Prelude 4 Music as Order and Logic
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Prelude 4 Music as Order and Logic
- 1. THE ENJOYMENT OF MUSIC ESSENTIAL LISTENING EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis THIRD EDITION Lecture Slides
- 3. Part 4 Eighteenth-Century Classicism “Music [is] the favorite passion of my soul.” —Thomas Jefferson
- 4. Prelude 4: Music as Order and Logic • Order, objectivity, and proportion • European aristocratic sovereigns • American Revolution (1775–83) • French Revolution (1789– 99) • Advances in science and ideas • Industrial Revolution • Age of Reason
- 5. The Classical Era: Overview (1750 - 1800) • Two leading composers: Haydn & Mozart • Others include CPE Bach, JC Bach • “classical”--refers to – Greek and Roman antiquity – Balance, clarity, naturalness (vs. ornamentation, virtuosity, expressive extremes of Baroque Era) • 1720-1790--Age of Enlightenment--critical thinking and reasoned discussion important – Gallant style, rococo
- 6. Cultural/Historical Context of Classical Era • 1759--Voltaire’s Candide • 1762--Rousseau’s Social Contract • 1775-1776--American Revolution/Declaration of Independence • 1789--French Revolution • 1789--U.S. Constitution • 1793-1794--Reign of Terror in France
- 7. The Classical Period • Vienna-hub of the music world • Former seat of Holy Roman Empire • Bustling cultural & commercial center • 4th largest city in Europe • Many aristocrats are musicians/performers • Class barriers broken down by musical tastes
- 8. Difference between Baroque & Classical Styles • More middle class • Greater need for public entertainment • Greater need for amateurs to play instruments • Musicians hired & paid for informal gatherings other than church, etc. • Beginning of profits from concert attendance
- 10. • Composers worked during a period of violent political & social upheaval • Strongly affected by changes in society • Economical improvements – Middle class prospered & sought aristocratic luxuries – Had great influence on music • Townspeople organized concerts, flourished in 2nd half of 18th century • Children deserved music lessons • Demand for printed music, instruments, etc. increased The Patronage System: From Aristocracy to Public
- 11. The Patronage System: From Aristocracy to Public More pieces written for amateurs Serious to comic operas-ridiculing aristocracy Serious compositions flavored by folk & popular music Music written for private parties & events
- 12. Public Concerts in Classical Period • For first time subscription concerts (like season tickets) were offered to public, outside of the courts and homes of aristocracy. • Composers had guaranteed audiences, and they composed for their tastes. • Composers were usually present when their music was played. They were celebrities. • Their orchestras rarely played music by other composers because music printing wasn’t well developed so the music wasn’t available.
- 13. “Classical” Music: Ideal Music • Language should be universal • Not limited by natural boundaries • Noble & entertaining • Expressive & natural • Free of needless technical complications • Please any normal sensitive listener Classical thought focuses on the objective vs. the subjective Term borrowed from Art History-stress on balance and clarity of structure
- 14. Elements of Classical Style Mozart: Piano Concerto No. 21, II Haydn: Trumpet Concerto in E-flat, III Haydn: Symphony No. 94, III (folk elements)
- 15. The Classical Era: Changes from Baroque Era • General --restrained, balanced, and stable; clear musical ideas; predictable • Performance Media--symphony orchestra, chamber orchestra and ensembles, soloists opera companies • Rhythm-- simple, regular rhythms with steady beat; steady tempos • Dynamic Expression--extremes of dynamics not used
- 16. The Classical Era: Changes from Baroque Era • Melodies--less complex, more tuneful, more balanced • Phrasing--more symmetrical; based on dance rhythms • Texture--more often homophonic; occasional polyphony • Themes--multiple themes vs. single theme • Instruments--equal importance with voice
- 17. The Classical Era: Changes from the Baroque Era Contrast of mood: Wider emotional range, not limited to one “mood” per piece The End of the Basso Continuo Abandoned, no need for improvised accompaniment, More music written for amateurs, Composers had more control, could specify correct accompaniment
- 18. The Classical Era: Changes from the Baroque Era Forms Detailed forms of single movements binary & ternary forms, sonata-allegro, rondo, minuet & trio, theme & variations Large forms in several movements Symphony, concerto, sonata, string trio/quartet, opera, oratorios, Masses
- 19. by Kristine Forney Andrew Dell’Antonio Joseph Machlis Lecture Slides THIRD EDITION THE ENJOYMENT OF MUSIC ESSENTIAL LISTENING EDITION http://wwnorton.com/web/enjoyess2
Editor's Notes
- Part 4 Table of Contents
- “Music [is] the favorite passion of my soul.”—Thomas Jefferson Artwork: Anne Henriette de France by Jean-Marc Nattier (1685–1766)
- In the Classical era, order, reason, and serenity were used to express emotions in the different art forms. The Classicists sought to emulate the qualities of order, stability, and harmonious proportion, which were found in the art and literature of ancient Greek and Rome. Aristocratic sovereigns continued to rule, enjoying power through inherited right. However, the social upheaval of the French Revolution from 1789 to 1799 shifted the power from the aristocracy to the middle class. The American Revolution (1775–83) broke out before the French Revolution. The trigger was injustices imposed on them by the English king, George II, however, the main issue was that of human equality and freedom. The Industrial Revolution contributed to the wealth of the middle class. Inventions included the improved steam engine, spinning jenny, and cotton gin. Advances in science improved the human condition as well. Benjamin Franklin harnessed electricity; Joseph Priestly discovered oxygen, and Edward Jenner perfected vaccination. This era has been called the Age of Reason due to the popularity of the social and political ideas of Voltaire and Rousseau. These philosophers were also advocates of the middle class because equality of man was a main tenet of their philosophy: “Man is born free, and everywhere he is in chains.” —Rousseau Pictured: The Parthenon, Athens (447–438 B.C.E.). The architecture of ancient Greece embodied the ideals of order and harmonious proportions.
- The culture of the eighteenth century received its sustenance from the patronage (or sponsorship) of the aristocracy—who viewed the arts as a necessary adornment of life. Social events created a steady demand for new works from composers. Musicians ranked little better than servants, but most found it to be a workable system that provided economic security and an environment in which they were able to function as artists. Middle-class women found a place as musicians under the patronage system. They were prominent figures in operas and court ballets. Some were court instrumentalists and music teachers offering private lessons to members of the nobility. There was a rise in the number of women pianists and violinists who made careers as solo performers. Eventually musical performances were able to be held in public concert venues. The audiences of this era were eager to hear the latest works rather than music of the past, which inspired productivity in composers.
- Elegant, lyrical melodies characterize the Classical style. Even the instrumental melodies of this era are easy to sing. Classical melodies are often structured in symmetrical 4-bar phrases with clear cadences (or resting points) and tend to move stepwise or by small leaps within a narrow range. The harmonies are diatonic—built from the seven tones of the major or minor scale. The melody is often set gracefully in a homophonic texture (a melody with an accompanying harmony). Although designed to cater to aristocratic elegance, the songs, symphonies, concerti, string quartets, and sonatas of the Classical era exhibit the influence of the folk and popular elements present in the surrounding culture. Musical Examples: Mozart Piano Concerto No. 21, II Haydn Trumpet Concerto in E-flat, III Haydn Symphony No. 94, III. [link to excerpts] Pictured: Thomas Jefferson’s design for the Rotunda of the University of Virginia at Charlottesville, completed in 1826, reflects his admiration for classical architecture.