instrument like another.

Classical Form

There are often four movements, arranged as follows: Fast movement Slow Movement Dance – related movement Fast Movement

SONATA FORM

The term sonata form refers to the form of single movement it should not be confused with the term sonata. This is used for a whole composition made up several movements.

The sonata form movements consists of three main sections:

Exposition - First theme in tonic (home) key- Bridge containing modulation from home key to new key- Second theme in new key- Closing section in key of second theme

Development- New treatment of themes; modulations of different keys

Recapitulation- First theme in tonic key- Bridge- Second theme in tonic key- Closing section in tonic key

Coda - In tonic key

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Composer and work (Sonata Form)

Fourth Movement: Allegro assai (very fast)Works; Symphony No.40 in G Minor, K. 550 (1788) by Wolfgang Amadeus Mozart.

Theme and Variations

The form called theme and variations was a widely used in the classical period, either as an independent piece or as one movement of symphony, sonata, or string quartet.

Composers and Works

Symphony No. 94 in Major (Surprise; 1971), by Joseph Haydn Second Movement – andante

Minuet and Trio

The form known as minuet and trio, or minuet, is often used as the third movement of classical symphonies, string quartets and other works.The minuet movement of a symphony or string quartet is written for listening not dancing.The trio section got its name during the baroque period, when a set of two dances would be followed by a repetition of the first dance.The second dance was known as a ‘TRIO’ because it was usually played by three instruments.

Composers for Minuet and Trio

Eine Kleine Nachtmusik (A Little Night Music; 1787), K.525, by Wolfgang Amadeus MozartThird Movement: Minuet (Allegretto) – The A (minuet) section is stately, mostly loud and staccato, with a clearly marked beat.The B (trio) section is intimate, soft, and legato. Murmuring accompaniment contributes to the smooth flow of the music.

Rondo

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A rondo features a tuneful main theme (A) which returns several times in alternation with other themes.Patterns are ABACA and ABACABA.The rondo can be used either as an independent piece or as one movement of a symphony, string quartet or sonata.

Composers and Works (Rondo)

String Quartet in C Minor, Op.18, No.4 (1798-1800), by Ludwig BeethovenFourth Movement: Rondo (Allegro)

- A, in the style of a Gypsy dance, is made up of two repeated parts

- Theme B is a lyrical legato melody- Theme C is playful, with quick upward rushes.- At its final return, the main theme (A) has a faster tempo,

prestissimo and leads into a frenzied concluding section.

THE CLASSICAL SYMPHONY

The great contribution of the classical period to orchestral music is the symphony.

Composers :- Haydn ~ wrote at least 104 symphonies

~ Composed for his employers, who required a steady

flow of works for their palace concerts- Mozart ~ Over forty

~ Wrote the symphony only when inspired ~ Longer than Mozart’s or Haydn’s and were conceives For Performance in large concert halls

- Beethoven ~ Nine

A classical symphony usually consists of four movements which evoke a wide range of emotions through contrasts of tempo and mood.

A typical sequence is ;i. A Vigorous , dramatic fast movementii. A Lyrical slow movementiii. A Dance like movement (minuet or scherzo)iv. A brilliant for heroic fast movement.

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THE CLASSICAL CONCERTO

A classical concerto is a three-movement work for an instrumental soloist and orchestra.

i. Fastii. Slowiii. Fast

A classical concerto begins with a movement in sonata form of a special kind, containing two expositions:i. Played by the orchestra, which presents several themes in

the home key. - Opening sets the mood for the movement and leads us to expect the soloist’s entrance.

ii. The second exposition begins with the soloist’s first notes. - Music for the solo entry may be powerful or quiet, but its effect is dramatic because suspense has been built.

CLASSICAL CHAMBER MUSIC

Classical Chamber music is designed for the intimate setting of a room (chamber) in a home or palace, rather than for a public concert hall.

It is performed by a small group of two to nine musicians, with one player to a part.

The most important form in classical chamber music is the string quartet, written for two violins, a viola and cello.

Like a symphony a string quartet usually consists of four movements:

i. Fastii. Slowiii. Minuet or scherzoiv. Fast

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Composers and Works

Joseph Haydn

1732-1809Was born in a tiny Austrian village called Rohrau.Haydn Works:

a) Symphony No. 94 in G Major (Surprise; 1791)b) Trumpet Concerto in E Flat Major (1976)

Wolfgang Amadeus Mozart

1756-1791Born in Salzburg, AustriaHaydn Works:

a) Don Giovanni (1787)b) Symphony No. 40 in G Minor, K.550 (1788)c) Piano Concerto No. 23 in A Major, K.488 (1786)d) Requiem in D Minor, K. 626 (1791)

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Ludwig van Beethoven

1770-1827Was born on December 16,1770, in Bonn GermanyHe came from a family of musiciansHaydn Works:

a) Piano Sonata in C Minor, Op.13 (Pathetique; 1798)b) Symphony No.5 in C Minor, Op.67 (1808)

Time Line: Romantic Period (1820-1900)

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Dates Music Arts and Letters

Historical and Cultural Events

1820-1850

-Franz Schubert, Erlkonig (1815)-Berlioz, symphonies fantastique (1830)-Chopin, Nocturne in Eb major, Op.9, No.2 (1831)-Chopin, Etude in c minor, Op. 10, No.12 (Revolutionary) (c.1831)- Robert Schumann, Carnaval (1835)-Chopin, Polonaise in Ab Major, Op.53 (18842)- Mendelssohn Violin Concerto in E Minor, Op. 64 (1844)-Liszt, Transcendental Etude in F Minor (1851)-Verdi, Rigoletto (1851)-Clara Wieck Schumann, Romance in G Minor for Violin and Piano (1853)-Wagner, Die Walkure (1856)-Brahms, German Requiem (1868)-Tchaikovsky, Romeo and Juliet (1870)-Smetana, The Moldau (1874)-Dvorak, Symphony No.9 in E Minor (From the New World; 1893)-Puccini, La Boheme (1896).

- Keats, Ode to a Nightingale (1819)- Delacroix, Dante and Virgil in Hell (1822)-Delacroix, Liberty Leading the people (1830)-Hugo,The Hunchback of Notre Dame (1831)-Friedrich, The Evening Star (1835)-Dickens, Oliver Twist (1837)-Tuner, the Slave Ship 1840)-Dumas, The Three Musketeers (1844)-Poe, The Raven (1845)

-Monroe Doctrine (1823)Revolutions in France, Belgium, Poland (1830) -Queen Victoria reigns in England (1837-1901)-Revolutions in Europe (1848)-Marx and Engels, The Communist Manifesto (1848)

1850-1900

-Millet, The Gleaners (1857)-Dostoevsky, Crime and Punishment (1866)-Monet, Impression, Sunrise (1874)-Cezanne, Still Life With Apples (1877)-Tolstoy, Anna Karenina (1877)-Twain, The Adventures of Huckleberry Finn (1884)-Van Gogh, The Starry Night (1889)-Munch, The Scream (1893)

-Darwin, origin of Species (1859)-American Civil War (1861-1865)-Franco-Prussian War (1870)-Bell invest telephone (1876)-Spanish-American War (1898)

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Emotional subjectivity was a basic quality of romanticism in art. All good poetry is the spontaneous over flow of powerful feelings’. Wrote William Wordsworth, the English romantic poet.

Subjectivity, fantasy and enthusiasm for nature and the middle Ages are only a few aspects of romanticism in literature and painting.

Romanticism in Music (1820-1900)

The romantic period in music extended from about 1820 to 1900. Composers of the romantic period continued to use the musical

forms of the preceding classical era Romantic music linked more closely to the other arts

particularly to literature Composers romantic such as Mendelssohn and Brahms created

works that were deeply rooted in classical tradition; other composers, such as Berlioz, Liszt and Wagner, were more revolutionary

Charateristics of Romantic Music

Individual of Style

Romantic music puts unprecedented emphasis on self-expression and individuality of style.

Many romantics created music that sounds unique and reflects their personalities.

Expressive Aims and Subjects

Explored a universe of feeling that included flamboyance and intimacy, unpredictability and melancholy, rapture and longing.

Countless songs and operas glorify romantic love; often, the lovers are unhappy and face over whelming obstacles.

Romantic composers also dealt with subjects drawn from the Middle Ages and from Shakespeare’s plays

Nationalism and Exoticism

Was an important political movement that influenced nineteenth century music

Musical nationalism was expressed when romantic composers deliberately created music with a specific national identity, using the folk songs, dances, legends and history of their homelands.

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Fascination with national identity also led composers to draw an colorful materials from foreign lands, a trend known as musical exoticism.

Program Music

The nineteenth century was the great age of program music, instrumental music associated with a story, poem, idea or scene.

The nonmusical element is usually specified by a title or by explanatory comments called a program.

A programmatic instrumental piece can represent the emotions, characters and events of a particular story or it can evoke the sounds and motion of nature.

For example, in Tchaikovsky’s Romeo and Juliet, an orchestral work inspired by Shakespeare’s play, agitated music depicts the feud between the rival families, a tender melody conveys young love, and a funeral-march rhythm suggests the lovers’ tragic fate.

Expressive Tone Color

Romantic composers reveled in rich and sensuous sound, using tone color to obtain variety of mood and atmosphere. Never before had timbre been so important

New sounds were drawn from all instruments of the nineteenth-century orchestra. Flutists were required to play in the breath y low register, and violinists were asked to strike the strings with the wood of their bows.

Such demands compelled performers to attain a higher level of technical virtuosity.

Composers sought new ways of blending and combining tone colors to achieve the most poignant and intense sound. In 1844, Hector Berlioz’s Treatise on Modern Instrumentation and Orchestration signaled the recognition of orchestration as an art in itself.

Colorful Harmony

Seeking greater emotional intensity, composers emphasized rich, colorful and complex harmonies.

The image of Beethoven as a ‘free artist’ inspired romantic musicians, who often composed to meet an inner need rather than fulfill a commission.

Romantic composers were interested not only in pleasing their contemporaries but also in being judged favorably by posterity.

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THE ART SONG

One of the most distinctive forms in romantic music is the art song, a composition for solo voice and piano.

Poetry and music are intimately fused in the art song. It is no accident that this form flowered with the emergence of a rich body of romantic poetry in early nineteenth century.

Song composers would interpret a poem, translating its mood, atmosphere, and imagery into music.

Strophic and Through - Composed Form.

When a poem has several stanzas, the musical setting must accommodate their total emotional impact.

Composers can use strophic form, repeating the same music for each stanza of the poem.

The Song Cycle

Romantic art songs are sometimes grouped in a set, or song cycle.

They created an intensely personal world with a tremendous variety of moods.

Composers Romantic Per

Franz Schubert(1797-1828)The earliest master of the romantic art song was unlike that of any great composer before him.Born in Vienna, the son of a schoolmaster.Became a choirboy in the court chapel and won a scholarship to the Imperial Seminary, an exclusive boarding school.When he was seventeen-year-old Schubert composed 143 songs including The Erlking. And when he was nineteen, he composed 179 works including two symphonies, an opera and mass.

Schubert’s MusicAlong with over 600 songs, Schubert left symphonies, string quartets, chamber music for piano and strings, piano sonatas, short piano pieces for two and four hands, masses and operatic compositions.

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Robert Schumann (1810-1856)His works are intensely autobiographical and the are usually linked with descriptive titles, texts, or programs.Born in Zwickau, Germany. His father was a bookseller from whom he acquired a love of literature.

Schumann’s MusicSchumann thought of music in emotional, literary and autobiographical terms; his work is full of extra musical references Schumann’s genius is most characteristically expressed in his songs and short piano pieces, both of which he usually organized into sets or cycles. These titles of these sets ; Carnaval (Carnival), Kinderscenen (scenes of Childhood), Nachtstucke (Night Pieces), Dichterliebe (Poet’s Love), Fantasiestucke (Fantasy Pieces) – provide insight into his imagination.

Clara Wieck Schumann (1819-1896)One of the leading concert pianists of the nineteenth century, Clara Wieck Schumann premiered many works by her husband.Born in Leipzig, Germany. She was the daughter of Marianne Wieck, a singer and pianists; and Frederich Wieck, a well-known piano pedagogue.Her father trained her tobe a child prodigy who would both earn money and demonstrate the superiority of his teaching methods.Between the ages of twelve and twenty she performed throughout Europe to great acclaim, usually programming one or more of her own compositions.

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Frederic Chopin (1810-1849)Called the poet of the piano, was the only great composer who wrote almost exclusively for the piano.

Chopin’s MusicBy eighteen, Chopin had evolved an utterly personal and original style.Most of pieces are short. But in these exquisite miniatures, Chopin evokes an infinite variety of moods, from melancholy to heroism.

Chopin Works;

i. Nocturne in E Flat Major, Op.9, No.2 (1830-1831) ii. Etude in C Minor, Op.10, No.12 (Revolutionary; 1831)iii.Polonaise in A Flat Major, Op.53 (1842)

Franz Liszt (1811-1886)Was born in Hungary. His father was an administrator for the same Esterhazy family that Haydn had served.As a boy of eleven, Liszt studied in Vienna, where he met Shubert and Bethoven.During the 1840s, a handsome, long-haired, magnetic young man performed superhuman feats at the piano and overwhelmed the European musical public.

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Franz Liszt Music

Liszt’s Music is controversial. Some consider it vulgar and bombastic; other s revels in its extroverted romantic rhetoric.

Many of his compositions are concerned with the devil or death and bear titles like Mephisto Waltz, Totentanz (Dance of Death), or Funerailles (Funeral Ceremony).

Franz Liszt Worksi. Transcendental Etude No.10 in F Minor (1851)

Felix Mendelssohn (1809-1847)

Born in Hamburg, Germany, to a wealthy and famous family. His father was a banker, and grandfather was a distinguished Jewish philosopher Moses Mendelssohn.By the age of nine, he was a brilliant pianist; by age thirteen, he had written symphonies, concertos, sonatas and vocal works.

Mendelssohn’s Music

Mendelssohn’s music radiates the elegance and balance of his personality. It evokes a variety of moods but avoids emotional extremes

Mendelssohn’s Works

i. Concerto for Violin and Orchestra in E Minor, Op.64 (1844)

o First Movement:Allegro molto appassionato (very impassioned

allegro)o Second Movement:

Andanteo Third Movement:

Allegretto non troppo (transitional section);

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Allegretto molto vivace (very lively allegro)

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