1 / 28

MUSI 1000y

MUSI 1000y. General Characteristics of Medieval Music. Liturgical Notated music is mostly vocal Smooth, conjuct melodic contours Folk, dance, instrumental Secular song. MUSI 1000y. General Characteristics of Medieval Music. Syllabic Neumatic Mellismatic. MUSI 1000y.

lily
Download Presentation

MUSI 1000y

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. MUSI 1000y General Characteristics of Medieval Music • Liturgical • Notated music is mostly vocal • Smooth, conjuct melodic contours • Folk, dance, instrumental Secular song

  2. MUSI 1000y General Characteristics of Medieval Music • Syllabic • Neumatic • Mellismatic

  3. MUSI 1000y Anon., Kyrie (plainchant) • Monophonic • Roman Catholic Mass • Latin vs. Greek • Three levels of organization • Neumatic

  4. MUSI 1000y Beatriz de Dia (late twelfth century) Song, A chantar • Troubadour • Strophic • Unrequieted love • ABABAB structure • Secular

  5. MUSI 1000y Perotinus (c. 1170-c. 1236) Viderunt Omnes (four-voic polyphony for the Cathedral of Notre Dame) • Organum • Monophony vs. polyphony • Rich harmonies • Rhythmic drive

  6. MUSI 1000y Guillaume de Machaut (c. 1300-1377) Secular song (roundeau) Douz Viaire Gracieus • Roundeau • Two contrasting sections • Alternating meters • Chromatic • Instrumental accompaniment

  7. MUSI 1000y General Characteristics of Renaissance Music • Overall sound is much smoother and more homogeneous • Strict and free imitation

  8. MUSI 1000y Verantius Fortunatus (c. 530-609) Plainchant hymn, Pange Lingua • Strophic • Tonic ‘E’ delayed until end • Almost entirely syllabic

  9. MUSI 1000y Josquin Desprez (c. 1440-1521) Kyrie from the Pange Lingua Mass • Point of imitation technique • Overlapping cadences • Paired imitaiton • Mass ordinary • Cantus firmus mass • Three sections

  10. MUSI 1000y Palestrina (c. 1525-1594) Motet from the Song of Songs, Vineam Meam Non Custodivi • 5 voices, 2 independent tenors • Songs of Solomon • Text/music rhythms match • Word painting • variety of textures • exceptional blending of imitation and homophony

  11. MUSI 1000y Thomas Morley (1557-1602) Two English Madrigals • Highly imitative • Word painting • Secular

  12. MUSI 1000y Giovanni Gabrieli (c. 1555-1612) Canzona Duodecimi Toni • Purely instrumental • Brass choirs • Antiphonal • Overlapping cadences • Dynamic contrasts • Canzona rhythm

  13. MUSI 1000y General Characteristics of Baroque Music • Designed to be emotional • More rigid formal design • Modern tonality • organization and control replace experimentaiton • Rhythm vitality • Strong bass line

  14. MUSI 1000y Johann Sebastian Bach (1685-1750) Prelude and Fugue in E minor • Subject • Counter-subject (Answer) • Tonic vs. dominant • Episode

  15. MUSI 1000y Johann Sebastian Bach (1685-1750) First Movement from Brandenburg Concerto No. 2 in F Major • Set of six • Three movt’s (fast-slow-fast) • Solo vs. ripieno (full ensemble) • Mottos fragmented, re-organized

  16. MUSI 1000y George Frederich Handel (1685-1759) Serse, Act I, Sc. 1 • Operas and oratorios • da capo aria • Improvisation on A’ • Recitative accompagnato • action vs. reflection

  17. MUSI 1000y George Frederich Handel (1685-1759) Serse, Act I, Sc. 1 Frondi tenere e belle Del mio platano amato, Per voi risplenda il Fato. Tuoni, lampi e procelle Non v’oltraggino mai la cara pace Ne giunga a profanarvi austro rapace. Tender, beautiful leaves Of my beloved plane-tree, May Fate prove kind to you. May your cherished peace never be disturbed by thunder, lightning and storms, Nor rapacious south wind profane you.

  18. MUSI 1000y George Frederich Handel (1685-1759) Serse, Act I, Sc. 1 Ombra mai fu Di vegetabile Cara ed amabile Soave più! Never was the shade Of vegetation More dear and friendly, More sweet!

  19. MUSI 1000y General Characteristics of Classical Music • Balance and proportion • Clarity and accessibility • Simple, logical and clear harmonies • Shorter phrases • “Simpler” walking bass lines

  20. MUSI 1000y General Characteristics of Romantic Music • Dynamics extended, changes more frequently, less predictable • Range of tempos extended, more frequent, more adjectives • Melodies are longer, “yearning” quality, rubato • Harmony explores further, modulations, chromatic • Forms blur

  21. MUSI 1000y Richard Wagner Prelude and Liebestod from Tristan und Isolde

  22. MUSI 1000y Bedrich Smetana (1824-1884) Symphonic Poem, The Moldau • Tone poem • Descriptive, programmatic music • Nature • Cyclic • Orchestral colour expanded

  23. MUSI 1000y Pyotr Illyich Tchaikovsky (1840-1893) First Movement from Symphony No. 4 in F Minor • Highly lyrical • Prominent Brass fanfare • Reinterpretation of sonata allegro form • Fate motive • Unconventional key scheme

  24. MUSI 1000y Claude Debussy (1862-1918) Prélude à l’après-midi d’un faune • Impressionism • Symbolist poet Mallarmé • Large orchestra • Orchestral colouring • Opening melody is sensuous, chromatic and vague

  25. MUSI 1000y General Characteristics of 20th Century Music • Tonality dissolves • Melodies erratic, wide leaps, irregular rhythms and unexpected notes • Rhythmic freedom • Length is unpredictable • Tone and colour experimentation

  26. MUSI 1000y Igor Stravinsky (1882-1971) Le Sacre du Printemps (The Rite of Spring), Opening Section • Ballet • Expressionism • Pounding rhythms • Clashing dissonances

  27. MUSI 1000y Alban Berg (1885-1935) Wozzeck, Act III, Scenes 3, 4, and 5 • Atonal • borrows structures from the past • Symmetrical • Leitmotiv • Music of extremes

  28. MUSI 1000y Béla Bartók (1881-1945) Fifth Movement from String Quartet No. 4 • Arch form • Five movements • Clashing chords, whirling melodies, asymmetrical rhythms • Extreme dissonances

More Related