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History of western music - Coggle Diagram

- - - - International style emerges
      - New rules for counterpoint; strict control of dissonance
      - Principal textures: imitative counterpoint, homophony
      - Printing: notated music available to wider public
      - Amateurs: bought music , encouraged popular music composition
      - Reformation: protetant churches, new forms of religious music
    - - Renaissance denotes period between 1400 and 1600
        
        conscious looking back to ancient Greece and Rome
        
        idea of “rebirth” problematic in music, no ancient classics to imitate
        
        rediscovery of ancient Greek writings about music
        
        musicians used ideas from ancient writers as inspiration; justification for new approaches
        
        spirit of discovery and invention in all aspects of life
      - Humanism
        
        increasing availability of ancient writings
        
        Ottoman attacks: Byzantines flee to Italy with manuscripts
        
        Greek classics translated into Latin for the first time
        
        humanism: strongest intellectual movement of the Renaissance
        
        from Latin phrase “studia humanitatis,” things pertaining to human knowledge
        
        humanists revive ancient learning
        
        grammar, rhetoric, poetry, history, moral philosophy
        
        developed individual’s mind, spirit, ethics; prepared for lives of virtue and service
        
        humanistic studies replaced Scholasticism (emphasis on logic)
        
        the church borrowed from classical sources, sponsored classical studies
        
        synthesized ancient learning with Christian ideas from Middle Ages
        
        composers apply ideas from rhetoric in their music
      - Sculpture, painting, and architecture
        
        revival of classical antiquity
        
        naturalism and idealized beauty
        
        nudity shows beauty of human figure
        
        nakedness in Middle Ages used to showed shame
        
        natural and realistic effects in painting
        
        perspective: method for representing 3-dimensional space on flat surface
        
        chiaroscuro: naturalistic treatment of light and shade
        
        clarity and classical models in architecture
        
        clean lines contrast markedly with Gothic decoration
        
        Greek columns; Ionic and Corinthian capital
        
        interest in individuals
        
        lifelike portrayals
        
        patrons memorialized in art
        
        paintings convey a message
        
        musical parallels
        
        expanded range: pitch, contrasts in register, fuller textures
        
        clear musical structure, frequent cadences
        
        focus on clear tonal center in polyphony
        
        rising significance of composers as individual artists
    - - Patronage and the training of musicians
        
        music at court: chapel, chamber, public court
        
        court chapels established
        
        salaried musicians and clerics: associated with ruler
        
        served as performers, composers, scribes
        
        furnished music for church services and court entertainment
        
        accompanied ruler on long journeys
        
        chamber music
        
        instrumentalists who played bas (soft) instruments (lute, flute)
        
        music for relatively small ensembles and audiences
        
        highlight cultural refinement of the ruler
        
        public court
        
        instrumentalists played haut (loud) instruments (trumpet, shawm)
        
        public ceremonies, conveyed political and military power
        
        musicians in cities
        
        wider range of patrons
        
        cathedrals, churches: clerics and singers
        
        instrumentalists for public ceremonies
        
        instrumentalists played at weddings, dances, other festivities
        
        training: guilds
        
        musicians trained through apprentice system through guilds
        
        long-term positions or independent contractors
        
        training: cathedral schools
        
        composers were trained as choir boys
        
        choir schools taught singing, music theory, basic theology, and other subjects
        
        only male children allowed in choir
        
        nuns received education in convents
        
        cities with renowned music training: Cambrai, Bruges, Antwerp, Paris, and Lyons
        
        16th century: Rome and Venice centers for musical training
        
        civil schools and private instruction outside the guild system and cathedral schools
        
        provisions by cities to educate their citizens
        
        patronage for music
        
        rulers competed for best composers and performers; displayed wealth and power
        
        notable patrons:
        
        kings of France and England, dukes of Burgundy and Savoy
        
        Italian rulers brought musicians from France, Flanders, Netherlands
        
        Medici family (Florence), Sforza family (Milan), Este family (court of Ferrara), Gonzaga family (Mantua)
        
        benefices
        
        church appointment, stipend
        
        Papal Chapel attracted best singers
        
        most major Renaissance composers were benefices
      - Mobile musicians and the international style
        
        presence at courts of musicians from many lands
        
        composers, performers learn styles and genres from other regions
        
        mobility among musicians: dissemination of new genres
        
        development of international style: synthesis of English, French, and Italian traditions
      - The new counterpoint
        
        based on preference for consonance: included 3rds, 6ths, P5ths, octaves
        
        strict control of dissonance: avoidance of parallel 5ths and octaves
        
        reflects value of beauty, order, pleasing the senses
        
        distinction between new and older practice
        
        johannes Tinctoris (ca. 1435-1511): Liber de arte contrapuncti (A Book on the Art of Counterpoint, 1477)
        
        leading counterpoint treatise of 15th century
        
        describes strict rules for introducing dissonances
        
        limited to passing and neighbor tones on unstressed beats and to syncopated passages at cadences
        
        parallel P5s, octaves now forbidden :forbidden:
        
        Gioseffo Zarlino (1517–1590): Le istitutioni harmoniche (The Harmonic Foundations, 1558)
        
        synthesized rules of Tinctoris and later Italian treatises
      - New compositional methods and textures
        
        rules for consonance and dissonance consistent throughout 15th and 16th centuries
        
        4-voice replaces 3-voice texture; bass line added below tenor
        
        16th century composers: 5, 6, or more voices
        
        equality of voices, second half of 15th century
        
        mid-15th century: cantus firmus and tenor composed first
        
        added voices around that framework
        
        hard to avoid dissonances, frequent awkward leaps
        
        . increasingly worked out all parts in relation to each other
        
        imitation and homophony predominate during 16th century
        
        imitative counterpoint: voices imitate, echo phrases in another voice
        
        more freedom than older approach
        
        homophony: all voices move together
      - Performance
        
        ensembles of like instruments more common
        
        secular music: choice of performing forces left to performers
        
        pieces could be sung or played by instruments, or mix of singers and players
        
        performance practice notation resembled 14th century practice
        
        performers read from individual parts, not score
        
        music ficta applied as needed
      - Tuning and temperament
        
        Pythagorean intonation used throughout Middle Ages
        
        medieval theorists: consonance defined by Pythagorean ratios
        
        4ths and 5ths perfectly tuned
        
        3rds and 6ths, complex ratios made them dissonant
        
        just intonation
        
        tuning system that produced perfectly tuned 3rds and 6ths
        
        proposed by Bartolomé Ramis de Pareia, 1482
        
        to tune 3rds, one 4th or 5th must be out of tune; unusable sonorities
        
        composers used notes outside diatonic scale, enharmonic notes are separate pitches
        
        temperaments
        
        pitches adjusted, most or all intervals usable
        
        mean-tone temperament: 5ths tuned small, M3rds sound pure
        
        equal temperament: each semitone exactly the same, all intervals are usable
        
        invented in late 16th century
        
        widespread use after mid-19th century
        
        humanist approach: reliance on what pleased the ear rather than received theory
      - Words and music
        
        emotion and expression
        
        formes fixes fell out of fashion; texts became highly varied
        
        increasing attention to rhythm of speech, natural accentuation of syllables
        
        music as servant of the words and conveyor of feelings
        
        specific intervals, sonorities, melodic contours, contrapuntal motions used
        
        text declamation and text expression reinforced by ancient writings; Quintilian and Cicero
      - Reawakened interest in Greek theory
        
        recovery of ancient music treatises, translated to Latin
        
        Aristides Quintilianus, Claudius Ptolemy, and Cleonides
        
        passages from Aristotle’s Politics, Plato’s Republic and Laws
        
        Franchino Gaffurio (1451–1522): revived Greek ideas, stimulated new thoughts
        
        Tinctoris: polyphonic music understood as modal
        
        Swiss theorist Heinrich Glareanus (1488–1563): Dodecachordon (The Twelve-String Lyre, 1547)
        
        added 4 new modes, used ancient Greek names
        
        Aeolian and Hypoaeolian, Ionian and Hypoionian
        
        reconciled theory of modes with current practice
        
        New applications of Greek ideas
        
        music as social accomplishment
        
        from Plato to Quintilian: music part of citizen’s education
  - - - maintained ensembles of singers and instrumentalists
      - lavish entertainment
      - impressive palaces