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Music: An Appreciation 8 th Edition by Roger Kamien

Music: An Appreciation 8 th Edition by Roger Kamien . Unit IV 巴洛克時期 1600-1750. Presentation Development: Robert Elliott University of Arkansas at Pine Bluff. 巴洛克時期. Time-line: Shakespeare: Hamlet -1600 Cervantes: Don Quixote -1605 Jamestown founded-1607 Galileo: Earth orbits Sun-1610

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Music: An Appreciation 8 th Edition by Roger Kamien

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  1. Music: An Appreciation8th Editionby Roger Kamien Unit IV 巴洛克時期 1600-1750 Presentation Development: Robert Elliott University of Arkansas at Pine Bluff

  2. 巴洛克時期 • Time-line: • Shakespeare: Hamlet-1600 • Cervantes: Don Quixote-1605 • Jamestown founded-1607 • Galileo: Earth orbits Sun-1610 • King James Bible-1611 • Newton: Principia Mathematica-1687 • Witchcraft trials in Salem, Mass.-1692 • Defoe: Robinson Crusoe-1719 • Swift: Gulliver’s Travels-1726

  3. 巴洛克風格The Baroque Style • Baroque style “fills the space” • Time of flamboyant lifestyle • Visual Art • Implies motion • Note pictures p. 91 • Compare sculpture w/ p. 65 • Busy • Note pictures p. 92 • Architecture • Elaborate • Note picture p. 93 • Change in approach to science • Experiment-based, not just observation • Inventions and improvements result

  4. Chpt. 1: 巴洛克音樂 • Opera: a play with speaking parts sung • Period begins with rise of Opera • Period ends with death of J. S. Bach • The two giants: Bach & Handel • Other important composers: • Claudio Monteverdi • Henry Purcel • Arcangelo Corelli • Antonio Vivaldi • Period divided into 3 phases: • Early: • 1600-1640 • Middle: • 1640-1680 • Late: • 1680-1750

  5. Chpt. 1-Baroque Music 巴洛克音樂的特色 • 一首音樂曲或一個樂章中通常僅傳達一種表情 • 表情上的一致性 • 節奏 • 節奏常常重複於整個樂曲中 • 旋律 • 一首樂曲開始的旋律在曲子進行時，會反覆地呈現。 • Continuous expanding of melodic sequence • 力度 • 音量的大小在樂曲中也常在不同樂段，維持其一貫性。表情需變化時，常以迅速的方式轉換。

  6. Chpt. 1-Baroque Music 巴洛克音樂的特色 • 巴洛克晚期音樂以多聲部音樂織體為主 • 多聲部音樂與主曲調音樂織體交替使用 • 織體 • 和絃與數字低音 • 和絃變得非常重要 • Bass part considered foundation of the harmony • Basso Continuo: bass part with numbers to represent chord tones • Similar to modern jazz & pop “fake book” notation • Words and Music • Text painting/word painting continues • Words frequently emphasized by extension through many rapid notes

  7. Chpt. 1-Baroque Music 巴洛克時期的樂團 • Based on violin family of instruments • Small by modern standards • Varying instrumentation • Strings, woodwinds, brass, & percussion • Nucleus was basso continuo unit • Composers specified instrumentation • Timbre was subordinate to melody, rhythm, & harmony

  8. Chpt. 1-Baroque Music 巴洛克時期的樂曲形式 • Instrumental music frequently made up of movements • 樂章(Movement): 是指大作品的一部份，完整與獨立性的一首曲子。 • Performed with pause between movements • Unity of mood within individual movements • Movements often contrast with each other • Common basic forms: • Ternary • A B A • Binary • A B • A A B • A B B • A A B B

  9. Chpt. 2: 音樂在巴洛克時期的社會地位 • Music written to order • New music, not old-fashioned, was desired • Courts: • Music indicated affluence • Court Music Director • Good prestige, pay, and other benefits • Still considered a skilled servant

  10. Chpt. 2:音樂在巴洛克時期的社會地位 • Some aristocrats were musicians • Church music was very elaborate • Most people heard music only in church • Some, though few, public opera houses • Music careers taught by apprenticeship • Orphanages taught music as a trade

  11. Chpt. 3:大協奏曲與Ritornello形式 • Concerto Grosso • For small group of soloists and orchestra • Multi-movement work • Usually 3 movements • Fast • Slow (usually quieter) • Fast (sometimes dance-like)

  12. Chpt. 3: 大協奏曲與Ritornello形式 • Ritornello • Frequently used in 1st & last movements of concerto grosso • Theme repeatedly presented in fragments • Contrast between solo sections and tutti

  13. Listening Brandenberg Concerto No. 5 in D major by Johann Sebastian Bach • For string orchestra and group of soloists • Soloists: flute, violin, and harpsichord • First movement • Ritornello form • Listening Guide p. 167 • Brief Set, CD 1:60

  14. Chpt. 4: Fugue 賦格曲 • 多聲部織體作曲形式 • 主要是器樂、聲樂、獨奏或合奏 • Subject • 主要的主題 • 模仿主題的方式出現 • 每聲部在前一聲部演唱主題後進入

  15. Chpt. 4-The Fugue Listening C小調賦格 by J. S. Bach • Note individual voice entry on same melody (subject) • Listening Guide p. 109 • Brief Set, CD 1:65

  16. Chpt. 5: 歌劇的要素 • 用唱的戲劇, 通常以管絃樂伴奏 • 歌劇的文字稱劇本(libretto) • 歌詞通常是由劇作家(librettist)先寫出 • 音樂部分則是由作曲家所寫 • 歌劇的性質可以是具有喜劇性或嚴肅性 • 歌劇演唱(獨唱)方式主要分兩種: • 朗誦調(Recitative): presents plot material • 詠唱調(Aria): expresses emotion—usually a “show-off” vehicle for the singer • 之外還二重唱、三重唱……到六重唱等 • Three or more singers make up an ensemble

  17. Chpt. 5:歌劇的要素 • 合唱(Chorus): 合唱團成員所扮演的角色可能是羣眾 • 提示台詞者(prompter)—必須為提示台詞裝置設備 • 樂團在的位置是在舞台正下方的凹陷區域 • 序曲(overture)或前奏曲(prelude): 歌劇開始表演時由樂團演奏一段音樂 • 現代對於歌劇歌詞的問題 • 歌劇可否經過翻譯後再演出 • 字幕(Supertitles)被投映於舞台上

  18. Chpt. 6: 巴洛克時期的歌劇 • Camerata在佛羅倫斯聚會討論音樂的結果 • 《尤麗蒂切》(Euridice)是目前保存最早的歌劇 (Peri-1600) • 《奧菲歐》(Orfeo ) 1607年蒙台威爾第創作了第一齣大型的歌劇 • 巴洛克歌劇是為了皇室慶典而創作 • 展示其富麗堂皇 • 貴族資助者自比為希臘與羅馬的英雄及神 • 第一所大眾歌劇院於1637在威尼斯開幕 • 巴洛克歌劇標示著偉大歌唱家的崛起 • 「乾的朗誦調」(Secco recitative);樂團「有伴奏的朗誦調」(accompanied recitative)

  19. 蒙台威爾第(Claudio Monteverdi) • 義大利巴洛克時期的作曲家 • 創作了最早的歌劇傑作《奧菲歐》(Orfeo )；《奧費斯》(Orpheus ) • 創作聖樂也為貴族們創作世俗樂 • 創作的12齣歌劇只留下3齣

  20. 蒙台威爾第Claudio Monteverdi) • 義大利巴洛克時期的作曲家 • 創作了最早的歌劇傑作 奧菲歐 Orfeo；奧費斯 (Orpheus ) • 威尼斯聖馬克(St. Mark’s)教堂樂師30年 • 創作聖樂也為貴族們創作世俗樂 • 創作的12齣歌劇只留下3齣

  21. Chpt. 7-Claudio Monteverdi Listening 朗誦調：<你已死亡>(Tu Se’ Morta) • Note: Homophonic texture • Use of text painting • Listening Guide p. 116 • Brief Set, CD 1:68

  22. Chpt. 8: 亨利‧普賽爾(Henry Purcell) • 英國最偉大的作曲家(1659-1695) • 才華出眾，榮登眾重要的音樂職位 • 早逝歿，埋葬於西敏寺之風琴下 • 《荻朵和阿尼亞斯》(Dido and Aeneas 1689) 基礎低音(Ground Bass) • 在低音部的音樂主題一再地重複的主題 • 變奏形式 • 即稱為頑固低音(basso ostinato)

  23. Chpt. 8-Henry Purcell Listening <荻朵的悲歌>(Dido’s Lament) from Dido and Aeneasby Purcell • Note: Recitative followed by aria • Aria makes use of ground bass • Listening Guide p. 152 • Brief Set, CD 1:69

  24. Chpt. 9: 巴洛克奏鳴曲 • 多樂章之器樂曲 • 器樂 • 三重奏鳴曲 (trio sonatas) • 三重樂譜線:兩重高及一個頑固低音 • 三重奏鳴曲往往有四位樂器演奏家 • 教堂奏鳴曲 (da chiesa，即 church sonata)高貴 • 室內奏鳴曲 (da camera，即chamber sonata) 更富舞蹈意味

  25. 柯賴里 (Arcangelo Corelli) Trio Sonata in A Minor, Op.3 No. 10 by Arcangelo Corelli For 2 violins and basso continuo Listening Guide: p. 154 Supplementary Set, CD 1:2 Note: Polyphonic texture Multi movement work Contrast between movements

  26. Chpt. 11:安東尼‧威瓦第( Antonio Vivaldi) • 巴洛克時期義大利大師 • 人稱為「紅神父」(il prete rosso) • 擔任Pieta威尼斯一所孤兒院或私生女收容所教授音樂 • 女士出席教堂管絃樂和聲樂的音樂會，他們置身於一處頂層迴廊，以一道格子式的鐵製品區隔。 • Wrote sacred and secular vocal and instrumental music • Famous as a virtuoso violinist & composer

  27. Chpt. 11-Antonio Vivaldi Listening 威瓦第，<春> (Spring), 取自《四季》(Four Seasons) (1725) Listening Guide: p. 158 Concerto for violin and string orchestra Note: Polyphonic texture & ritornello form Baroque program music Descriptive effects (e.g., bird songs)

  28. Chpt. 12: 約翰-塞巴斯汀‧巴哈(Johann Sebastian Bach) • Organist and violinist • 日耳曼，巴洛克音樂的高峰 • Deeply religious (Lutheran) • Worked in sacred and secular positions • Weimar/Cothen/Leipzig • Large family • 巴哈被公認為是最出色的風琴演奏家、大鍵琴演奏家 • 以歌劇除外之巴洛克形式創作 • Recognized for technical mastery • 展現一種令人驚奇的和諧加對位法的嫻雅 • All music majors study Bach’s compositions • He is the model for learning to write music

  29. Chpt. 13: 巴洛克組曲 • 係由一系列舞蹈引發的樂章 • 多樂章無樂曲 • 組曲的樂章通常是二段體自行反複—AABB • 組曲通常以「非」舞蹈之序曲開始 • 「法國序曲」(French overture)通常是二間體 • 首先以充滿莊嚴與壯麗的附點節奏呈現一個緩慢的部分 • 第二個部分是快速而較輕巧氣氛，以類似賦格的形式起頭。 • Forerunner of forms used in the next period

  30. Chpt. 13-The Baroque Suite Listening Suite No. 3 in D Major (~1730) by J. S. Bach, 2nd, 4th, & 5th mvts. Listening Guide: p. 171 Basic Set, CD 2:33, 35, 37 Note: Extensive polyphony Contrast of dance forms and tempo in various movements

  31. Chpt. 14: 聖詠與教會清唱套曲 • 路德教會星期日的禮拜是該週的社交大事 • 持續約四小時，講道一小時。 • 音樂是路德教會禮拜的重頭戲 • 唱聖詠是讓會眾直接參與禮拜 • 聖詠(chorale): 或者聖詩調，是以地方語唱出 • 教會清唱套曲(cantata) • 通常是為合唱團、聲部獨唱、風琴及一個小型管絃樂團 • 地方語宗教文句 • 使用詠嘆調、二重唱與朗誦調，和當時的歌劇非常相似

  32. Chpt. 14-The Chorale and Church Cantata Listening Cantata No. 140:《醒來吧，有一聲音在呼喚我們》(Wachet Auf, Ruft Uns Die Stimme) by J. S. Bach (1731), Movements 1, 4, & 7 Listening Guides: p. 177 Basic Set, CD 2:39, 42, 45 Note: Vernacular (German) text Chorale tune basis Polyphonic until chorale in movement 7 Movement 7—provides for congregation to join in

  33. Chpt. 15: 神劇(Oratorio) • 與歌劇一般: • 融合了合唱團、聲樂獨唱，以及管絃樂團的大規模創作 • 一系列的合唱、詠嘆調、二重唱、朗誦調，以及管絃樂團演奏之間奏曲所組成。 • 異於歌劇之處: • 他沒有表演、佈景或戲服 • 依據聖經故事創作 • 不是為了禮拜而作 • 現今，他們在音樂廳或教會演出

  34. Chpt. 16:喬治-費德利克‧韓德爾(George Frederic Handel) • 出生於德國Halle，只比巴哈早一個月 • 並非出身音樂世家 • 父親希望兒子學習法律 • Studied music in Germany, then to Italy to study opera, finally England to work • Became England’s most important composer • 創作了不少具相當水準的歌劇 in London • 經營了一所歌劇院韓德爾為其音樂總監 • Worked as composer, performer, & impresario • Buried in Westminster Abbey

  35. Chpt. 16-George Frederic Handel Listening 韓德爾，<每座山谷都是尊貴的>(Every Valley Shall Be Exalted)，取自《彌賽亞》 Listening Guide: p. 187 Basic Set, CD 2:50 For Unto Us A Child Is Born Listening Guide: p. 189 Basic Set CD 2:52 Hallelujah Chorus Listening Guide: p. 190 Basic Set CD 2:54

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