Time Line

1. 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 PART III—THE BAROQUE PERIOD

2. The Baroque Style Time of flamboyant lifestyle Baroque style “fills the space” Visual Art • Implies motion • Note pictures p. 93 • Busy • Note pictures p. 94 PART III—THE BAROQUE PERIOD

3. The Baroque Style Architecture • Elaborate • Note picture p. 95 Change in approach to science • Experiment-based, not just observation • Inventions and improvements result PART III—THE BAROQUE PERIOD

4. Chapter 1: Baroque Music Period begins with rise of opera • Opera: a play with speaking parts sung Period ends with death of J. S. Bach The two giants: Bach and Handel Other important composers: • Claudio Monteverdi • Henry Purcell • Arcangelo Corelli • Antonio Vivaldi Chapter 1

5. Period divided into 3 phases: • Early: 1600-1640 • Rise of opera • Text with extreme emotion • Homophonic to project words Chapter 1

6. Period divided into 3 phases: • Early: 1600-1640 • Middle: 1640-1680 • New musical style spreads from Italy throughout Europe • Use of the church modes gives way to major and minor scales • Rise of importance of instrumental music Chapter 1

7. Period divided into 3 phases: • Early: 1600-1640 • Middle: 1640-1680 • Late: 1680-1750 • Instrumental music becomes as important as vocal music • Elaborate polyphony dominates • Most baroque music we hear comes from the Late Baroque Chapter 1

8. Characteristics of Baroque Music • Expresses one mood per piece Unity of Mood Rhythm • Rhythmic patterns are repeated throughout Melody • Opening melody heard again and again Dynamics • Volumes constant with abrupt changes Texture • Late baroque mostly polyphonic • Extensive use of imitation Chapter 1

9. Chords and the Basso Continuo • Emphasis on way chords follow each other • Bass part considered foundation of the harmony • Basso Continuo: bass part with numbers to represent chord tones • Similar to modern jazz and pop “fake book” notation Words and Music • Text painting/word painting continues • Words frequently emphasized by extension through many rapid notes Chapter 1

10. The Baroque Orchestra Based on violin family of instruments Small by modern standards Varying instrumentation • Combinations of strings, woodwinds, brass, & percussion (tympani) Nucleus was basso continuo unit Composers specified instrumentation • Timbre was subordinate to melody, rhythm, and harmony Chapter 1

11. Baroque Forms Instrumental music frequently made up of contrasting movements • Movement: a piece complete in itself, also part of a larger whole • Performed with pause between movements • Unity of mood within individual movements • Movements often contrast with each other Chapter 1

12. Chapter 10: Antonio Vivaldi Late baroque Italian composer Il prete rosso (the red priest) Taught music at girls’ orphanage in Venice • Girls performed at mass hidden behind screen Wrote sacred and secular vocal and instrumental music • Best known for concerti grossi & solo concertos for violin • Solo concerto: piece for single soloist & orchestra Famous as a virtuoso violinist & composer Chapter 10

13. Listening Performance Profile: Jeanne Lamon-violinist/ conductor Listen for interpretation of tempo, rhythm, and dynamics, use of decorative tones, and attempt to keep a familiar piece “fresh.” La Primavera (Spring), Op. 8, No. 1, from The Four Seasons (1725) Antonio Vivaldi First Movement: Allegro Listening Outline: p. 126 Brief Set, CD 2:1 Concerto for violin and string orchestra Note: Polyphonic texture & ritornello form Baroque program music Descriptive effects (e.g., bird songs) Chapter 10

14. Listening Performance Profile: Jeanne Lamon-violinist/ conductor Listen for interpretation of tempo, rhythm, and dynamics, use of decorative tones, and attempt to keep a familiar piece “fresh.” La Primavera (Spring), Op. 8, No. 1, from The Four Seasons (1725) Antonio Vivaldi Second Movement: Largo e pianissimo sempre (very slow and very soft throughout) Listening Guide: pp. 127-129 Brief Set, CD 2:6 Concerto for violin and string orchestra Note: Orchestra reduced to only violins and violas Descriptive effects (violas: “dog barking”) Chapter 10

15. Listening Performance Profile: Jeanne Lamon-violinist/ conductor Listen for interpretation of tempo, rhythm, and dynamics, use of decorative tones, and attempt to keep a familiar piece “fresh.” La Primavera (Spring), Op. 8, No. 1, from The Four Seasons (1725) Antonio Vivaldi Third Movement: Danza pastorale (Pastoral Dance) Listening Guide: p. 129 Brief Set, CD 2:7 Concerto for violin and string orchestra Note: Ritornello form alternates solo and tutti sections Descriptive effects (sustained notes in low strings to imitate bagpipes) Chapter 10

16. Time Line Monroe Doctrine 1823 Hugo: Hunchback of Notre Dame 1831 Dickens: Oliver Twist 1837 Dumas: The Three Musketeers 1844 Poe: The Raven 1845 Darwin: Origin of Species 1859 American Civil War 1861-1865 Twain: Huckleberry Finn 1884 Bell invents telephone 1876 PART V—THE ROMANTIC PERIOD

17. Romanticism (1820-1900) Stressed emotion, imagination, and individualism Emotional subjectivity basis of arts Favorite artistic topics: • Fantasy and the supernatural • Middle Ages/concept of chivalry and romance • Architecture revived Gothic elements • Nature as mirror of the human heart Period of the Industrial Revolution • Resulted in social and economic changes PART V—THE ROMANTIC PERIOD

18. Chapter 1: Romanticism in Music Many important Romantic composers • Franz Schubert • Bedrich Smetana • Antonin Dvořák • Peter Tchaikovsky • Johannes Brahms • Giuseppe Verdi • Giacomo Puccini • Richard Wagner • Robert Schumann • Clara Schumann • Frederic Chopin • Franz Liszt • Felix Mendelssohn • Hector Berlioz Chapter 1

19. Continued use of classical period forms • Much individual alteration and adjustment Greater range of tone color, dynamics, and pitch than in classical period Expanded harmony—complex chords Chapter 1

20. Characteristics of Romantic Music Individuality of Style Composers wanted uniquely identifiable music • Worked to find their own voice In romantic music, it is far easier to identify individual composers through listening Chapter 1

21. Expressive Aims and Subjects All approaches were explored: • Flamboyance, intimacy, unpredictability, melancholy, rapture, longing, … Romantic love still the focus of songs and operas • Lovers frequently depicted as unhappy and facing overwhelming obstacles Dark topics draw composers Chapter 1

22. Nationalism and Exoticism Nationalism: music with a national identity • Uses folk songs, dances, legends, and history of a land Exoticism: intentionally implies a foreign culture • Makes use of melodies, rhythms, and instruments associated with distant lands • Frequently employed in operas with foreign settings Chapter 1

23. Program Music Association with a story, poem, idea, or scene • Understanding the music is enhanced through reading the program or viewing the associated work • Though common in the romantic, concept had been employed for centuries previously • E.g., La Primavera (from the Four Seasons) by Vivaldi • Many Romantic composers were also authors • Made possible a “union of the arts” • Poets wanted their poetry to be musical • Musicians wanted their music to be poetic Chapter 1

24. Expressive Tone Color Composers tried to create unique sounds • Blending of existing instruments • Addition of new instruments • Never before had timbre been so important Enlarged orchestra allowed more instrument colors • Classical 20-60 members vs. Romantic ~100 • Orchestration came to be regarded as an art form • Berlioz: Treatise on Modern Instrumentation and Orchestration (1844) Advances in instrument design allowed more color • Valved brass instruments could now play melodies • Piano design improved and range was extended Chapter 1

25. Colorful Harmony Chords built with notes not in traditional keys • Chromatic harmony Harmonic instability a consciously used device • Wide use of keys • Frequent and rapid modulation Chapter 1

26. Expanded Range of Dynamics, Pitch, and Tempo Dynamics ff, pp expanded to ffff and pppp Extremely high and low pitches were added Changes in mood frequently underlined by (sometimes subtle) shifts in tempo • Rubato: slight holding back or pressing forward of tempo Chapter 1

27. Forms: Miniature and Monumental Some composers went on for hours • Required hundreds of performers Others’ music lasted only a few minutes • Written for a single instrument Composers wrote symphonies, sonatas, string quartets, concertos, operas, and many other classically traditional works Chapter 1

28. Chapter 10: Program Music Instrumental music associated with a story, poem, idea, or scene • Non-program music is called absolute music Usually performed with written explanation of the piece—a program Chapter 10

29. In the romantic period, program music was usually for piano or orchestra Common types: • Program symphony: multi-movement/orchestral • Concert overture\: modeled on opera overture • Symphonic poem (or tone poem): one movement, orchestral, flexible form • Incidental music: for use before or during a play Chapter 10

30. Chapter 12: Nationalism in Nineteenth-Century Music National identity grew during the romantic period • Citizens, not mercenaries, now fought wars • Bonds of language, history, and culture formed • Led to unifications creating Germany and Italy Composers deliberately gave their works distinctive national identity • Use of folksongs and folkdances • Created original melodies with folk flavor • Wrote operas and program music inspired by native history, legends, and landscapes Strongest impact in countries dominated by music of Germany, Austria, Italy and France Chapter 12

31. Listening The Moldau (1874) Part of the cycle Ma Vlast (My Country) Bedrich Smetana Symphonic poem depicting the main river that flows thorough the Bohemian (Czech) countryside Program notes: p. 254 Listening Outline: p. 255 Brief Set, CD 3:34 Listen for: Program material and how composer related it to the music Chapter 12

32. Chapter 11: Hector Berlioz French composer (1803-1869) Mid-romantic period Wrote unconventional music • Passionate and unpredictable Major award for Fantastic Symphony • Autobiographical—program note, p. 248 Worked as music critic for support One of the first of the great conductors Chapter 11

33. Berlioz’s Music Imaginative, innovative orchestrations • Required huge resources Pioneered concept of idee fixe As a pioneer, his work was not always understood by his listening public Chapter 11

34. Listening Symphonie Fantastique (Fantastic Symphony) Hector Berlioz (1830) Fourth Movement: March to the Scaffold Program notes: p. 248 Listening Outline: p. 249 Brief Set, CD 3:30 Listen for: Program material and how related to the music Returning melody for idee fixe Chapter 11

35. Listening Symphonie Fantastique (Fantastic Symphony) Hector Berlioz (1830) Fifth Movement: Dream of a Witches’ Sabbath Program notes: p. 251 Listening Guide: p. 251 Basic Set, CD 5:34 Listen for: Program material and how related to the music Returning melody for idee fixe Chapter 11