History level 10

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Treatise/Books: ​https://quizlet.com/41597252/rcm-history-ii-collections-treatises-books-movements-flash-cards/
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The Middle Ages (ca 476 - ca 1450)

Vocabulary: monophonic texture, polyphonic texture, modes, neumes, a capella

Gregorian Chant:
- Performed in the context of church services, including the Mass
- Evolved from the Hebrew chant tradition
- Functional music in worship services of the Roman Catholic Church
Characteristic features:
- Monophonic texture, modal, moves by step/narrow leap (relatively low range)
- Unmeasured rhythm (melody is sung freely)
- Based on certain Latin text
Named after Pope Gregory (540-604) - leader of Roman Catholic Church from 590-604; organized/codified chants
Vocabulary: plainchant, melismatic text setting, Greogorian chant, Mass, Syllabic text setting, pneumatic text
setting, responsorial singing, Mass Proper, gradual

Haec Dies (chant) anonymous

- Genre: Gregorian chant
- Composer: anonymous
- Composition date: early middle ages
- Language: Latin
- Mass component: gradual; from the mass for easter day
- Source of text: psalms 118: 1/24, Old Testament
- Performing forces: soloists and chorus
- Texture: monophonic
- Melody based on Dorian mode
- Unmeasured rhythm: no bar lines or note values, follows natural flow of text (prose rhythm)
- Melismatic text setting conveys joyful message of the feast of Easter
- Melodic range extends to a ninth reflects importance of feast day
- Melody moves by steps/narrow leaps; many melodic thirds, several fourths and fifth on final word, “eius” = joy of
Easter celebration
Organum
- The earliest form of polyphony
- Used perfect intervals as additional vocal line moves in parallel motion above/below existing chant
(parallel organum)
- Began as improvised practice; evolved over several centuries
Characteristic Features:
- Original-pre-existing chant referred to as cantus firmus
- Later developed by Notre Dame composers = wider variety of intervals/rhythms/melodic motion (free
organum)
Vocabulary: organum, cantus firmus, tenor, original style, discant style, clausula, rhythmic modes
Notre Dame School: earliest example of compositional school
Leading composers: Leonin and Perotin
Leonin (fl 1150-1201)
- First composer of polyphony
- Active in Paris in late 12th century
- Produced to use organal/discant style/employing rhythmic modes (two part organum)
- Wrote Magnus Liber Organi (Great book of organum)
Perotin (fl 1175-1225)
- Active at Notre Dame Cathedral in the 13th century
- Expanded polyphonic technique; composed three and four part polyphony
- Composed “Substitute Clausula”

Haec Dies (Organum)

- Genre: organum (ND Style)
- Composer: anonymous (style of Leonin)
- Composition date: ca 1175
- Source of text: Old Testament Psalms
- Language: Latin
- Performing forces: soloists and chorus
- Texture: polyphonic w/ monophonic sections
- No. of voices: 2
- lower voice (tenor) contains borrowed melody (cantus firmus) from original Haec Dies chant
- upper voice = new. More rhythmically active than cantus firmus
- organal style (Haec Dies), monophonic texture (quam fecit Dominus), organal style (confitemini), discant style
(Domino Quoniam), organal (bonus quoniam)
- common harmonic intervals: P4, P5,P8
- rhythmic modes = discant
- clausulae (Domino/quoniam)

Motet
- Combines sacred and secular content
- Developed in 13th century
Vocabulary: motet, polytextuality
Characteristic Features:
- Three voices: bottom = cantus firmus, upper = more rhythmically active and crossed parts
- Features primary harmonic intervals: P4, P5, P8

O Mitissima/virgo/haec dies
- Genre: polytextual motet from Baberg codex
- Composer: anonymous
- Composition date: 13 th century
- Source of text: poems in the praise of Virgin Mary; Haec Dies
- Language: Latin
- Performing Forces: three voices
- Texture: polyphonic
- Polytectual: top voices (triplum) plea for Mary to ask her son for help
- Chant fragments in the tenor part (rhythmic pattern (ostinato)): long long short long
- Triplum and diplum: same range w/ frequent overlapping of melodic lines - shares rhythmic activity and effect of
triple meter
- predominant text setting of upper voice = syllabic/neumatic
- tenor = melismatic
- harmonic intervals: P4, P5, P8

Chansons
- Secular monophonic songs flourished in 12th and 13 centuries
- Most composed by aristocratic poet-musicians known as trouveres (troubadours using langue d’oc and
l’anque d’oil
- Recorded in song books = chansonniers
Vocabulary: chanson, trouvere, troubadour, strophic form

Ce fut en mai
- Genre: monophonic chanson
- Composer: Moniot d'arras
 - Composition date: mid 13th century
- Source of text: secular poem
- Language: Old French
- Performing Forces: solo singer
- Texture: monophonic w/ improvised accompaniment on some recordings
- strophic form (five verses w/ twelve short lines in each verse)
- Internal structure (musical form) of each verse is AABB w/ open and closed endings
- first ending of part A is “open” ending on A which sounds like the mediant, second ending is closed landing on F
which sounds like the tonic
- rhyme scheme: AAb AAB CCB CCB
- melodic range = 9th
- no relationship between text and music
Moniot d’Arras (ca 1213-1239)
Musical Style and contributions:
- Monk who lived/worked at the Abbey of St. Vaast in France
- Among last composer of trouvere tradition
- Wrote sacred/secular music
- Monophonic secular songs = modal melodies, performed with an improvised accompaniment

Dance Music
- Based on a tradition of improvisation
- Functional music: instrumentalists provided music for social dance; later stylized dances were created (for
listening only)
- Earliest notated examples from 13th century
Characteristic Features:
- Earliest notated examples were monophonic in texture, based on modal melodies
- Accompaniments are improvised rather than notated
- Estampie, saltarello, ronde, basse dance = earliest types
- Formal structure often sectional to allow for flexibility in the length of the dance

“Royal” Estampie No. 4

- A stately dance involving elaborate and vigorous body movements; name estampie comes from estamper (to
stomp feet)
- Genre: dance music
- Composer: anonymous
- Composition date: late 13th century
 - Texture: monophonic
- Form: sectional structure, with open and closed endings
- Performing forces: variable (instruments)
- suggests Dorian mode
- sectional form with opera and closed endings allows musicians to repeat or conclude the section
- performers often add embellishments on repeats
- Relatively narrow melodic change

Mass
- The most important service in the liturgy of the Roman Catholic Church
- Includes prayers, reading from the Bible, and reenactment of Last Supper, referred to as the Eucharist or
Holy Communion
- Earliest Mass settings took the form of monophonic chants (Haec Dies from Gregorian Mass for Easter
Day)
- In the 12th/13th centuries many chants (particularly from Mass Proper) served as the basis for organum

Kyrie from Messe De Nostre Dame

- first complete polyphonic setting of the Ordinary of the mass by a single composer
- Genre: Kyrie, the first movement of the Mass Ordinary
- Composer: Machaut
- Composition date: ca 1350
- Source of text: Mass Ordinary
- Language: Greek
- Texture: polyphony,
- Number of voices: four (triplum, motetus, tenor, contratenor)
- Performing forces: singers (parts sometimes reinforced by instruments
- Borrowed material: Cantus firmus in tenor is based on the plainchant Kyrie cunctipotens genitor Deus from
Gregorian Mass IV
- Form: three sections; texts follows ABA form
- based on Dorian mode in triple meter
- isorhythm employed in tenor (melodic pattern based on material borrowed from 10th century plainchant
- Repeated rhythmic/melodic patterns characterize vocal lines
- wide melodic leaps
- Hocket in m. 22
- Singers apply musica ficta to leading tones at cadence points
Ars Nova 1322 (Phillipe de Vitry)
 - Greater complexity in melody, harmony, rhythm
- Cludes isorhythm, hocket, musica ficta
- High point in the development of music during Middle Ages
- Extended the chanson and became an elegant courtly song
- Vocal music of this period derived its shape from poetry
- Demonstrates innovations in rhythmic notation including imperfect division of notes into two equal units
Guillaume de Machaut (ca 1300 - 1377)
- Most celebrated poet and musician of French ars nova
- Served for princes and kings and church
- Among first composers for whom we have a complete edition of his works
Musical style and contributions:
- Used greater variety of intervals (thirds and sixths) and employed highly sophisticated contrapuntal
techniques
- 14th century rhythmic complexity demonstrated in his use of devices such as syncopation, hocket,
isorhythm
- Wrote monophonic (represents trouvere tradition) and polyphonic chansons
- Wrote own poetry; fixed poetic forms: rondeau, ballade, virelai
- Longer and more complex than Ars antigua
- Composed first complete polyphonic setting of Mass Ordinary

The Renaissance Era (ca 1450 - 1600)

Franco-Flemish School
- Groups of composers emerged as musical leaders who flourished in 15/16 centuries
- Imitative vocal polyphony flourished and works of lasting significance were composed
- From Burgundy and Low Countries (Belgium and Holland)
- Franco refers to France, Flemish refers to Flaunders
- Johannes Ockeghem, Josquin des Prez, Jacob Obrecht
- Known for vocal polyphony and highly developed contrapuntal style particularly in motet and Mass
- “The Dutch school” and “the Neverlanders”

Motet
- Single text in place of multiple texts heard simultaneously
- 13th century motet based on cantus firmus, had three voice texture, includes polytectuality, combines
sacred and secular elements
- 14th century (ars nova): significant developments including greater complexity in rhythm, harmony,
counterpoint, still built on cantus firmus technique and features polytextuality
 - 15th century: vocal polyphony, based on single text, allowed composers to experiment with new
approaches to contrapuntal writing
Characteristic Features:
- Polyphonic texture
- Single Latin text
- Sacred, non-liturgical genre
- For four voices
- Imitative counterpoint
- New harmonic language (use thirds and sixths)
Vocabulary: points of imitation, homorhythmic texture

Ave Maria...virgo serena

- Genre: motet
- Composer: josquin des Prez
- Composition date: ca 1470s-1480s
- Source of text: rhymed, strophic form
- Poetic structure: opening couplet, five quatrains (four lines), closing couplet (two lines)
- Language: Latin
- Translation: Hail Mary
- Performing forces: four voices, a cappella
- Texture: polyphonic
- each stanza is treated uniquely = paratactic form
- opening notice from plainchant melody Ave Maria from Feast of Annunciation
- based on Gregorian chant fragments
- Points of imitation: ascending perfect fourth on “Ave” sung by each voice top to bottom, similar treatment on
“gratia plena”
- paired imitation: soprano and alto then tenor and bass
- homorhythmic texture: all four voices sing same rhythm = chordal texture
- Triadic harmony
- text = syllabic. Short melismas emphasizing key words
Josquin des Prez (ca 1440-1521)
- Composed in Franco-Flemish School, profession in Italy
- Patrons: Sforza and d’Este families
- Contrapuntal techniques: canonic writing, imitative counterpoint
- Frequent use of syllabic text setting, closer matching of musical stresses with accentuation of text and vivid
word painting
 - Modal harmonies featuring triadic often with dissonance.

Mass
- Served as basis for organum
- Composer used polyphonic settings of the five movements in Mass Ordinary to explore and demonstrate
mastery of a wide range of contrapuntal techniques
Characteristic Features:
- Unified polyphonic settings of five sections in Mass Ordinary
- Composers use secular songs as melodic sources for the cantus firmus (L’homme armé)
- Movements linked thematically
- Masses = freely composed, new material
- Combine imitative counterpoint with homorhythmic passages to create variety and interest in the text
setting

Gloria from Missa Papae Marcelli

- written to demonstrate the potential for achieving clarity in text setting within a simple, well-balanced polyphonic
texture
- Genre: Mass
- Composer: Giovanni Pierluigi da Palestrina
- Publication date: 1567
- Source of text: Mass Ordinary
- Language: Latin
- Performing forces: six voices, a cappella
- Texture: polyphonic (with homorhythmic passages)
- SATTBB = all voices rarely used together
- texture changes frequently
- predominantly syllabic and homorhythmic text setting makes words easy to understand
- Restrained approach to contrapuntal writing with limited/controlled use of imitation
- WORD PAINTING: melismatic setting on the word “Fili”, sex voices at m. 34 “Domini Fili” (Lord, begotten son)
- further emphasis. Text delivers spiritual messages. Music enhances delivery
Giovanni Pierluigi da Palestrina (1525-1594)
- Most important Catholic composer of 16th century
- Associated with Counter-Reformation
- Spiritual character in compositions reflects deep personal faith
- Music exhibits vocal polyphony (a cappella)
- Cantus firmus, parody, paraphrase, canon
 - Vocal lines: step/narrow leap
- Clarity in text - chordal texture. Clear-cut phrases. Musical accents
- MOTETS: Lauda Sion, Alma Redemptoris Mater
- MASSES: Missa L’homme arme, Missa Lauda Sion

Madrigal
- Popular secular vocal genre in late Renaissance
- Denoted a type of secular song that flourished in the small aristocratic courts of Italy (Venice, Ferrara,
Manta then Europe and England)
- Initially homophonic, bring pleasure to performer
- Became more complex polyphonic texture with increased chromaticism composed for aristocratic audience
- Late 16/early 17 centuries = highly mannered, virtuosic style - personalized expression
- Early 17th century = Baroque style (basso continuo)
Characteristic Features
- Texts = short poems of a lyrics/reflective character
- Love, desire, political themes, humor, satire
- Use of word painting - ideas, images, emotions
- Chromaticism = expressive device
Vocabulary: madrigal, word painting, nonsense syllables, chromaticism, ballett

Moro, lasso, al mio duolo

- exemplifies the degree of complexity and refinement
- Exaggerated use of chromaticism and word painting
- Genre: madrigal
- Composer: Carlo Gesualdo
- Publication date: 1611
- Language: Italian
- Performing forces: a cappella voices
- Texture: polyphonic
- Number of voices: five
- highly chromatic opening passage
- Half step within octave in first four measures creates musical tension and emotional intensity
- descending chromatic line shows death and grief
- diatonic passage (E chi mi po dar vita) contrasts with chromaticism on “moro lasso”
- word panting on “vita: = rhythmic activity to reflect energy of life
Carlo Gesualdo (1566-1613)
 - Aristocratic Italian composer and lutenist, Prince of Venosa
- Shocking use of chromaticism in madrigals w/ dissonance
- Murdered wife and lover
- Intensely emotional, highly mannered experimental style
- Word painting
- Abrupt harmonic shifts and chord changes
- Repetition
- Wrote own text reflecting guilt and remorse
- SACRED VOCALS: Tenebrae Responsoria

My Bonny Lass She Smileth

- popular from publication of Musica transalpina
- Resembled Italian madrigal of 16th century
- word painting = intimate relationship with poetry and music
- Genre: English madrigal (ballett)
- Composer: Thomas Morley
- Publication date: 1595
- Language: English
- Performing Forces: A cappella voices
- Texture: homophonic/polyphonic
- Number of voies: 5
- Song type/form: strophic (AABB in each stanza)
- Section A: duple meter, lively mood, largely syllabic setting and homorhythmic texture is clear,
homophonic text setting alternated with more imitative writing in fa-la-la refrains
- Section B: switch from duple to triple meter, same music is repeated for second verse of text
Thomasa Morley (ca 1557-1602)
- Highly skilled organist and author of the Plaine and Easie Introduction to Practicall Musicke (1597)
- Known for English madrigals, balletts, canzonets demonstrating homorhythmic and contrapuntal texture
with use of nonsense syllables, easily singable, melodic lines, light-hearted character
- Keyboard virtuosity in Goe from my window in Fitzwilliam Virginal Book
- Influenced by William Byrd’s style
- SECULAR VOCALS: It was a Lover and His Lass, Now Is The Month of Maying, My Bonny Lass She
Smileth
- SACRED VOCALS: Magnificat
- INSTRUMENTAL: Fitzwilliam Virginal Book
- Other publications: Plaine and Easie Introduction to Practicall Musicke, The Triumph of Oriana
Keyboard
- Traced back to earliest days of Roman Catholic Church
- Notated music for keyboard music back to 1325, found in Robertsbridge Codex
- Range of just over two octaves until 17th century (for organ, harpsichord, clavichord)
Vocabulary: variations, virginal, harpsichord, idiomatic writing
Fitzwilliam Virginal Book
- Collection of English keyboard music
- Named after Viscount Fitzwilliam, patron who donated manuscripts to Cambridge University 1816
- Three hundred works including dances, fantasies, preludes, arrangements of songs, madrigals, variations
- William Byrd, John Bull, Thomas Morley, Giles Farnaby
- Idiomatic approach to keyboard writing
- Style is virtuosic, has rapid scale passages. Ornamentation, novel figurations (examples: The Carman’s
Whistler (Byrd). The King’s Hunt (Bull), The Ghost (Byrd)

The Carman’s Whistle

- Based on popular 16th century tune
- Title refers to men whose occupation involved looking after the horses and carts and often whistled during work
- Genre: keyboard music (also for lute)
- Form: theme and variations
- Composer: William Byrd
- Composition date: before 1591
- meter : 12/4 compound duple
- Mode: ionian (C major)
- SourceL Fitzwilliam Virginal Book
- tune first presented in a simple two-voice imitative texture then shifts to thicker texture with chordal
accompaniment
- simple melodic line embellished with ornaments in English style
Tune followed by eight variations of texture/rhythm
William Byrd (1540-1623)
- English Renaissance composer and singer in Chapel Royal
- Known for keyboard, instrumental ensemble, sacred vocal works (for Anglican and Roman Catholic
Church in English and Latin)
- Represented in FVB, contributed to development of idiomatic keyboard style
- Composed songs for solo voice accompanied by consort of viols
- INSTRUMENTAL: Fitzwilliam Virginal Book, In nomine
 - SACRED VOCALS: Great Service (for Anglican church)
- SECULAR VOCAL: Psalms and Sonnets and Songs

The Baroque Era (ca 1600-ca1750)

- Baroque from Portuguese barroco (oddly shaped pearl) - metaphor for turbulence and contrast
- absolute monarchy and religious conflict, opulent wealth and abject poverty
- crystallization of major-minor system
-realization of figured bass
Vocabulary: Baroque, figured bass, basso continuo, the “Affections”, binary form, rounded binary form, ternary
form, terraced dynamics

Opera
- Turn of the 17th century, Florence, Italy
- Recreate the performance style of ancient Greek drama
- First operas composed of members in Florentine Camerata
- Renewed interest in classical antiquity
- Include Medieval liturgical drama, madrigal cycles, Italian intermedio
- Recitative, aria, ensembles, choruses
- Combines art, literature, theater, dance
Florentine Camerata
- Intellectuals, poets, musicians under patronage of Count Giovanni de Bardi
- First creations of opera
- Developed monody - musical texture that consisted of vocal melody unfolding over a bass line supported
by simple chordal accompaniment
- Members: Giulio Caccini (singer/composer), Jacopo Peri (singer/composer), Vincenzo Galilei (composer,
theorist, father of Galileo), Count Giovanni de’ Bardi
Vocabulary: opera, castrato, libretto, monody, stile rappresentativo, aria, ground bass, opera seria, da capo aria,
recitative, chorus, recitativo secco

L’Orfeo
- musical version of the Orpheus and Eurydice myth (The Fable of Orpheus)
- Genre: italian opera
- Composer: claudio Monteverdi
- First performance: 1607
- Librettist: Alessandro Striggio
- Source of plot: greek mythology
- structureL prologue and five acts
- characters: Orfeo (shepherd blessed with beautiful voice) tenor, Euridice (shepherdess, young wife) castrato,
Messenger (bearer of tragic news) castrato, Caronte (gatekeeper of Hades) bas
- plot: on wedding day, Orfeo’s wife, Euridice, is bitten by poisonous serpent and dies. Orfeo goes to the
underworld to restore his wife's life, gods grant him wish but one condition that he can’t look into her eyes. He
accidentally looks and she is lost, Apollo takes pity, takes him into fiery chariot and goes to heaven to be happy
- dissonant descending diminished fourth = Orfeo’s grief
- melody marked by chromatic inflections and emphasis on movement by half step
- Harmonic support from continuo
- WORD PAINTING: “profondi abissi” (deepest abyss) descending line, “stelle” (stars) and “sole” (sun) high notes
- Chorus: A minor, C (meter), five voices (couple’s unhappy fate), homophonic and imitative passages. Primarily
syllabic setting in homorhythmic sections
- WORD PAINTING: “Ahi” (Ah) boldly highlighted/exclaimed, “che tosto fugge” (that soon vanishes)
rapid moving eighth notes, “a gran salida” (After great ascent) upward turm concentrated by falling line on “Il
precipizio”
Claudio Monteverdi (1567-1643)
- Embraced elements of Baroque style - figured bass, major-minor tonality, monody, doctrine of the
affections
- Used chromaticism
- Used word painting in madrigals/operas
- Stile concitato: increased emotional intensity
- Expanded role of instruments - mood and define characters
- Differentiated recitative and aria style
- Increased role of ensembles
- MADRIGALS: Ohime, Se tanto amate, Cruda Amarilli, Zefiro torna
- OPERAS: L’Orfeo, L’Arianna, Il ritorno d’Ulisse in patria, L’incoronazione di Poppea
- SACRED VOCALS: Vespers

Dido and Aeneas

- first great English opera
- fuses together the dynamic string writing of Italian tradition, regal character in French Overture, lyricism in
English vocal style
- Genre: english opera
- Composer: Henry Purcell
- First performance: 1689
- Librettist: Nahum Tate
- Source of plot: Nahum Tate’s Brutus of Alba and the epic poem Aeneid by ancient Roman poet Virgil
- Characters: Dido (queen of Carthage) soprano, Aeneas (Trojan prince, founder of Rome) baritone, Belinda
(Dido’s lady in waiting) soprano, Sorceress (mezzo-soprano)
- Plot: after the siege of Troy, Prince Aeneas and men sail across Mediterranean to fulfill command of gods and
establish a new Trojan capital on Italian soil. Shipwrecked on the shores of Carthage ruled by Queen Dido. Two
royals fall in love and the mission is delayed. Sorceress summons a witch against a couple. Minions dress as god
Mercury and trick the Prince that gods are displeased. Aeneas leaves. Dido builds pyre on a hilltop overlooking the
city. Flames light up the night sky so the ship travels safely. With grief, the queen mounts the flaming pyre and
dies.
- ACT 3, FINAL SCENE: key: C minor, recitativo secco (continuo), Queen express grief to Belinda
- WORD PAINTINGS: descending vocal lines = grief and death, melisma on darkness, chromaticism on death
- ACT 3, SCENE 2: G minor, 3/2 meter, ground bass employed (five measure pattern repeat 11 times), solo vocal
lines soar above continuo and string accompaniment
- WORD PAINTINGS: descending melisma on “laid” in earth, repetition of “remember me”: on peated-note notice
- four part chorus provides contemplative conclusion to the work as a whole; G minor, C meter, four-part texture,
word painting: descending lines on drooping wings, two-note melodic sigh figures on soft.
Henry Purcell (1659-1695)
- Organist, singer, prolific composer
- Used elements of baroque style - major-minor tonality, figured bass, ground bass, sequential repetition,
ornamentation
- Combine elements of national styles, embrace influence of lyric arias (Italian), ornamentation, French
overture, Renaissance madrigal, chordal tradition 9English)
- Word painting
- Idiomatic writing in his keyboard suites
- SACRED VOCALS: Te Deum, Jubilate
- OPERA: Dido and Aeneas
- DRAMATIC: King Arthur, The Fairy Queen, Abdelazar
- SOLO SONGS: If Music Be The Food of Love, Sweeter than Roses, Bess Bedlam

Giulio Cesare in Egitto

- love affair between Julius Caesar and Queen Cleopatra
- comprised exclusively of arias - vivid musical portraits with da capo structure
- Genre: opera seria
- Composer: George Frederic Handel
- First performance: 1724
- Librettist: Nicola Francesco Haym
- Source of plot: ancient Roman history
- characters: Caesar: also castrato, Roman emperor and general, Cleopatra: soprano, Queen of Egypt
- plot: Caesar and the army arrive in Egypt. Cleopatra needs help from Caesar to regain the throne from scheming
brother, Ptolemy. Cleopatra dresses as a servant and appears before Caesar to seduce him. Caesar is captivated by
her beauty. Together, Cleopatra secures her crown, the couple denounces tyranny, celebrates the glory of Rome,
and the enduring of their love.

“V'adoro pupille” (Cleopatra’s Aria)

- Key: F major
- Form: da capo aria ABA
- Tempo: largo
- Meter: ¾
- Performing forces: soprano, orchestra (oboe, violins, violas, viola da gamba, harp, theorbo, bassoon, cello)
- small ensemble (muted violins, harp, viola da gamba accompanies Cleopatra with oboe and violin doubling the
vocal line
- rhythm is inspired by the sarabande (slow Baroque dance in triple meter)
- A section concludes with brief closing ritornello
- Section B: New key: D minor, contrast through minor mode and new melodic and rhythmic motives,
chromaticism - restless witful character
- Caesar interrupts Cleopatra = recitativo secco

Cantata
- German Lutheran Church
- cantare - to sing (Italian)
- multi-movement vocal work
- sacred/secular
- soloists and chorus w/ instrumental accompaniment
- recitatives, aria, ensembles, choruses
Vocabulary: cantata. Ritornello, chorale, canon, fugue, augmentation, arioso, oboe da caccia, oboe d’amore, taille

Cantata No. 80, Ein fest Burg ist unser Gott

- eight movement choral work
-Craftsmanship and artistry
- large architectural structures, vocal lyricism, word painting
- Genre: cantata
- Composer: J.S Bach
- First performance: 1715, revised in 1744
- Basis: chorale by Martin Luther (movements 1,2,5,8)
 - Librettist: Salomo Franck
- Language: german
- Translation of title: A Mighty Fortress Is Our God
- Structure: Eight movements
- Performing Forces: SATB soloists, SATB chorus, strings, continuo, pairs of oboes (trumpets and drums
added later by Wilhelm Friedemann Bach)
- chorus: choral fugue, based on choral melody; duet: soprano and bass; recitative and arioso: bass solo; aria: solo
soprano; chorus: unison chorale; recitative and arioso: tenor solo
First movement:
- Key: D major
- Meter: C
- Tempo: Allegro (Bach didn’t put tempo markings)
- Chorale similar to fugal exposition
- Opening tenor melody is embellished version of original chorale
- Interludes connect fugal exposition
- Word painting: chromatic dissonance on “dreadful plans”
Second movement:
- Key: D Major
- Meter: C
- Tempo: Allegro
- Performing forces: soprano and bass soloists, oboe, violins, violas, continuo
Fifth Movement
- Key: D major
- Meter: 6/8
- Tempo: allegro
- Trumpets create grand effect
- All three oboes used
- SATB chorus sings in unison
Eighth Movement
- Key: D major
- Meter: C
- Tempo: Moderato
- Performing Forces: SATB chorus, oboes, strings, continuo

Concerto Grosso
- Latin concertare - to debate or collaborate, Italian - to reach agreement
- mixed vocal and instrumental ensembles
- 17th century Italy
-multi-movement work for soloist/soloists and orchestra
- three movements: fast slow fast
- solo concerto (single soloist), concerto grosso (group of soloists)
- outer movement usually employ ritornello form
Vocabulary: concerto, concerto grosso, concertino, ripieno, ritornello form

Brandenburg Concerto No. 2 in F Major

- Genre: concerto grosso
- Composer: J.S. Bach
- Dedication date: 1721
- Structure: one of a set of six concertos
- Performance forces: string orchestra and continuo (ripieno); violin, oboe, recorder, trumpet (concertino)
- motives ⅓ built around tonic triad
- motives 2/4 largely by scale-type movements
- soloists takes turns presenting the concertino theme alternating with ritornello theme
-sequential imitation
-modulations to closely related keys: C major, D minor, G minor, B flat major, A minor
- First movement: F major, allegro, half time, ritornello form
- Second movement: D minor, andante, 2/4, violin, recorder, oboe, and continuo only
- Third movement: F major, allegro assai, 2/4, four-voice imitative texture
Johann Sebastian Bach (1685-1750)
- Best known as organist, but his music represents the ultimate in Baroque craftsmanship/culmination of
polyphonic writing
- Perfected existing forms (fugues, concertos, cantatas)
- Master of contrapuntal art, control of polyphonic textures
- Wrote fugues with wide variety of techniques and approaches (The Well-Tempered Clavier)
- Contrapuntal texture (Brandenburg Concertos)
- Large-scale works (TWTC)
- Composed many sets of work
- Sacred works for Lutheran Church (chorale/cantatas) although he was not Catholic
- Italian influence: lyricism of operatic arias, dynamic instrumental style
- French influenceL dance rhythms, French overtures, ornamentation
- English influences: choral style, English dances
- SACRED/SECULAR CANTATAS: Coffee Cantata, Peasant Cantata
 - ORATORIOS: Christmas Oratorio, St. Matthew Passion, St. John Passion, Magnificat, Mass in B minor
- ORCHESTRAL: Brandenburg concertos
- CHAMBER: The Musical Offering
- KEYBOARD Italian Concerto, Goldberg Variations

Suite
- grouping dances together, order - collection of dances in the same key
- for solo keyboard instruments and orchestra
- allemande, courante, sarabande, gigue, option dances: menuet, gavotte, bouree, aria
- individual dances = binary form

La poule from Nouvelle suites de pieces de clavecin

- tradition dance movements and character pieces with descriptive titles
- Genre: suite, from collection entitled Nouvelle suites de pieces de clavecin
- Composer: Jean-Philippe Rameau
- Publication date: ca 1729
- Performance forces: Harpsichord
- Key: G minor
- Meter: ¾
- Tempo: none give, played in spirited manner
- Form: binary form
- opening motive has repeated notes (clucking of hen) and broken chord finish
- rhythmic energy and brilliance by agreements
- alternation of hands, variety of sixteenth notes, ascending flourish
- chromaticism
Jean-Philippe Rameau (1683-1764)
- Organist and harpsichordist
- Developed French keyboard suite initially along traditional lines, incorporated imaginative character pieces
inspired by the suites of Fracois Couperin
- Keyboard texture with strong harmonic direction, use seventh chords, clear modulation, precisely notated
embellishments (agrements), occasional counterpoint
- Binary and rondeau forms
- Keyboard works has virtuosic technical demands and formal procedures from influence of Handel and
Scarlatti
- ENSEMBLE: Pieces de clavecin en concerts
- OPERAS: Hippolyte et Aricie and Zoroastre, Les Indes galantes
 - THEORETICAL WORKS: Traité de l’harmonie

Water Music: Suite in D major HWV 349

- genre: orchestral suite
- Composer: George Frideric Handel
- First performance: 1717
- Structure: twenty-two movements, arranged in three suites
- Performing forces: Baroque orchestra: strings, continuo, trumpets, horns, oboes, bassoons
Hornpipe
- Key:D major
- Meter: 3/2
- Form: ternary
- Tempo: allegro
Section A:
- bold ascending figure
- Syncopation
- repeated -note notice
- High brass imitated by low brass
- Bold and vibrant character
Section B:
- B minor
- less active
George Frideric Handel (1685-1759)
- Cosmopolitan figure, absorbed styles: German, French, Italian
- Use basic musical elements (chordal passages, scale figures) = style more accessible and appealing
- Homorhythmic passages and contrapuntal textures (homophonic and polyphonic)
- Sense of pageantry and dramatic theatrical style through grandiose gestures (SATB choral sound, bold
contrast dynamics)
- Contribute to Italian opera series (over 40 works)
- Da capo = vocal virtuosity
- Created English oratorio (role of chorus)
- Recitativo secco and recitativo accompagnato in operas and oratorios
- Word painting
- Invented organ concerto
- Contribute to orchestral and keyboard suites
- OPERAS: Rinaldo, Giulio Cesare, Serse, Orlando
 - ORATORIOS: Messiah, Judas Maccabeus, Israel in Egypt
- SACRED VOCAL: Ode for Saint Cecilia’s Day, Te Deum
- KEYBOARD: Suite No. 5 in E major
- ORCHESTRAL: Water Music, Music for the Royal Fireworks

The Classical Era (ca 1750-1825)

- Age of Enlightenment
- Knowledge, rational thinking, growing desire for equality among all people
- Creation of sonata form
Viennese School
- Haydn, Mozart, Beethoven
- Emerged as musical center
Sturm und Drang
- High level of emotion and dealing with the individual’s revolt against conventional society
- Friedrich Schiller and Johann Wolfgang von Goethe
- German “storm and stress”
- 1760-1785
- To frighten, shock, overwhelm reader with emotion
- Evident in Bach’s sons, Haydn, Mozart
Vocabulary: Classicism, sonata cycle

Symphony
- 18th century built on the three-section Italian overture (fast-slow-fast)
- Mannheim composers inserted minuet and trio - four movement sonata cycle
- multi-movement orchestral work (strings, winds, brass, percussion)
Mannheim School
- High level of performance and innovative orchestral techniques
- Leader - Johann Stamitz
- Inspired Haydn and Mozart
- Leader figures: Johann Stamitz, Ignaz Holzbauer, Christian Cannabich, and Karl Stamitz
- Precision in performance, wide dynamic range, dramatic effects
- Developed orchestral crescendo, rocket theme, grand pause
Vocabulary: sonata form, exposition, development, recapitulation, coda, monothematic exposition

Symphony No, 104 in D Major (London)

- premiered in London
-Haydn’s last symphony
 - Genre: symphony
- Composer: Haydn
- Composition date: 1795
- Structure: four movements (sonata cycle)
- Performing forces: symphony orchestra
First Movement:
- Key: D minor
- Tempo: Adagio
- Meter: C
- Features: monothematic exposition
- full orchestra boldly announces an ascending perfect fifth followed by descending perfect fourth
- fermatas heighten drama
- homophonic texture established in intro
-chromatic passages create an air of tension/mystery
Exposition:
- Key: D major
- Form: sonata
- Tempo: allegro
- Meter: cut time
- elegant diatonic melody, played piano by the violins, outlines tonic triad in symmetrical four-measure phrases
-theme: folk-like
Bridge:
- vigorous transitions covers a wide range
- broad leaps between upper/lower registers play forte
-modulates to A major
Second Theme:
- A major
- second theme is first theme transposed to the dominant key
Codetta:
- two string motives alternate
-contrary motion.syncopation = playful
-staccato/legato articulations
Development:
- B minor
-repeated note figure from first theme
-tengion is heightened through different minor keys/dynamic levels
Recapitulation:
- D major (strings)
-bridge
-second theme in D major, countermelody = woodwinds
Coda:
- increased rhythmic activity/strong final cadence
Second movement: G major, andante, 2/4, sonata-rondo form, lyrical/expressive character
Third movement: D major, allegro, ¾, ternary, rustic minuet and trio
Four movement: D major, spiritoso, 2/4, sonata form, folk-like character

Oratorio
- sacred vocal genre, concert setting
-Italy, 16th century
-Carissimi, Vivaldi, Bach, Handel
- begins with an orchestral overture
- PF: vocal soloists, chorus, orchestra (basso continuo)
- based on sacred theme from biblical texts

The Creation
- Genre: oratorio
- Composer: Haydn
- German title: Die Schopfung
- Librettist: the german language version by Baron Gottfried van Swieten
- Source of libretto: Genesis and John Milton’s epic poem Paradise Lost
- Composition date: 1798
- Structure: three parts each containing multiple movements
- PF: soprano, tenor, bass soloists, SATB chorus, orchestra with basso continuo for the recitatives
Vocabular: oratorio, recitativo accompagnato, recitativo secco
Structure:
- Part one = first four days of creation
- Part two = last three days of creation
- Part three = garden of eden
Characters:
- Gabriel: soprano, archangel
 - Uriel: tenor, archangel
- Raphael: bass, archangel
- Adam: bass, first man
- Eve: soprano, first woman
“And God said: Let there be light”
- Key: C major
- Meter: C
- recitativo secco sung by Uriel, declamatory style, fourth day of Creation
“In Splendor Bright”
- Key: D minor
- Tempo: andante
- Meter: cut time
- recitativo accompagnato, rising of the sun with slow ascending d major scale
-WORD PAINTING: “in splendor bright: - short rocket notice (cellos and basses)
“With softer beams” G major, the cellos and basses play softly a gentle ascending melody to portray the quiet
ascent of the moon
“The space immense” employs dotted chords to punctuate the music, suggesting countless stars in the sky
“The Heavens Are Telling The Glory of God:
- Key: C major
- Tempo: allegro
- Meter: cut time
- SATB chorus: homorhythmic setting with orchestra
- WORDS PAINTING: night suggested by brief shirt to C minor, “in all the lands: sung by the trio of soloists, amd
repeated expansively to suggest earth’s broad domain
Franz Joseph Haydn ​(1732-1809)
- “Father of the Classical symphony” due to significant contributions to the early development of the genre
- Front of experimentation, particularly concerning formal structure
- humorous /whimsical nature in his works, eg. symphony no. 45 and symphony no. 94
- Contributed to development of the sonata form; dramatic/slow introductions
- Use of monothematic expositions in his sonata-form movements
- ‘Father of the string quartet” developed new chamber music genre to its highest level
- Influenced by folk music in rustic melodies, pizzicato strings, pedal points
- Vivid word painting in masses/oratorios
- Dramatic elements such as accents and bold changes of chords of keys (eg. loud C major chord in The
Creation to depict light)
 - SYMPHONIES: Farewell (no 45), Surprise (no. 94), Military (no 100), Clock (no 101), London (no 104)
- CHAMBER: Quinten, Emperor
- OPERAS: Armida
- ORATORIOS: The Creation, The Seasons, The Seven Last Words of Christ
- SACRED VOCAL: Lord Nelson Mass, Mass in the Time of War

Concerto
- three movements (fast-slow-fast)
- first movement based on sonata form with double exposition
- cadenza launched from 6/4 chord is improvised

Piano Concerto in G Major, k 453

- written for Barbara von Player (Mozart’s student)
Vocab: double exposition, cadenza
- Genre: concerto
- Comp date: 1784
- Structure: three movements
- Performing forces: piano and orchestra
First Movement:
- Key: G major
- Tempo: allegro
- Meter: C
- Form: sonata with double exposition (first movement concerto form)
- first theme unfolds in elegant four measure phrases with occasional chromatic appoggiaturas
- violins with graceful woodwind figurations
Bridge: full orchestra
Second Theme: gently lifting figure with syncopation, violins/woodwinds present theme, minor key touched briefly
(E and A minor)
Solo Exposition:
-piano plays decorated version of first theme in G major
-left-hand accompaniment features Alberti-bass pattern
Bridge: piano figurations, modulates to dominant key (D+)
- contrasts of legato/staccato articulations
Development:
- features piano theme
- modulates to various keys, including B flat major, C minor, and E minor
- piano part presents rapid scale passages with woodwind accompaniments
- arpeggiated figures in triplets played by piano
- dominant leads to home key
Recapitulation:
- first theme is restated by strings/woodwinds
- decorated version of first theme played by the piano
Cadenza:
- orchestral “tutti: leading to cadential 6/4 chord, general pause
- after cadenza, full orchestra plays final concluding passage, leading to authentic cadence in tonic
- First movement: G major, Allegro, C, first movement concerto form, opening orchestral theme serves as
ritornello; virtuosic piano writing
- Second movement: C major, andante, ¾. First movement concerto form, dialogue between piano and
orchestra;expressive and lyrical character
- third movement: G major, allegro-presto, C, theme and variations, dance-like theme in binary form;escalating
complexity and virtuosity

Opera
-opera seria, opera buffa
Gluck and Operatic Reform
- 1714-1787
- Introduced new reforms
- Primary goals was to restore dramatic integrity to opera
- Music should serve the poetry
- Restored the chorus by making it an integral part of the dramatic action
- Minimized contrast between recitative and aria by composing in arioso style
- Orfeo ed Euridice, Alceste, Iphigenie en Aulide, Iphigenie en Tauride
Vocab: opera buffa, modified sonata form, terzetto, trouser role, overture, singspiel

The Marriage of Figaro

- represents crowning achievement in Mozart’s output
- combines sublime music with a plot
- elevated opera buffa
- Genre: opera buffa
- Original title: Le nozze di Figaro, ossia la folle giornata (The Marriage of Figaro or The Day of Madness)
- Composer: Mozart
- Librettist: Lorenzo da Ponte
 - Language: italian
- Source of libretto: a controversial French play by Pierre-Augustin de Beaumarchais
- Composition date: 1786
- Structure: four acts
Characters:
- Figaro: baritone, personal valet to the Count
- Susanna: soprano, personal maid to Countess
- Cherubino: mezzo-soprano, a young male page at the palace
- Count Almaviva: baritone, unfaithful husband
- Countess Almaviva: soprano neglected wife
- Basilio: tenor, palace gossip
- Dr. Bartolo: bass, guardian
- Marcellina: mezzo-soprano, former housekeeper of Dr. Bartolo
- Barbino: soprano, Susanna’s cousin
Plot:
Figaro and Susanna (servants) look forward to their wedding. Count Almaviva expressed his desire to seduce
Susanna. Countess joins Susanna in laying a trap for the Count. The two women switch identities by exchanging
their outfits Final scene, Count begs wife for forgiveness and pledges his love/faith to her/ Sub plots = housekeeper
(Marcellina’s attempts to marry Figaro to find out he is her long-lost son.
- Key: D major
- Form: modified sonata
- Tempo: allegro
- Meter: cut time
Exposition First Theme:
- D major
- Strings play rapid eighth-note figures
- Joy and excitement
Exposition Second Theme:
- Key: A major
- Contrast = more lyrical and less active melody
Recapitulation:
- First and second themes are in D major
- When the first theme returns, it is unclear whether this is a repeat of the exposition, start of development, or
recapitulation. Surprise foreshadows the unexpected events and playful mood of the drama.
ACT 1:
 - Measuring space for the bed in the room shared with his bride. They discuss the room’s proximity to the
Count
“Non so piu” (Cherubino’s Aria)
- Key: E flat major
- Form: ABAC
- Tempo: allegro vivace
- Meter: cut time
- Cherubino expresses his love for women
- melody begins in middle register and builds higher along with his agitation
- phrases are short, separated by rests = breathless passion
-Section A = E flat major
-Section B = B flat major
-Section C= slower, reflective, ends with a spirited authentic cadence in E flat major
“Ah! Son perduto” (Recitativo secco: Susanna, Count, Basilio
- Count enters Susanna’s room, Cherubino hides
- Basilio reveals Cherubino’s love for the Countess
“Cosa sento!” (Terzetto: Count, Basilio, Susanna)
- Count expresses rage over Cherubino
- Basilio is pleased at the trouble
- Susanna is worried about Cherubino’s presence
- Orchestral accompaniment
- Sonata form exploited
- B flat (first theme) = Count
- Bridge = Basilio
- Second theme = dominant minor, Susanna
Wolfgang Amadeus Mozart (1756-1791)
- Exemplified Viennese Classical ideals: elegance, balance, poise, refinement, sophistication
- explored/advanced/developed all Classical genres
- Skillful use of counterpoint within homophonic texture
- Utilized symmetrical phrase structure (four-measure phrases)
- Contributed development of sonata form
- Used double exposition sonata form of concerto
- Harmonic language calanced diatonic and chromatic elements
- Orchestral writing expanded use of wind instruments
- Crystallized 18th century piano style (solos and concertos)
 - Opera seria: Idomeneo
- Opera buffa: The Marriage of Figaro
- Singspiel: The Magic Flute
- Compelling, realistic characters
- used conventional recitativo secco to advance plot
- Used sectional forms in his arias to shift moods and pov of characters
- Absorbed vocal qualities and melodic lyricism in instrumental writing
- Works catalogued by Ludwig von Kochel in 1862
- SYMPHONIES: No. 35 Haffner, no.36 Linz, No. 38 Prague, No. 40 Romantic, No. 41 Jupiter
- CHAMBTER: The Hunt, Dissonance
- OPERAS: The Abduction from the Seraglio, Don Giovanni, Cosi fan tutte
- Vocal: Lieder, Coronation Mass, Requiem Mass

Sonata
- Come from Italian sonare (to sound)
- Applied to the solo sonata, the multi-movement keyboard sonata emerged
- three/four movements
- First movement = sonata form
- Second movement = slow (sonata, rondo, theme and variations)
- Third movement = minuet and trio
- Final movement: sonata, rondo, or sonata-rondo form
Vocab: sonata, rondo form

Piano Sonata in C Minor, op. 13 (Pathetique)

- Implies pathos, sorrow, brooding melancholy
- Foreshadows turbulence and defiance
First Movement:
- Key: C minor
- Tempo: Grave
- Meter: C
- opens in C minor, homorhythmic, chordal texture and crisp dotted rhythms reminiscent of French Overture
- Dramatic contrast = marked accents, unexpected pauses, and abrupt changes of volume
- Emphasis on diminished seventh chords =heighten tension
- Descending chromatic scale ) rare one hundred twenty eighth note
Exposition:
- Key: C minor
 - Form: sonata
- Tempo: Allegro di molto e con brio
- Meter: cut time
First Theme:
- Ascending right hand covers two octaves
- Agitated quality = staccato articulations and broad crescendo
- Left hand = tremolo octaves
Bridge:
- Modulates away from tonic
- Incisive syncopation = propels music forward
Second Theme Group (Theme 2a)
- Modulate to E flat minor instead of major
- Rapid hand crossing
Second Theme Group (theme 2b)
- E flat major finally established
- Melody bass = contrary motion with left hand employing Alberti-type figuration
Codetta:
- E flat confirmed
- Exposition is repeated
Development:
- G minor
- M. 137 - E minor
Recapitulation:
- First theme returns to tonic (C minor)
- Second theme group returns in F minor
- After sixteen measures = C minor
- Codetta returns = tonic key
Coda:
- Recalls fragments of dotted-rhythm chords
- Ends with strong authentic cadence, fortissimo
Second Movement:
- Key: A flat major
- Form: rondo ( A B A1 c A2 coda)
- Tempo: adagio cantabile
- Meter: 2/4
Section A:
- Lyrical, Legato melody
Section B:
- Begins in F minor, modulate to E flat major
Section A1:
- Principal melody returns
- No repeat
Section C:
- Begins in A flat minor (tonic minor key)
- Insisten triplet=brooding tone
- Modulates to E major
Section A2:
- Principal melody returns
Coda:
- Reiterates AC in A flat +
Third Movement:
- Key: c minor
- Form: rondo (ABACA1BA2 coda)
- Tempo: allegro
- Meter: cut time
Section A:
- AC in C minor
Section C:
- Begins F minor modulates to E flat major
- Temporary shift to chordal texture
- Descending scale passage leads to a fermata over Dom 7
Section A:
- unaltered
Section C:
- Begins A flat major
- Contrapuntal texture
- Syncopation
- Descending staccato scale passage
Section A:
- C minor
Section B2:
- Begins in C major, concludes in C minor
- shortened
Section A2:
- Pickup
- shortened
Coda:
- triplet figure from SB
- AC

Chamber Music
- Small enseble
- One player per part
- popular= duo sonata, string quartet, piano trio

String Quartet in C sharp Minor, op. 131

Vocab: chamber music, string quartet
- Genre: string quartet
- Composer: Beethoven
- Comp date: 1826
- Structure: seven movements
- Performing forces: 1st violin, 2nd violin, viola, cello
- Key: C sharp minor
- Tempo: adagio ma non troppo e molto espressivo
- Meter: cut time
- Texture: fugal
- No. of voices: four
Fugal Exposition
- First violin announces the main theme in tonic
- Chromatic notes impart harmonic instability = intense introspective
- Real answer = F sharp minor
- Music returns to C sharp minor (m83)
Ludwig van Beethoven (1770-1827)
- Demonstrates traits associated with Classical and Romantic style
- Bold innovator with highly original and influential figure
- Innovations:
 - Replacing minuet and trio with scherzo and trio (Sym No 5)
- Cyclical structure (Sym No 5)
- Programmatic elements (Sym No 6)
- Chorus in symphony (Sym No 9)
- Revised comps in sketch book
- Developed/expanded Classical forms (sonata/concerto)
- Exploited explosive accents, extreme dynamic contrast
- Incorp. New orchestral instruments: piccolo, trombone, contrabassoon
Early Period (up to 1802):
- Absorbed Classical style traits (Haydn, Mozart)
- Sturm und Drange influence in preference for minor keys (C minor), use of tremolo, abrupt contrasts
- Rep. works: six String Quartets, op 18, Sym No 1, 2, first ten piano sonatas
Middle Period (Externalization) 1803-1815:
- More romantic elements
- Increase use of chromatic harmony/abrupt modulcations
- Scherzo and trio
- Cyclical form
- Linked movements
- Rep works: Fidelio, Violin Concerto, Sym No 3-8
Late Period (Reflection) 1815-1827:
- Style = abstract/meditatice
- Counterpoint = frequent
- Experimented with form and content (adding SATB soloists and chorus in Sym No 9)
- Frequent use of variation technique
- Rep work: op 109, 110, 111, Missa solemnis, Symphony No 9 (Choral), String Quartets op 131,132,135
-PIANO: Pathetique, Moonlight, Waldstein, Appassionata, Tempest, Hammerklavier, Fur Elise
-SYMPHONIES: No. 3 Eroica, No. 6 Pastoral, No 9 Choral
-ORCHESTRAL: Egmont, Leonora
-CONCERTOS: No.5 Emperor
-CHAMBER: Ghost, Archduke
-VOCAL: Fidelio (op), The Mount of Olives (ora), Missa solemnis (mass), An die ferne Geliebte (Song cycle)