2: Musical Style

Question 1

Guillaume de Machaut:

Answer 1

• wrote sacred/secular music
• used a variety of intervals (3rds /6ths )
• used more sophisticated counterpoint
• demonstrated 14th cent. rhythmic complexity by using syncopation, hocket and isorhythm
• works were often longer and more complex than those of the ars antiqua
• wrote monophonic/polyphonic songs
• monophonic chansons represent a continuation of the trouvère tradition

Question 2

Josquin des Prez:

Answer 2

• a great master of contrapuntal techniques: canonic writing/imitative counterpoint
• had emotional expression; his music embodies the humanism of his time
• used modal harmonies: triadic (3rds/6ths)
• vocal settings expressed meaning of text through syllabic text setting/closer matching of musical stresses with accentuation of the text and word painting

Question 3

Giovanni Pierluigi da Palestrina:

Answer 3

• compositions reflected his deep personal faith with a spiritual character
• wrote vocal polyphony in a cappella style
• the “Palestrina style” of vocal polyphony has defined Renaissance polyphony and serves as a model for counterpoint students to this day
• employed polyphony balanced with homophonic textures
• approaches to mass compositions includes cantus firmus, parody, paraphrase and canonic (pf ranges from 4-6 voices)
• vocal lines moved by step or by narrow leaps
• clarity in text setting was achieved through chordal texture, clear-cut phrases and musical accents that corresponded with the text
• avoided dissonance

Question 4

Carlo Gesualdo:

Answer 4

• intensely emotional style
• extravagant word paintings
• exaggerated chromaticism with a high level of dissonance
• abrupt chord changes
• frequent use of repetition
• wrote his own texts (reflected his guilt/remorse)

Question 5

John Farmer:

Answer 5

• composed 4 voice madrigals
• combined chordal homophonic textures with imitative polyphony
• favoured lighthearted, pastoral texts
• modal harmonies, largely diatonic
• employed vivid word paintings

Question 6

Claudio Monteverdi:

Answer 6

• embraced elements of the Baroque era (figured bass, major+minor tonality, monody, DOA)
• used chromaticism as an expressive device
• used word paintings in operas and madrigals
• increased emotional intensity through the use of stile concitato
• in his operas, he increased the role of instruments to create moods and characters
• differentiated between recitative and aria style in operas
• increased the role of ensembles; established the love duet

Question 7

Henry Purcell:

Answer 7

• was a prolific composer despite his short life
• combines elements of national styles by embracing:
• lyric arias (Italian style)
• ornamentation and the French overture (French style)
• Renaissance madrigal and choral tradition (English style)
• effective use of word paintings
• virtuosic keyboard style

Question 8

Johann Sebastian Bach:

Answer 8

• his music represents the ultimate in Baroque craftsmanship and the culmination of 100s of years of polyphonic writing
• perfected existing forms (fugues, concertos, cantatas)
• amazing control of polyphonic texture
• wrote fugues throughout his career demonstrating a variety of techniques and approaches (ex. The Well-Tempered Clavier/Art of fugue)
• used contrapuntal texture within other genres (ex. Fugal passages in Brandenburg Concertos)
• organized large-scale works systemically (ex. The Well-Tempered Clavier is ordered chromatically: C+, C-, C#+, C#-)
• composed sacred works for the Lutheran Church (chorales/cantatas)
• had many influences:
• lyricism of operatic arias/dynamic instrumental style (Italian)
• dance rhythms/French overtures/ornamentation (French)
• choral style/English dances (English)

• a virtuoso organist who wrote many difficult works for keyboard (toccatas/fugues/concertos)

Question 9

George Frideric Handel:

Answer 9

• a cosmopolitan figure, he absorbed international styles of his time: German, French, Italian
• his use of basic elements (chordal passages/scale figures) makes his style accessible/appealing
• used frequent alternation of homorhythmic passages (homophonic) with contrapuntal textures (polyphonic)
• conveys a sense of pageantry and dramatic theatrical style through grandiose gestures such as full SATB choral sound/bold contrasts of dynamics
• an important contributor to the development of opera seria
• his da capo arias were a showcase for vocal virtuosity
• created the English oratorio, emphasizing on the role of the chorus
• used both recitativo secco/recitativo accompagnato in operas/oratorios
• used vivid word paintings
• virtuosic/idiomatic keyboard style; invented the organ concerto
• contributed to the development of orchestral/keyboard suites

Question 10

Domenico Scarlatti:

Answer 10

• brilliant harpsichordist
• contributed to the development of idiomatic writing for harpsichord including: rapid passagework, hand crossing and arpeggiated figures
• frequent use of sequential passages
• harmonic vocabulary includes use of dissonance, acciaccaturas, suspensions and pedal points
• absorbed international influences: Italian, Spanish and French
• binary/rounded binary structure foreshadow sonata form

Question 11

Franz Joseph Haydn:

Answer 11

• was fond of experimentation, particularly concerning formal structure
• embraced the grace/elegance of pre-classical style but also the dramatic contrasts of Sturm und Drang
• a humorous or whimsical nature is revealed in many of his works (ex. Farewell/Surprise)
• often used a monothematic exposition is his sonata-form movements
• considered the “father of the string quartet”, he developed this new genre to its highest peak
• influenced by folk music as evidenced in his use of rustic melodies/pizzicato strings (suggesting a guitar) and pedal point (suggesting bagpipes)
• contributed to the development of sonata form; often included dramatic slow introductions
• used vivid word paintings in masses/oratorios
• dramatic elements included sudden accents/bold changes of chords or keys

Question 12

Wolfgang Amadeus Mozart:

Answer 12

• exemplified Viennese Classical ideals: elegance, balance, poise, refinement and sophistication
• explored, advanced and developed all Classical genres
• skillful use of counterpoint within homophonic texture
• frequently utilized symmetrical phrasing (4 measure phrases)
• contributed to the development of sonata form
• used double exposition sonata form in the first movement of concerto
• harmonic language balanced diatonic/chromatic elements
• influenced by the Mannheim orchestra, his orchestral writing expanded the use of wind instruments
• crystallized the 18th cent. piano style both in his solo works/concertos
• opera was central to his career; made important contributions to 3 types:
• opera seria: ex. Idomeneo (serious Italian opera, sung throughout)
• opera buffa: ex. The Marriage of Figaro (Italian comic opera, sung throughout)
• Singspiel: ex. The Magic Flute (German comic opera with spoken dialogue)
• created compelling, realistic characters, dramatically/musically
• used the conventional recitativo secco to quickly advance the plot
• used sectional forms in his arias to allow shifting moods/points of views in his characters
• absorbed vocal qualities/melodic lyricism into his instrumental writing
• works catalogued by Ludwig von Köchel in 1862 (“K” numbers in titles of works refer to this catalog)

Question 12

Ludwig van Beethoven:

Answer 12

• superb designer/architect: planned/revised his compositions in sketchbooks
• employed explosive accents/extreme dynamic contrasts
• a bold innovator, a highly original/influential figure
• incorporated new orchestral instruments: piccolo, trombone and contrabassoon
• exploited technological improvements to the piano
• developed/expanded classical forms (sonata/concerto)
• transformed every genre that he touched
• examples of innovations include:
• replacing the menuet and trio with scherzo (symphony no. 5)
• use of cyclical structure (symphony no. 5)
• programmatic elements (symphony no. 6)
• inclusion of a chorus in a symphony (symphony no. 9)

Question 13

Ludwig van Beethoven: compositional style:

Answer 13

• Early Period: Imitation: up to 1802

• absorbed the Classical style traits exhibited by Haydn/Mozart (ex. used sonata form)
• sturm und drang influence evident in his preference for minor keys, particularly C-, use of tremolo and abrupt changes
• works include:
  • 6 string quartets
  • symphonies nos. 1-2
• Middle Period: Externalization: 1803-1815
• more romantic elements
• increased use of chromatic harmony/abrupt modulations
• expanded the development/coda sections in his sonata form movements
• replaced the menuet and trio with scherzo and trio
• experimented with cyclical form
• linked movements together
• expanded the orchestra to include the piccolo, trombone and contrabassoon
• works include:
  • Fidelio
  • symphonies nos. 3-8
• Late Period: Reflection: 1815-1827
• style became more abstract/meditative
• employed counterpoint more frequently/included fugal writing
• experimented further with form/content (ex. adding SATB soloists/chorus to the final movement of symphony no. 9)
• frequent use of variation technique
• works include:
  • Missa Solemnis
  • symphony no. 9

Question 14

Franz Schubert:

Answer 14

• combined Classical/Romantic traits
• Classical traits include:
• used formal structures (sonata form with a repeated exposition)
• choice of forms/genres (symphony, sonata, piano trio, string quartet)
• symmetrical phrasing
• size/makeup of orchestra

• Romantic traits include:

• used chromatic harmony
• juxtaposition of major/minor tonality
• unexpected modulations
• cultivation of lied, lyric piano pieces (impromptus/moments musicaux)
• choice of poems
• interest in supernatural, nature and folk elements
• melodic lyricism

• had many influences:

• lyrical melodic style (Mozart)
• symphonic writing (Beethoven)
• German romantic poets (Wolfgang von Goethe)
• close connection between text/music in art songs: uses word paintings
• increased the role of piano in art songs: piano accompaniment often depicts specific elements of the poem
• introduced new psychological intensity into individual songs/song cycles
• vocal lyricism pervades all his works
• sorrow/deeply personal emotions are reflected in many works (ex. Death and the Maiden)
• turned to his own lieder for inspiration (ex. The Trout Quintet/Death and the Maiden)