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Unit 7 (Chapter 16 (The Renaissance Madrigal (printing & literacy…

- - - - short poem full of emotional words
        
        composers set these words suggestively
        
        wide range of topics
      - words and music tapestry
    - - throughout the Middle Ages information transmitted orally
        
        only few could read/write
        
        books copied by hand
      - 15th century: Johannes Gutenberg first printed Western book (the Bible)
        
        printing an agent for social change
        
        increased literacy
      - 16th century: Petrucci developed polyphonic music printing
        
        expensive but soon found cheaper methods
        
        amateur music
        
        music at home
        
        vocal, instrumental, mix
        
        part of "proper" upbringing - especially women
    - - the French chanson & the Italian madrigal
        
        spontaneous social song
        
        Social part song - separate musical lines combined into a whole
        
        usually monophonic
        
        word painting (madrigalisms)
        
        music reflects the meaning of the words
    - - 1507 - 1568
      - chamber music, one per part, each reading from a part book
      - Il bianco e dolce cigno (The White and Sweet Swan) (LG 5)
        
        published first book of madrigals most widely reprinted collection of the time (1538)
        
        words clear (homorhythm)
        
        subtle word painting
        
        Amateurs - Men & Women sing
        
        double meanings
        
        death
        
        sexual innuendo
        
        simple movement in duple meter
        
        fur voices, a capella
        
        consonant, full sound
    - - evolved
        
        English composers developed Italian madrigal into a native art form
        
        late 16th century, reign of Elizabeth I.
        
        some serious, some humorous
    - - 1570 - 1603
      - Fair Phyllis (LG 6)
        
        pastoral text, good humor, lively rhythms
        
        word painting
        
        social music
        
        form - ababcc
        
        dancelike, diatonic melody
        
        short, repeated sections
        
        Four voices (SATB), a capella
- - - - Art Song, Lied
        
        German texted solo song with piano accompaniment
      - preexisting poetry
        
        Goethe, Heine
        
        love, longing, beauty of nature
      - song cycle = groups of Lieder unified by a narrative thread or common theme
      - characteristics
        
        identify the words of a song as carrying its meaning
        
        music carries subtle intensity
        
        interaction between text and music
        
        for amateurs and professionals
    - - strophic
        
        the same music repeated for each stanza
      - through-composed
        
        no repetitions of whole sections, the music changes according to the text
      - modified-strophic
        
        same melody may be repeated for a few stanzas, but new material introduced when poem requires it
    - - 1797 - 1829
      - born in Vienna
      - concerts - Schubertiads
      - public recognition while still a teen
      - career built on intimate musical performances in people's home
      - died at age 31, buried near Beethoven
      - symphonies and chamber music are Classical in nature
      - songs or Lieder are wholly romantic
        
        more than 600 Lieder
        
        subtle interactions between vocal part and accompaniment
      - Elfking (Erlkoenig) (LG 26)
        
        ballad poem from Goethe
        
        legend of the Elfking: whoever he touches must die
        
        father and sick son riding through forest on a windy night, Elfking appears to the son, son dies
        
        piano opening sets the atmosphere, galloping
        
        four characters (father, son, Elfking, narrator)
        
        sung by same soloist, differentiated musically
        
        through- composed
        
        shifts from minor to major
        
        almost constant triplets in the piano, duple meter
    - - 1810 - 1856
      - born in Zwickau, Germany
      - ambition to be pianist, injured hand and turned to composition and criticism
      - 1830s courtship of composer/ pianist Clara Wieck, married 1840
      - Clara foremost interpreter of husband's music
      - after suicide attempt, Robert was confined to an asylum
      - unified song cycles from single poet
      - A Poet's Love (Dichterliebe)
        
        song cycle from 1840
        
        16 poems by Heinrich Heine
        
        psychological progression from freshness of love through disappointment to depair
        
        In the Lovely Month of May (LG27)
        
        two strophes
        
        piano part wistful, meandering, no resolution
        
        winding melodic line, set syllabically
        
        melancholic mood portrays unrequited love
- - - - evolution
        
        renaissance court festivals and entertainment
        
        attached to operas
        
        18th century ballet independent of opera
        
        19th century French, then Russian preeminence
      - actions synchronized to music
      - inhuman physical demands
      - famous Russian Choreographer - Marius Pepita
    - - 1840 - 1893
      - born in Russia
      - St. Petersburg conservatory, age 23
      - taught at Moscow conservatory
      - money support by Nadezhda von Meck
      - appealed to western tastes
    - - Tchaikovsky was a giant of late 19th century Russian ballet
        
        Swan Lake
        
        Sleeping Beauty
        
        The Nutcracker
      - written in 1892
      - orchestral suite came after the ballet
      - listening examples
        
        Chinese Dance
        
        Waltz of the Flower
        
        Dance of the Sugar Plum Fairy (LG 37)
        
        staccato melody, somewhat chromatic
        
        bouncy duple meter
        
        A-B-A
        
        quiet and mysterious mood
        
        Trepak (LG 37)
        
        short, staccato melody, descending, with accents
        
        lively peasant dance, heavy accents, getting faster
        
        homophonic, contrapuntal B section
        
        A-B-A
- - - - combination of art, music and dance
      - Serge Diaghilev's Ballet russes
        
        Paris company w/ Russians dance
      - The Rite of Spring commissioned by Diaghilev
        
        team of innovators
        
        Nijinsky - Choreographer
        
        Stravinsky - Music
        
        Roerich - Stage design
      - riots at premiere in 1913
    - - 1882 - 1971
      - studied composition with Rimsky-Korsakov
      - Ballet: The Firebirds, Petrushka and The Rite of Spring
      - when war broke out in 1914, left for Switzerland, then France
      - when WWII began, moved to Los Angeles
      - evolving styles: post-impressionism, primitivism, Neo-classicism, twelve-tone
      - The Rite of Spring, Part I (LG 44)
        
        1913
        
        introduction
        
        disjunct, floating, folk-song melody
        
        free shifting meter, the four-note rhythmic idea establishes a duple meter
        
        very slow tempo
        
        Dance of the Youths and Maidens
        
        basic duple pulse with irregular accents, constant eighth-note motion
        
        dissonant chord repeated over and over
        
        dense, complex polyphony
        
        A-B-A' -C-A-D-E-F-G-A''-F'
        
        Game of Abduction
        
        fast tempo, meter not established, unpredictable accents
        
        harshly dissonant, crashing chords
        
        dense, with shifting activity
        
        frenetic and primitive mood
    - - primitivism
        
        percussive use of dissonance
      - orchestra large & loud
      - Russian folk songs or short fragments
      - minimized harmonic change
        
        ostinatos
        
        pedal points
        
        repetition
      - unpredictable & violent accents
- - - - 1860s
      - captured 1st impressions and concept of continuous change in the subject
      - originally impressions a "bad" name give to Monet painting
      - impressionist painters
        
        Monet
        
        landscapes
        
        Degas
        
        more into people, but no facial details
        
        Renoir
        
        group of people, very detailed faces
      - symbolist poets sought abstraction of language
        
        Mallarme
        
        Verlaine
        
        influenced by Poe
    - - some French composers were inspired by Impressionist and Symbolist movements
      - imitated the brush strokes of Impressionists
      - experimentation with subtlety and ambiguity
        
        major-minor system too predictable
        
        blending timbres, veiled sounds
      - exoticism
      - spread of nationalism
    - - modal, chromatic, whole tone, pentatonic scale
      - unresolved dissonance
      - 9th chords
      - rich orchestral colors
        
        sometimes dark, muted
      - free rhythm
      - programmatic
    - - 1862 - 1918
      - born in Paris
      - Paris conservatory at age 11
      - made famous from 1890s opera Pelleas and Melisande
      - true impressionist
      - interest in non-western scales
      - helped established the melodie as a French national art form
      - Prelude to "The Afternoon of a Faun" (LG 40)
        
        inspired by the symbolist poem by Mallarme
        
        describes half-man/half- goat creature
        
        raw sensuality
        
        Debussy's music a series of "backdrops"
        
        fluid and rhapsodic
        
        novel tone colors and chords
        
        later choreographer scandalously by Nijinsky
        
        1894
        
        lyrical, sinuous melody
        
        free-flowing rhythms, sense of floating, lacks pulse
        
        homophonic, light and airy
        
        loose A-B-A' structure
        
        evocative mood, sensual