Five Style Periods Flashcards
Middle Ages Period
400-1450
Middle Ages Key Ideas
Chant
Organum
Early motets
Middle Ages Important Names
Pope Gregory
Minstrels - roaming artists
Leonin & Peonin
Notre Dame School
Renaissance Period
1450-1600
Renaissance Key Concepts
Rebirth of Learning
Manipulate; mans ability to solve
Points of imitation
Renaissance Musical Characteristics
Isorhythmic motet
Musical games
Text painting
Isorhythmic motet
Cantus firmus sane “size” as the building *imitation that can be seen, but NOT heard
Musical Games
Puzzle Canons - you must figure it out to sing
Crab canon - works with itself sung backwards
Sogetto Cavato - use letters of a name/phrase for melody
Text painting
Make the melody “fly” on the word fly
Points of Imitation
One voice chases the first, others chase it, etc.
new musical idea also imitation that CAN be heard
Renaissance Venic
Progressive
New ideas; liberal views
POLYCHORAL technique
Renaissance Rome
Traditional
Conservative music; nothing new
Motets in same fashion as past times
Baroque Period
1600-1750
Baroque Key Concepts
Artificiality
Distortion
Ornamentation
Baroque Characteristics
Concerto
Opera
Da Capo aria
Fugue
Concerto
Features a new instrument by setting it against the orchestra
Opera
Began as reaction to the “clutter” of imitative polyphony
Simple recitative and aria make the text easy to hear
Use elaborate stage and scenery and flying apparatus
Castrati (DISTORTION) - show off with suitcase aria
Da Cap aria
ABA form of solo song where ornaments are added on the repeated A section so the singer can “show off”
Fugue
(Esp. Organ) very stylized form of imitation
- Subject
- Counter-subject
- Episode
Baroque composers
Bach
Handel
Vivaldi
Classic Period
1750-1825
Classic Key Concepts
Simplicity
Balance
Form
Classic Musical Characteristics
Reaction to show-off-y Baroque
Shift from chamber music (in house) to concert hall
PIANO INVENTED
Form in musical composition
Reaction to Baroque
No more suitcase arias - back to sample arias and story line
Use of chorus becomes prominent in opera and oratorio
Shift from in house to concert hall
Larger orchestra - more power and expressiveness
Greater emphasis on orchestra and instrumental music
Piano invented
Ability to play loudly, softly, and everything in between
Replaces harp as primary keyboard instrument
Form in musical composition
Balanced AB or ABA
Simple harmony that employs I, V, and IV chords primarily
Classic Composers
Mozart
Haydn
Gluck
Beethoven
Sonata - Allegro form
Expo (A)
Development (B)
Recapitulation (A)
Expo
Theme 1 key of I
Bridge
Theme 2 key of V
Whole EXPO repeated
Development
(B)
Bits and pieces of themes
Variety of key areas
Contrasting use of melodies
Recapitulation
(A)
Theme 1&2 both in key
Short “review”
Coda to end it all
Concerto
Solo with orchestra accompaniment
Fast (S-A form)
Slow (contrast)
Fast
Symphony
Full orchestra featured
Fast (S-A form)
Slow (contrast)
DANCE mvmnt
Finale (Fast/furious)
Sonata
“Solo” symphony Fast (S-A form) Slow (contrast) Dance mvmnt Finale (fast/furious)
Romantic period
1825-1900
Romantic Key Concepts
Melody
Extremes
Program music
Romantic Musical Characteristics
Appeal to the imagination
Emotional expression
Explore every extreme of size, volume, harmony, texture, form
Nature as inspiration
Nationalistic pride
Romantic Composers
Beethoven (!) Brahms Tchaikovsky; Rachmaninoff Chopin Verdi; Wagner Schubert; Schumann
Romantic types of music
Lied and other folk music
Absolute music
Program music
Absolute music
Music for musics sake Chopin “nocturne in Eb Major” Brahms “Symphony #3” Bach “Cantata #140” Beethoven “5th Symphony”
Program music
Tells a story, or has a non-musical association
The Program music
The Tone Poem
The Program music
Specific story
Uses Composers imagination
“Peter and the Wolf”
“Symphonie Fantastique”
The Tone Poem
Just a title, or suggestion to a story
Listener provides the imagination
“The Moldau”
“Appalachian Spring”
