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- 1. I-IISTORY - 9T~ - EDITION . l.' ·1 ' • ' . * ', :'.1 , : 1 t,.r ; _ , ' ,: ~, ,( ,...,~r ! - . , I ftJ ,Z :-- •L ' · , . ffii,t (!°" ~; M U SIC J. Pl;:Tl;:R BURK~OLDl;:R DONALD JAY GROUT
- 2. J / lI~fll EDITIO' A HISTORY o/- ~TER N MUSIC l
- 4. Editorial Advisory Board MichaelAlanAnderson EastmanSchool ofMusic (University ofRochester) ArvedAshby Ohio State University Gregory Barnett Rice University James A. Borders University ofMichigan, AnnArbor Mauro Calcagno Stony Brook University Drew Edward Davies Northwestern University Andrew Dell'Antonio The University ofTexas atAustin Charles Dill University ofWisconsin- Madison Don Fader University ofAlabama Andrew Flory Carleton College Rebecca L. Gerber SUNYPotsdam Jonathan Gibson James Madison University Robert O. Gjerdingen Northwestern University David Grayson University ofMinnesota Helen M. Greenwald New England Conservatory James Grier University ofWestern Ontario Karen Henson Columbia University D. Kern Holoman University ofCalifornia, Davis StevenJohnson Brigham Young University Lewis Lockwood Harvard University Michael P. Long Indiana University Melanie Lowe Vanderbilt University Rebecca Maloy University ofColorado Boulder Michael Marissen Swarthmore College Mary Sue Morrow College-ConservatoryofMusic, University ofCincinnati Margaret Notley University ofNorth Texas Gretchen Peters University ofWisconsin- Eau Claire Heather Platt Ball State University Hilary Poriss Northeastern University John Rice Independent Scholar Margaret Rorke University ofUtah Jesse Rosenberg Northwestern University Stephanie P. Schlagel College-ConservatoryofMusic, University ofCincinnati Carl B. Schmidt Towson University W. Anthony Sheppard Williams College Christopher J. Smith Texas Tech University LarryStarr University ofWashington Pamela F. Starr University ofNebraska- Lincoln Russell Stinson Lyon College SusanYouens University ofNotre Dame CharlesYoumans Pennsylvania State University Laurel Zeiss Baylor University
- 6. NINTH EDITION A HISTORY ESTERN MUSIC J. PETER BURKHOLDER Indiana University DONALD JAY GROUT Late of Cornell University CLAUDE V. PALISCA Late of Yale University W . W . NORTON & COMPA NY NEW YORK • LONDON
- 7. W. W. NORTON & COMPANY has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published Jectures delivered at the People's Institute, the adult education division ofNewYork City's Cooper Union. The firm soonexpanded its program beyond the lnstitute, publishing books by celebrated academics from America and abroad. By mid-century, the two major pillars of Norton's publishing program- trade books and college texts- were firmly established. ln the 1950s, the Norton family transferred control of the company to its employees, and today- with a staff of four hundred anda comparable number of trade, college, and professional titles published each year- W. W. Norton & Company stands as the largest and oldest publishing house owned wholly byits employees. Editor: Maribeth Payne Development Editors: Harry Haskell and Kathy Talalay Manuscript Editor and Project Editor: Kathy Talalay Electronic Media Editor: Steve Hoge Electronic Media Assistant: StefaniWallace Associate Editor: Justin Hoffman Editorial Assistant: Michael Fauver Marketing Manager: Christopher J. Freitag Director of Production, College: Jane Searle Photo Editor and Researcher: Michael Fodera Permissions Manager: Megan Jackson Page Layout: Carole Desnoes Book Desiginer: Jillian Burr Cover Design: Jillian Burr Music Typesetter: David Botwinik Indexer: Marilyn Bliss Proofreader: Devon Zahn Composition: Jouve International Manufacturing: Courier Companies, Kendallville Copyright © 2014, 201 O, 2006, 2001, 1996, 1988, 1980, 1973, 1960 byW. W. Norton & Company, lnc. Ali rights reserved. Printed in the United States ofAmerica. Lihraryof Congress Catalobri.ng-in-Puhlication Data Burkholder, J. Peter (James Peter), author. Ahistory ofwestern music/ J. Peter Burkholder, Donald Jay Grout, Claude V. Palisca. - Ninth edition. p.cm. Includes bibliographical references and índex. ISBN 978-0-393-91829-8 (hardcover) 1. Music-Historyand criticism. I. Grout, DonaldJay, author. II. Palisca, ClaudeV., author. III. Title. ML160G8722014 780.9-dc23 2013035016 W. W. Norton & Company, Inc., SOO FifthAvenue, NewYork, N.Y. 10110 www.wwnorton.com W. W. Norton & Company, Ltd., Castle House, 75/76Wells Street, London WlT3QT 1 234567890
- 8. ln memoryof Donald L. Burkholder (1927-2013) He loved this book.
- 10. CONTENTS Editorial Advisory Board iii Maps xvii Guide to NAWM Recordings xix Preface to the Ninth Edition xxxi PART ONE THE ANCIENT ANO MEDIEVAL WORLDS 3 1 Music in Antiquity • 4 The Earliest Music 5 · Music inAncient Mesopotamia 6 · Timeline 8 · Music inAncient Greek Life and Thought 9 · ln Performance: Competitions and Professional Musicians 12 · Music inAncient Rome 19 · The Greek Heritage 20 2 The Christian Church in the First Millennium • 22 The Diffusion of Christianity 22 · The Judaic Heritage 23 · Music in the Early Church 24 · Divisions in the Church and Dialects of Chant 25 · Timeline 28 · The Development of Notation 31 · Music in Context: ln the Monastic Scriptorium 33 · Music Theory and Practice 38 · Echoes of History 45 3 Roman Liturgy and Chant • 46 The Roman Liturgy 46 · Music in Context: The Experience ofthe Mass 48 • Characteristics of Chant 52 • Timeline 52 • Genres and Forms of Chant 53 · Additions to the Authorized Chants 60 · Hildegard of Bingen 64 · The Continuing Presence of Chant 65 4 Song and Dance Music to 1300 • 67 European Society, 800- 1300 67 · Timeline 70 · Latin and Vernacular Song 70 · Music in Context: Minstrels in Medieval French Cities 72 ix
- 11. X Contents Troubadour and Trouvere Song 73 · Forros ata Glance: MB 77 · Song in Other Lands 79 · Medieval Instruments 80 · Dance Music 82 · The Lover's Complaint 83 5 Polyphony through the Thirteenth Century • 84 Early Organum 85 • Aquitanian Polyphony 89 • Notre Dame Polyphony 91 · Timeline l 00 · Motet l 00 · English Polyphony l 07 · A Polyphonic Tradition l 08 6 New Developments in the Fourteenth Century • 111 European Society in the Fourteenth Century l l l · The Ars Nova in France 114 · lnnovations: Writing Rhythm 116 · Guillaume de Machaut 119 · FormsataGiance:TheFormesFixes 125 · Timeline 126 · TheArs Subtilior 127 · Italian Trecento Music 130 · Fourteenth-Century Music in Performance 135 · ln Performance: Voices or lnstruments? 137 · Echoes ofthe NewArt 140 PART TWO THE RENAISSANCE 143 7 Music and the Renaissance • 144 Europe from 1400 to 1600 145 · Timeline 146 · The Renaissance in Culture and Art 146 · Music in the Renaissance l 5l · ln Performance: A Star Singer and Improviser 153 · New Currents in the Sixteenth Century 160 · lnnovations: Music Printing 162 · The Legacy ofthe Renaissance 164 8 England and Burgundy in the Fifteenth Century • 165 English Music 166 · Timeline 168 · Music in the Burgundian Lands 173 · Guillaume Du Fay l 76 · The Polyphonic Mass 180 · Music in Context: Masses and Dragons 183 • An Enduring Musical Language 186 9 Franco-Flemish Composers, 1450-1520 • 188 Political Change and Consolidation 188 · Ockeghem and Busnoys 190 The Generation ofl480- 1520 195 · Josquin Desprez 200 · Timeline 208 · Masses on Borrowed Material 208 · Old and New 21 l 10 Sacred Music in the Era of the Reformation • 213 The Reformation 214 · Music in the Lutheran Church 215 · Music in Calvinist Churches 220 • Church Music in England 223 • Timeline 226 •
- 12. Catholic Church Music 226 · Giovanni Pierluigi da Palestrina 229 · Spain and the NewWorld 233 · Germany and Eastern Europe 236 · Jewish Music 239 · The Legacy of Sixteenth-Century Sacred Music 239 11 Madrigal and Secular Song in the Sixteenth Century • 241 The First Market for Music 242 • Spain 243 • Timeline 244 • Italy 244 · The Italian Madrigal 245 · France 257 · Germany 259 · England 260 The Madrigal and Its Impact 263 12 The Rise of Instrumental Music • 264 lnstruments 265 · ln Performance: EmbellishingSixteenth-Century Music 266 · Types of Instrumental Music 269 · Music in Context: Social Dance 271 · Timeline 274 · Music inVenice 281 · Instrumental Music Gains Independence 284 PART THREE THE SEVENTEENTH CENTURY 287 13 New Styles in the Seventeenth Century • 288 Europe in the Seventeenth Century 289 · Timeline 290 · From Renaissance to Baroque 292 · General Characteristics ofBaroque Music 300 · ln Performance: Historically lnformed Performance and Its Controversies 305 · Enduring lnnovations 306 14 The lnvention of Opera • 307 Forerunners of Opera 307 · Timeline 308 · The First Operas 312 · Claudio Monteverdi 315 • The Spread ofltalian Opera 320 • lnnovations: The Operatic Diva 324 · Opera as Drama andas Theater 327 15 Music for Chamber and Church in the Early Seventeenth Century • 328 Italian Vocal Chamber Music 328 · Catholic Sacred Music 332 · Timeline 336 · LutheranChurchMusic 337 · JewishMusic 341 · Instrumental Music 342 · Tradition and lnnovation 350 16 France, England, Spain, and the New World in the Seventeenth Century • 351 France 352 · Music in Context: The Music ofthe Great Stable 355 Timeline 362 · England 368 · Spain and the NewWorld 373 · National Styles and Traditions 377 Contents xi
- 13. xii Contents 17 ltaly and Germany in the Late Seventeenth Century • 379 Italy 379 · Forms ata Glance: Da Capo Aria 383 · Music in Context: The Stradivarius ViolinWorkshop 385 · Timeline 390 · Germany andAustria 393 · Seeds for the Future 404 PART FOUR THE EIGHTEENTH CENTURY 407 18 The Early Eighteenth Century in ltaly and France • 408 Europe in a Century of Change 409 • Music in Italy 411 · Music in Context: The Voice of Farinelli 412 · Antonio Vivaldi 413 · ln Performance: PerformingVivaldi 420 · Music in France 422 · Jean- Philippe Rameau 425 · Timeline 428 · AVolatile Public 430 19 German Composers in the Late Baroque • 432 Contexts for Music 432 • Timeline 434 • Johann Sebastian Bach 435 • George Frideric Handel 449 · An Enduring Legacy 460 20 Musical Taste and Style in the Enlightenment • 462 Europe in the Enlightenment 462 · lnnovations: The Public Concert 466 · Musical Taste and Style 468 · Timeline 472 · The Enduring Enlightenment 475 21 Opera and Vocal Music in the Early Classic Period • 477 Italian Comic Opera 478 • Opera Seria 482 • Opera in Other Languages 484 • ln Performance: Faustina Bordoni and the Art ofVocal Embellishment 486 · Timeline 490 · Opera Reform 490 · Song and Church Music 493 · Opera and the New Language 497 22 Instrumental Music: Sonata, Symphony, and Concerto • 499 lnstruments and Ensembles 500 · Genres and Forms 503 · Forms at a Glance: Binary Form and Its Relatives 504 · Keyboard Music 508 · Orchestral Music 512 · Timeline 514 · The Singing lnstrument 51 7 23 Classic Music in the Late Eighteenth Century • 519 Joseph Haydn 520 · Timeline 536 · WolfgangAmadeus Mozart 538 Classic Music 557
- 14. PART FIVE THE NINETEENTH CENTURY 559 24 Revolution and Change • 560 Revolution, War, and Music, 1789-1815 560 · Timeline 562 · Ludwigvan Beethoven 563 · Beethoven's Centrality 584 25 The Romantic Generation: Song and Piano Music • 586 The New Order, 1815-1848 587 · Timeline 588 · lnnovations: Musical Instruments in the Industrial Revolution 590 · Romanticism 593 · Song 596 · Music for Piano 606 · Music in Context: Women and the Music Profession 612 · The Romantic Legacy 622 26 Romanticism in Classical Forms: Orchestral, Chamber, and Chorai Music • 624 Orchestral Music 625 • Timeline 626 · Chamber Music 639 • Choral Music 643 · Romanticism and the Classical Tradition 651 27 Romantic Opera and Musical Theater to Midcentury • 653 The Roles of Opera 653 · Timeline 656 · Italy 656 · ln Performance: The Bel Canto Diva 660 · France 666 · Germany 670 · Russia 673 · The United States 674 · Opera as High Culture 676 28 Opera and Musical Theater in the Later Nineteenth Century • 678 Technology, Politics, and the Arts 678 · Opera 682 · Richard Wagner 683 · Music in Context: Wagner, Nationalism, andAnti-Semitism 687 Giuseppe Verdi 695 · ln Performance: An OriginalVerdi Baritone: Victor Maurel 698 · Later Italian Composers 702 · France 703 · Russia 706 · OtherNations 714 · Timeline 716 • MusicfortheStageandltsAudiences 717 29 Late Romanticism in Germany and Áustria • 719 Dichotomies and Disputes 719 · Timeline 720 · ln Performance: Crossingthe Divide: Hans von Bülow 722 · Johannes Brahms 724 · The Wagnerians 730 · ReachingtheAudience 739 30 0iverging Traditions in the Later Nineteenth Century • 740 France 741 · Eastern and Northern Europe 744 · The United States 753 · Timeline 754 · Reception and Recognition 760 Contents xiii
- 15. xiv Contents PART SIX THE TWENTIETH CENTURY AND AFTER 763 31 The Early Twentieth Century: Vernacular Music • 764 Modern Times, 1889- 1918 765 · lnnovations: Recorded Sound 768 · Vernacular Musical Traditions 771 · Timeline 772 · AfricanAmerican Traditions 774 · Classics ofVernacular Music 777 32 lhe Early Twentieth Century: The Classical Tradition • 778 Modern Music in the Classical Tradition 779 · Timeline 780 · German Modernism: Mahler and Strauss 781 · ln Performance: Mahler as Conductor 782 · French Modernism: Debussy and Ravel 790 · Modernism and National Traditions 799 · The Avant-Garde 808 · Late Romantic or Modern? 811 33 Radical Modernists • 812 Arnold Schoenberg 813 · Music in Context: Expressionism 818 · Alban Berg 824 · Timeline 826 · AntonWebern 828 · Igor Stravinsky 830 Béla Bartók 841 · Charles lves 847 · Composer and Audience 854 34 Between the World Wars: Jazz and Popular Music • 855 Between the Wars 856 · Timeline 856 · American Musical Theater and Popular Song 859 · The JazzAge 862 · Duke Ellington 869 · Film Music 872 · Mass Media and Popular Music 874 35 Between the World Wars: The Classical Tradition • 875 Music, Politics, and the People 875 · Timeline 876 · France 877 Germany 880 · The Soviet Union 885 · The Americas 890 · The United States 892 · What Politics? 901 36 Postwar Crosscurrents • 903 The ColdWar and the Postwar Boom 904 · Timeline 906 · From Bebop to Free Jazz 907 · Popular Music 91 O · Broadway and Film Music 91 7 · Band and Wind Ensemble Music 919 · Roll Over, Beethoven 921 37 Postwar Heirs to the Classical Tradition • 923 Diversity and Common Themes 923 · Timeline 924 • Extensions of Tradition 927 · JohnCageandtheAvant- Garde 939 · NewSoundsand Textures 945 · Mixing Styles and Traditions 953 · New Paths 957
- 16. 38 The Late Twentieth Century • 958 A Global Culture 959 · Timeline 960 · The ChangingWorld ofMusic 960 · ln Performance: Kronos Quartet 967 · Music in Context: Digital Technologies in the l 980s 969 · Niches in Popular Music 973 · Minimalism and Postminimalism 975 • Modernism and lndividualism 981 • Polystylism 984 • The NewAccessibility 986 • Finding an Audience 992 39 The Twenty-First Century • 993 The New Millennium 993 · The NewWorld of Music 995 · Timeline 996 · lnnovations: Music Technology for Everyone 998 · The Future ofWestern Music 1008 Glossary For Further Reading Credits lndex A1 A23 A97 A99 Contents XV
- 18. MAPS Figure 1.2 The ancient Near East, showingthe location of the main cities and civilizations of Mesopotamia and Egypt. 6 Figure 1.6 Greek and Greek settlements around 550 B.C.E. 1O Figure 2.1 The diffusion of Christianity. 23 Figure 2.4 Holy Roman Empire under Charlemagne around 800. 30 Figure 4.1 Europe in 1050. 68 Figure 4.4 Linguistic boundary between Occitan (langue d'oc) in the south of France and Medieval French (Zangue d'oil) in the north. 74 Figure 7.6 Major centers for training musicians or for musical patronage in the Renaissance. 154 Figure 8.3 Map showingthe growth of Burgundian possessions, 1363- 1477. 173 Figure 9.1 Western Europe about 1500. 189 Figure 10.1 Religious divisions in Europe around 1560. 214 Figure13.1 MapofEuropearoundl610. 289 Figure 17.1 Map of Italy around 1650, showingthe cities that were the main centers for music. 380 Figure 17.7 Map ofthe Holy Roman Empire in 1648, split into 51 free states and almost 250 territories. 394 Figure 25.1 Map of Europe, 1815-48. 587 Figure 36:1 Europe duringthe Cold War (1945-91). 905 xvii
- 20. GUIDE TO NAWM RECORDINGS NAWM No. Composer and Title VOLUME 1: ANCIENT TO BAROQUE Epitaph ofSeikilos IConcise õ1 2 Eurípides: Orestes, Stasimon chorus 3 Mass for Christmas Day a) lntroit: Puer natus est nobis 1 Concise õl b) Kyrie IConcise ; 1 e) Gloria IConcise õ1 d) Gradual: Viderunt omnes 1 Concise õl e) Alleluia: Dies sanctificatus f) Credo g) Offertory: Tui sunt caeli h) Sanctus i) Agnus Dei j) Communion: Viderunt omnes k) Ite, missa est 4 Chants from Vespers for Christmas Day a) First PsalmwithAntiphon: Tecum principium and psalm Dixit Dominus b) Hymn: Christe Redemptoromnium 5 Ascribed to Wipo of Burgundy: Victimaepaschali laudes IConcise õ1 6 Tropes onPuer natus: Quem queritis inpresepe and melisma 1Concise ; 1 7 Hildegard ofBingen: Ordo virtutum: Closing chorus,Inprincipio omnes IConcise õ1 8 Bernart de Ventadorn: Can vei la lauzeta mover IConcise õ1 9 Comtessa de Dia:A chantar 1O Adam de la Halle: Jeu de Robin et de Marion: Rondeau, Robins m'aime 11 Walther von derVogelweide: Palastinalied (Nü alrêst lebe ich mir werde) 12 Cantiga 159: Non sofreSanta Maria, from Cantigas de Santa Maria IConcise õ 1 13 La quarte estampie royal, from Le manuscrit du roí 14 Organa from Musica enchiriadis a) Tu patris sempiternus esfilius b) Sit Gloria domini e) Rex caeli domine xix Text Pag e 18 19 56 60 59 57 58 59 59 59 59 57 60 53154 56 62 61/63 64 75 75 78 79 80 83 85 86 86
- 21. XX Guide to NAWM Recordings NAWM No. Composer and Title 15 AlleluiaJustus utpalma, fromAd organumfaciendum IConcise ~1 16 Jubilemus, exultemus 17 Leoninus and colleagues: Viderunt omnes IConcise~ 1 18 Clausulae onDominus, from Viderunt omnes a) Dominus, clausula No. 26 b) Dominus, clausula No. 29 19 Perotinus: Viderunt omnes 20 Ave virgo virginum 21 Motets on Tenor Dominus a) Factum est salutare/Dominus b) Fole acostumance/Dominus - 1 C-on-c-ise- ~ ~I e) Super te/Sedfulsit virginitas/Dominus 22 Adam de la Halle: De ma dame vient/Dieus, commentporroie/Omnes 23 Petrus de Cruce:Aucun ont trouvé/Lonc tans/Annuntiantes 24 Sumeris icumen in IConcise~[ 25 Philippe de Vitry: Cum statua/Hugo, Hugo/Magister invidie IConcise ~1 26 Guillaume de Machaut: La Messe de Nostre Dame a) Kyrie [Concise ~ [ b) Gloria 27 Guillaume de Machaut: Douce damejolie IConcise ~ 1 28 Guillaume de Machaut: Rose, liz,printemps, verdure IConcise~1 29 Philippus de Caserta: En remirant vo doucepourtraiture 30 Jacopo da Bologna: Non al suo amante 31 Francesco Landini: Cosi pensoso 32 Francesco Landini: Non avrà ma'pietà IConcise ~[ 33 Alleluia:A newe work 34 John Dunstable: Quampulchra es IConcise ~ I 35 Binchois (Gilles de Bins): Deplus enplus IConcise ~ 1 36 Guillaume Du Fay: Resvellies vous 37 Guillaume Du Fay: Christe, redemptoromnium 38 Guillaume Du Fay: Se laface aypale a) Se laface aypale IConcise ~ 1 b) Missa Se laface aypale: Gloria IConcise~ 1 39 Antoine Busnoys: Je nepuis vivre 40 Jean de Ockeghem: Missa prolationum: Kyrie Text Page 88 89 95 97 97 98 100 101 102 103 105 106 108 118 121 123 124 126 128 132 133 133 169 170 175 178 180 178 184 190 193
- 22. NAWM No. Composer and Title 41 Henricus Isaac: Innsbruck, ich muss dich lassen 42 Josquin Desprez: Faulte d'argent 43 Josquin Desprez: Mille regretz 44 Josquin Desprez:Ave Maria . .. virgo serena IConcise ;;,. 1 45 Josquin Desprez: Missa Pange língua a) Kyrie IConcise s 1 b) Credo, excerpt: Et incamatus est and Crucifixus 46 Martin Luther: Nun komm, der Heiden Heiland and Einfeste Burg a) Attributed to St. Ambrose: Hymn, Veni redemptorgentium b) Martin Luther: Nun komm, der Heiden Heiland c) Martin Luther:Einfeste Burg d) JohannWalter: Einfeste Burg, setting for four voices 47 Loys Bourgeois: Psalm 134 (Orsus, serviteurs du Seigneur) a) Psalm 134, Orsus, serviteurs du Seigneur b) William Kethe: Psalm l00, Allpeople that on earth do dwell 48 Thomas Tallis: Ifye love me 49 William Byrd: Singjoyfullyunto God IConcise s l 50 Nicolas Gombert:Ave regina caelorum 51 Giovanni Pierluigi da Palestrina: Pope Marcellus Mass a) Credo b) Agnus Dei I IConcise s 1 52 Tomás Luis de Victoria: Omagnum mysterium a) O magnum mysterium IConcise s 1 b) Missa Omagnum mysterium: Kyrie IConcise ;;,. 1 53 Orlande de Lassus: Cum essemparvulus IConcise;;,. 1 54 Juan dei Encina: Oycomamosy bebamos 55 Marchetto Cara: Mal un mutapereffecto 56 JacquesArcadelt: Il bianco edolce cigno IConcise ;_,. 1 57 Cipriano de Rore: Da le belle contrade d'oriente IConcise;_,. 1 58 Luca Marenzio: Solo epensoso 59 Cario Gesualdo: "Joparto" enon piu dissi IConcise ;_,.1 60 Claudin de Sermisy: Tant que vivray IConcise ;_,. 1 61 Orlande de Lassus: La nuictfroide et sombre 62 Claude Le Jeune: Revecyvenir duprintans 63 Thomas Morley: My bonnylass she smileth IConcise ;;,. 1 64 Thomas Weelkes:As Vesta was IConcise s l Guide to NAWM Recordings Text Page 199 202 202 204 206 207 217 217 218 219 221 221 224 225 227 231 229 234 234 237 244 245 247 250 254 255 257 258 259 260 261 xxi
- 23. xxii Guide to NAWM Recordings NAWM No. Composer and Title 65 John Dowland:Flow, mytears IConcise ~1 66 Tielman Susato: Dances, fromDanserye a) No. 5: Basse danseLa marisque l~C-on -c-ise- ~ ~I b) No. 38: PavaneLadona IConcise ~ I c) No. 50: GalliardLadona IConcise ~ I 67 Anthony Holborne: Dances a) The Night Watch, almain b) The Fairie-round, galliard 68 Luis de Narváez: From Los seys libros del Delphín a) Cancion Mille regres IConcise ~1 b) Cuatro diferencias sobre "Guárdame las vacas" 1Concise ~ 1 69 William Byrd:John come kiss me now IConcise ~ I 70 Giovanni Gabrieli:Canzon septimi toni a 8, from Sacrae symphoniae 71 Claudio Monteverdi: CrudaAmarilli IConcise ~ I 72 Giulio Caccini: Vedró 'l mio sol IConcise ~1 73 Jacopo Peri: Le musiche sopra l'Euridice: Excerpts a) Aria: Nelpurardor b) Dialogue in recitative: Per quel vagoboschetto 74 Claudio Monteverdi: L'Oifeo: Excerpt fromAct II a) Aria/canzonetta: Vi ricorda oboschi ombrosi IConcise ~1 b) Song: Mira, deh mira Oifeo e) Dialogue in recitative:Ahi, caso acerbo IConcise ~1 d) Recitative: Tuse'morta IConcise ~ I e) Chorai madrigal:Ahi, caso acerbo ~,c-o-nc-i,-e- ~~I 75 Claudio Monterverdi: L'incoronazione di Poppea: Act I, Scene 3 a) Dialogue in recitative: Signor, deh non partire IConcise ~1 b) Aria: ln un sospir IConcise ~ 1 e) Aria: Signor, sempre mi vedi l ~ C-on -c- ise -~~I d) Dialogue in mixed styles: Adorati miei rai IConcise ~ 1 76 Antonio Cesti: Orontea: Excerpts fromAct II a) Scene 16: Recitative: Eche sifa? b) Scene 17: Opening aria: lntorno all' idol mio 77 Barbara Strozzi: Lagrime mie IConcise ~1 78 Giovanni Gabrielli: ln ecclesiis IConcise ~ 1 79 Alessandro Grandi: Oquam tupulchra es 80 Giacomo Carissimi: Historia difephte:Excerpts a) Recitative: Plorate colles IConcise ~1 b) Chorus: Ploratefilii Israel IConcise ~ 1 Text Page 262 272 272 272 272 272 273 275 277 284 297 311 314 314 318 318 318 319 319 319 319 323 323 311 333 334 336 336
- 24. Gu ide to NAWM Recordings xxiii NAWM No. Composer and Title 81 Heinrich Schütz: Saul, was veifolgst du mich, SWV 415, from Symphoniae sacrae III IConcise:1 82 Girolamo Frescobaldi: Toccata No. 3 1Concise :1 83 Girolamo Frescobaldi: Ricercare afterthe Credo from Mass for the Madonna, in Fiori musicali 84 Biagio Marini:Sonata IVper il violinopersonar con due carde 85 Jean-Baptiste Lully:Armide: Excerpts a) Overture IConcise :1 b) Conclusion ofdivertissement fromAct II, Scene 4: Laissons au tendre amour c) Act II, Scene 5: Enfin il est en ma puissance IConcise :1 86 Jean-Baptiste Lully: TeDeum: Conclusion 87 Denis Gaultier: La coquette virtuose 88 Elisabeth-Claude Jacquet de la Guerre: Suite inA Minor, from Pieces de clavecin a) Prelude IConcise:1 b) Allemande IConcise :1 c) Courante I and II , - 1 C-on-c-ise- : -,I d) Sarabande e) Gigue f) Chaconne g) Gavotte h) Menuet 89 Henry Purcell:Dido andAeneas: Conclusion a) Recitative: Thy hand, Belinda IConcise:1 b) Lament (ground bass aria): When Iam laid in earth IConcise :1 c) Chorus: With drooping wings 90 Tomás de Torrejón yVelasco: Lapúrpura de la rosa: Excerpts a) Dialogue in strophic song: Ybien, ;,qué es lo que adviertes? b) Chorus: Corred, corred, cristales 91 Juan de Araujo: Los conflades de la estleya 92 Alessandro Scarlatti: Clori vezzosa, e bella: Conclusion a) Recitative: Vivo penando b) Aria: Si, si ben mio 93 Alessandro Scarlatti: La Griselda: Excerpt fromAct I, Scene 2 94 Arcangelo Corelli: Trio Sonata in D Major, Op. 3, No. 2 a) Grave IConcise "'1 b) Allegro IConcise;1 c) Adagio IConcise :1 d) Allegro I Concise;1 95 Dieterich Buxtehude: Praeludium in E Major, BuxWV 141 IConcise:I Text Page 339 343 345 347 358 358 359 362 365 366 366 366 366 368 368 368 368 372 371 371 375 375 376 381 382 382 386 386 386 386 399
- 25. xxiv Guide to NAWM Recordings NAWM No. Composer and Title 96 Antonio Vivaldi: Concerto forViolin and Orchestra inA Minor, Op. 3, No. 6, from L'estro armonico a) Allegro IConcise i- 1 b) Largo c) Presto 97 François Couperin: Vingt-cinquieme ordre: Excerpts a) La visionaire IConcise i, 1 b) La muse victorieuse ~I C-on-,-ise- i- ~I c) Les ombres errantes 98 Jean-Philippe Rameau: Hippolyte etAricie, Act IV: Excerpt a) Conclusion ofScene 3 1Concise i- 1 b) Scene 4 1Concise i- 1 99 Georg Philipp Telemann: Paris Quartet No. l in GMajor (Concerto Primo) , Movements 3- 5 Text Page 417 418 417 424 424 424 429 429 a) Presto 435 b) Largo 435 c) Allegro 435 l 00 Johann Sebastian Bach: Prelude and Fugue inA Minor, BWV 543 a) Prelude 439 b) Fugue 439 101 Johann Sebastian Bach: Chorale Prelude on DurchAdams Fall, BWV 637 440 l 02 Johann Sebastian Bach: The Well-Tempered Clavier, Book I a) PreludeNo. 8inE-flatMinor IConcise i-l 441 b) Fugue No. 8 in D-sharp Minor IConcise i- l l 03 Johann Sebastian Bach: Nun komm, derHeiden Heiland, BWV62 a) No. 1, Chorus: Nun komm, derHeiden Heiland I Concise i- 1 b) No. 2, Aria (tenor): Bewundert, oMenschen c) No. 3, Recitative (bass): So geht aus Gottes Herrlichkeit und Thron d) No. 4,Aria (bass): Streite, siege, starkerHeld! 441 445 445 445 445 e) No. 5, Accompanied recitative (soprano and alto): Wir ehren diese Herrlichkeit 445 f) No. 6, Chorale: Lob sei Gott, dem Vater, ton 445 l 04 Johann Sebastian Bach: St. Matthew Passion, BWV244: Excerpt a) No. 36, Biblical narrative: Und derHohepriester antwortete b) No. 37, Chorale: Wer hat dich sogeschlagen c) No. 38, Biblical narrative: Petrus abersaft drauften im Palast d) No. 39, Aria: Erbarme dich e) No. 40, Chorale: Bin ichgleich von dirgewichen l 05 George Frideric Handel: Giulio Cesare: Act II, Scenes 1- 2 a) Recitative: Eseguisti, oh Niren b) Aria: V'adoro, pupille IConcise i- 1 l 06 George Frideric Handel: Saul: Act II, Scene 1O a) No. 66, Accompanied recitative: The Time at length is come IConcise i- l b) No. 67, Recitative: Where is theSon of]esse? IConcise i- l c) No. 68, Chorus: OfatalConsequenceofRage IConcise i-l 446 446 446 446 446 454 454 457 457 457
- 26. Gu ide to NAWM Recordings NAWM No. Composer and Title VOLUME 2: CLASSIC TO ROMANTIC 107 Giovanni Battista Pergolesi: La servapadrona: Excerpt a) Recitative: Ah, quanto mista male I Concise '-' 1 b) Aria: Son imbrogliato io I Concise '-' 1 108 JohannAdolf Hasse: Cleofide: Act II, Scene 9: Digli ch'io sonfedele 109 John Gay: The Beggar's Opera: Excerpt from Scene 13 a) AriaXV:My heart was sofree b) AriaXVI: Were I laid on Greenland's coast 11O ChristophWillibald Gluck: Orfeo ed Euridice: Excerpt fromAct II, Scene 1 111 Giovanna Battista Pergolesi:Stabat mater: Excerpt a) No. 4, Alto solo: Quae maerebat et dolebat h) No. 5, Duet: Quis est homo 112 William Billings: Creation, from The Continental Harmony 113 Domenico Scarlatti: Sonata in D Major, K. 119 1Concise '-' 1 114 Carl Philipp Emanuel Bach: Sonata inA Major, H. 186,Wq. 55/4: Second movement, Poco adagio I Concise '-' 1 Text Page 481 481 484 489 489 492 495 495 496 509 511 115 Giovanni Battista Sammartini: Symphony in F Major, No. 32: First movement, Presto 513 116 Johann Stamitz: Sinfonia a 8 in E-flat Major, Op. 11, No. 3: First movement, Allegro assai 514 117 Johann Christian Bach: Concerto for Harpsichord or Piano and Strings in E-flat Major, Op. 7, No. 5: First movement, Allegro di molto 516 118 Joseph Haydn: String Quartet in E-flat Major, Op. 33, No. 2 (Thefoke), Hob. 111:38 a) First movement,Allegro moderato, cantabile h) Second movement, Scherzo: Allegro c) Third movement, Largo sostenuto d) Fourth movement, Finale: Presto ~ lc -o- nc-ise -:--.~I 119 Joseph Haydn: Symphony No. 88 in GMajor, Hob. 1:88 524/535 524/534 524/535 524/535 a) First movement,Adagio- allegro I Concise '-' 1 529 b) Second movement, Largo 529 c) Third movement, Menuetto: Allegretto 529 d) Fourth movement, Finale: Allegro con spirit 529 120 Joseph Haydn: The Creation: No. 2, In the beginningGod 537 121 WolfgangAmadeus Mozart: Piano Sonata in F Major, K. 332: First movement, Allegro 545 122 WolfgangAmadeus Mozart: Piano Concerto in A Major, K. 488: First movement, Allegro IConcise ã 1 123 WolfgangAmadeus Mozart: Symphony No. 41 in C Major (Jupiter), K. 551: Finale 124 WolfgangAmadeus Mozart: Don Giovanni: Act I a) Scene 1 1Concise '-' 1 b) Scene 2 1Concise '-' 1 548 551 554 554 XXV
- 27. xxvi Guide to NAWM Recordings NAWM No. Composer and Title 125 Ludwigvan Beethoven: Piano Sonata in C Minor, Op. 13 (Pathétique): First movement IConcise i 1 126 Ludwigvan Beethoven: Symphony No. 3 in E-flat Major, Op. 55 (Eroica): First movement,Allegro con brio IConcise i 1 127 Ludwigvan Beethoven: String Quartet in C-sharp Minor, Op. 131 a) First movement,Adagio ma non troppo e molto espressivo IConcise i 1 b) Second movement,Allegro molto vivace IConcise i 1 128 Franz Schubert: Gretchen am Spinnrade, D. 118 1Concise i 1 129 Franz Schubert: Winterreise, D. 911, No. 5: DerLindenbaum IConcise i 1 130 Robert Schumann: Dichterliebe, Op. 48, No. l: Im wunderschônen Monat Mai IConcise i l 131 Stephen Foster:Jeanie with the Light Brown Hair 132 Robert Schumann: Carnaval, Op. 9: Excerpts a) No. 5: Eusebius lconcise i l b) No. 6: Florestan IConcise i l c) No. 7: Coquette 133 Fanny Mendelssohn Hensel: Dasfahr, No. 12: December 134 FryderykChopin:MazurkainB-flatMajor, Op. 7,No. l IConcise i l 135 FryderykChopin: Nocturne in D-flat Major, Op. 27, No. 2 IConcise i l 136 Franz Liszt: Trois études de concert, No. 3: Un sospiro IConcise i 1 137 Louis Moreau Gottschalk: Souvenir de PortoRico (Marche des Gibaros), Op. 31 138 Hector Berlioz: Symphoniefantastique: Fifth movement, "Dream ofaWitches' Sabbath" 1Concise i 1 139 Felix Mendelssohn: Violin Concerto in E Minor, Op. 64: First movement, Allegro molto appassionato IConcise i 1 140 Robert Schumann: Symphony No. 4 in D Minor, Op. 120: First movement, Ziemlich langsam-lebhaft Text Page 567 571 581 581 599 601 603 605 610 610 610 612 616 616 618 622 630/633 637 638 141 Franz Schubert: StringQuintet in C Major, D. 956: First movement, Allegro ma non troppo 641 142 Clara Schumann: Piano Trio in GMinor, Op. 17:Third movement,Andante IConcise il 643 143 Felix Mendelssohn: Elijah, Op. 70: Chorus,And then shallyour light breakforth 646 144 FranzSchubert:DieNacht, Op.17,No.4,D.983c ~-~ 647 145 Gioachino Rossini: Il barbiere di Siviglia: Act I, No. 7: Una vocepocofa IConcise i l 659/ 660 146 Vincenzo Bellini: Norma: Act I, Scene 4, excerpt: Casta diva 664
- 28. Guide to NAWM Recordings xxvii NAWM No. Composer and Title 147 Giacomo Meyerbeer: Les Huguenots: Conclusion ofAct II a) Orchestral introduction and scene: Entrée de la Cour (Entrance ofthe Court), Oui, d'un heureuxhymen b) Slow section: Serment (Oath), Pard'honneur c) Accompanied recitative: Scene (Scene), Et maintenant d) Fast conclusion: Strette (Stretta), Otransport! 148 Carl Maria vonWeber: DerFreischütz: Act II, Finale, Wolf's Glen Scene a) Chorus and dialogue: Milch des Mondes.fiel aufs Kraut b) Accompanied recitative with spoken dialogue: Tre.fllich bedient! c) Melodrama: Schütze, der im Dunkeln wacht 149 RichardWagner: Tristan und!solde: Excerpts a) Prelude b) Conclusion ofAct 1, Scene 5 1Concise '-'1 150 Giuseppe Verdi: La traviata, Act III, Scena and Duet a) Scena: Signora I Concise '-'1 b) Tempo d'attacco: Colpevol sono IConcise s1 c) Cantabile: Parigi, ocara I Concise'-'1 d) Tempo di mezzo:Ah nonpiu l~C-on -c- ise-s~I e) Cabaletta:Ah! Gran Dia! Morirstgiovane I Concise '-'1 151 Giacomo Puccini: Madama Butte,fly: Excerpt from Act I 152 Georges Bizet: Carmen: Act I, No. 10: Seguidilla and Duet 153 Modest Musorgsky: Boris Godunov: Coronation Scene Text Page 668 668 668 668 671 671 671 693 694 700 700 700 700 700 703 705 710 154 Arthur Sullivan: The Pirates ofPenzance: Act II, No. 17:When thefoeman bares his steel 716 155 Johannes Brahms: Symphony No. 4 in E Minor, Op. 98: Fourth movement IConcise'-'I 726 156 Johannes Brahms: Quintet for Piano and Strings in F Minor, Op. 34: First movement, Allegro non troppo 728 157 Anton Bruckner: Virga]esse, WAB 52 158 Richard Strauss: Don Quixote, Op. 35: Themes andVariations 1-2 1Concise '-' 1 159 Gabriel Fauré:Avant que tu ne t'en ailles, fromLa bonne chanson, Op. 61, No. 6 160 Piotr Il'yich Tchaikovsky: Symphony No. 6 in B Minor (Pathétique), Op. 74: Third movement,Allegro molto vivace 161 Antonín Dvorák: Slavonic Dances, Op. 46, No. 1, Presto 735 739 743 745 748 162 Amy Beach: Piano Quintet in F-sharp Minor, Op. 67: Third movement,Allegro agitato 755 163 John Philip Sousa: The Stars and Stripes Forever 757
- 29. xxviii Guide to NAWM Recordings NAWM No. Composer and Title VOLUME 3: THE TWENTIETH CENTURY ANO AFTER 164 Scott Joplin: Maple LeafRag Text Page a) piano roll 775 b) as played by Jelly Roll Morton ~-~ 776 165 Gustav Mahler: Kindertotenlieder: No. 1, Nun will die Sonn' so hell aufgeh'n IConcise ~ 1 786 166 Richard Strauss:Salame, Op. 54: Scene 4, Conclusion:Ah/ Ich habe deinen Mund geküsst 788 167 Claude Debussy: Nocturnes:No. 1, Nuages IConcise ~ I 795 168 Maurice Ravel: Le tombeau de Couperin: Menuet 798 169 Serge Rachmaninoff: Prelude in GMinor, Op. 23, No. 5 800 170 Alexander Scriabin: Vers laflamme, Op. 72 IConcise ~ I 802 171 Erik Satie: Embryons desséchés: No. 3, De Podophthalma 809 172 Arnold Schoenberg: Pierrot lunaire, Op. 21: Excerpts a) No. 8: Nacht IConcise ~ I b) No. 13: Enthauptung - 1 C -o- nc-ise -~-1 173 Arnold Schoenberg: Piano Suite, Op. 25: Excerpts a) Prelude IConcise ~1 b) Menuet and Trio - 1C-on-c-ise- ~ ~I 174 Alban Berg: Wozzeck, Op. 7:Act III, Excerpt a) Scene 2 b) Scene 3 1Concise ~1 175 AntonWebern: Symphony, Op. 21: First movement, Ruhig schreitend 176 Igor Stravinsky: The Rite ofSpring: Excerpts a) Danse des adolescentes IConcise ~1 b) Danse sacrale l 77 Igor Stravinsky: SymphonyofPsalms, First movement 178 Béla Bartók: Mikrokosmos: No. 123,Staccato and Legato IConcise ~1 l 79 Béla Ba1iók: Musicfor Strings, Percussion and Gelesta: Third movement, Adagio 180 Charles lves: General William Booth Enters into Heaven IConcise ~1 181 George Gershwin: I Got Rhythm, from Girl Crazy IConcise~1 182 Bessie Smith: Back WaterBlues IConcise ~1 183 King Oliver: West End Blues IConcise ~ 1 a) Original sheet music (not on recording) b) Transcription of recordingby LouisArmstrongand His Hot Five 184 Duke Ellington: Cotton Tail IConcise ~1 185 Darius Milhaud: La création du monde, Op. 81a: First tableau 1Concise~ 1 186 KurtWeill: Die Dreigroschenoper:Prelude,Die Moritat von Mackie Messer IConcise ~ 1 820 820 821 821 825 826 829 833 833 837 843 845 852 861 863 866 866 870 879 881
- 30. Guide to NAWM Recordings xxix NAWM No. Composer and Title 187 Paul Hindemith: SymphonyMathis der Maler: Second movement, Grablegung 188 Sergey Prokofi.ev:AlexanderNevsky, Op. 78: Fourth movement, Arise, Ye Russian People IConcise s 1 189 Dmitri Shostakovich: Symphony No. 5, Op. 47: Second movement, Allegretto 190 HeitorVilla-Lobos: Bachianas brasileiras No. 5: No. 1, Aria (Cantilena) 1Concise s 1 191 Silvestre Revueltas: Homenaje a Federico García Lorca: First movement, Baile 192 EdgardVarese: HJPerprism 193 Henry Cowell: The Banshee 194 Ruth Crawford Seeger: String Quartet 1931: Fourth movement, Allegro possibile IConcise s [ 195 Aaron Copland:Appalachian Spring, Excerpt withVariations on 'Tis the Gift to Be Simple IConcise s [ 196 William Grant Still:Afro-AmericanSymphony (Symphony No. 1): First movement, Moderato assai IConcise s [ 197 Charlie Parker and Dizzy Gillespie:Anthropology a) Lead sheet b) Transcription of Charlie Parker's solo 198 Leonard Bernstein: West Side Story: Act 1, No. 8, "Cool" 199 Vincent Persichetti: SymphonyforBand (Symphony No. 6), Op. 69: First movement, Adagio-Allegro 200 Benjamin Britten: Peter Crimes: Act III, Scene 2: To hell with allyourmercy! 201 Olivier Messiaen: Quartetfor the End ofTime: First movement, Liturgie de cristal IConcise s [ 202 Pierre Boulez: Le marteau sans maitre: Movement 6, Bourreaux de solitude 203 John Cage: Sonatas and Interludes: SonataV IConcise s 1 204 John Cage: Music ofChanges: Book I 205 George Crumb: BlackAngels: Thirteen Imagesfrom the Dark Land: Excerpts a) Image4:Devil-Music IConcise s [ b) Image 5: Danse macabre IConcise s 1 206 EdgardVarese: Poeme électronique IConcise s [ 207 Milton Babbitt: Philomel: Section I [Concise s [ 208 Krysztof Penderecki: Threnodyfor the Victims ofHiroshima 209 Bright Sheng: Seven Tunes Heard in China, for solo cello: No. 1, Seasons 21 O Steve Reieh: Tehillim: Part IV 211 JohnAdams: Short Ride in a Fast Machine Text Page 884 887 888 891 892 894 895 897 899 900 908 908 918 921 929 930 936 940 941 946 946 948 949 950 968 978 980
- 31. xxx Guide to NAWM Re cordings NAWM No. Composer and Title 212 Gyorgy Ligeti: Étude No. 9, Vertige 213 Sona Gubaidulina:Rejoice! Sonata for Violin andVioloncello: Fifth movement, Listen to the still small voice within IConcises-.1 214 Alfred Schnittke: Concerto Grosso No. 1: Second movement, Toccata 215 Arvo Part: Seven MagnificatAntiphons: Excerpts a) No. 1: OWeisheit b) No. 6: OKonig allerVolker 216 Kaija Saariaho: L'amourde loin, Act IV, Scene 3: Tempête IConcise s-.1 217 Osvaldo Golijov: La Pasión según San Marcos: Excerpt a) No. 24:Scorn and Denial b) No. 25: TheRendingoftheRobe e) No. 26: Colorless Moon- Aria ofSt. Peter's Tears 218 Elliott Carter: Caténaires, for piano 219 John Adams: DoctorAtomic:Act I, Conclusion,Batter my heart IConcise s-. 1 220 Jennifer Higdon: blue cathedral: Opening excerpt Text Page 982 983 985 988 988 1004 1005 1005 1005 1006 1007 1007
- 32. PREFACE TO THE NINTH EDITION THE STORY OF A HISTORY OF WESTERN MUSIC The science fiction writer Ursula K. LeGuin once wrote, "The story- from Rumplestiltskin to War and Peace- is one of the basic tools invented by the human mind, for the purpose of gaining understanding. There have been great societies that did not use the wheel, butthere have been no societiesthat did not tel1 stories." A History ofWestem Music is a story about where music in the Western tra- dition carne from and how it has changed over the centuries from ancient times to the present. The story naturally focuses on the musical works, styles, genres, and ideas that have proven most influential, enduring, and significant. Yet it also encompasses a wide range of music, from religious to secular, from serious to humorous, from art music to popular music, and from Europe to the Americas. ln telling this tale, I have tried to bring several themes to the fore: the people who created, performed, heard, and paid for this music; the choices they made and why they made them; what they valued most in the music; and how these choices reflected both tradition and innovation. We study music history in part because it gives greater understanding to all music, past and present. It may be surprising to discover how much and how often musicians from ancient times to the present have borrowed from musical traditions of other lands or earlier eras. Repertoires from Gregorian chant to Baroque opera represent a fusion of elements from many regions, and musicians in Europe and the Americas have been trading ideas for more thanfour centuries. Composers from the Renaissance to the twenty-first cen- tury drew inspiration from ancient Greek music. Bach, Mozart, Beethoven, Brahms, Schoenberg, and many composers living today all borrowed ideas from music written long before they were born. It may be even more sur- prising to learn that jazz arrangers used harmonies they heard in music by Debussy and Ravel, or that the multiple simultaneous melodie and textual layers in hip hop music were first tried out in the thirteenth-century motet. It is not that there is nothing newunder the sun, but that almost anything newis a fresh twist on what has become traditional. Sometimes what seems newest is actually borrowed in part from music ofthe distant past. xxxi
- 33. xxxii Preface to the Ninth Edition We may also be surprised to learn that things we take for granted about music have not always been around. Pop music aimed at teenagers first emerged after World War II. Most wind and brass instruments assumed their current form in the mid-nineteenth century or later. Concerts of music from the past, which are standard features of today's musical life, first appeared in the eighteenth century and were rare before the nineteenth. Tonality, our common musical language of major and minor keys, is not even as old as New York City. Knowing the origins of these and other aspects of musical life increases our understanding. Many questions about music can only be answered historically. Why do we use a seven- note diatonic scale? Why do we have a notation system with lines, staffs, clefs, and noteheads? Why do operas have recitatives? Why is the music of Haydn and Mozart called "classical"? Why do Bach and Schumann often use the sarne rhythmic figure in measure after measure, while Mozart and Schoenberg rarely do? How did jazz change from being a popular form of dance music to a kind of art music? None of these has a common-sense answer, but all can be answered by tracing their history. As a rule, if some- thing does not make sense, there is a historical reason for it, and only know- ing its history can explain it. It is with these themes in mind that I have written the new Ninth Edi- tion ofA History ofWestem Music. The text is structured in short chapters and arranged in six parts correspondingto broad historical periods- The Ancient and Medieval Worlds, The Renaissance, The Seventeenth Century, The Eighteenth Century, The Nineteenth Century, and The Twentieth Century andAfter. The parts are further divided into subperiods, each treated in one to three chapters. The first chapter in each chronological segment begins with a summary of the times in order to orient you to some of the most important themes of the era. ln addition, each chapter starts with an overview of the music that will be discussed and ends with a sketch ofits reception and ongo- ing impact. By structuring the narrative of music history in this fashion, I have attempted to establish a social and historical context for each repertoire and to suggest its legacy and its significance today. The heart of each chapter explores changing musical styles, the primary composers, gemes, and works, and the tension betweentradition and innovation, always tryingto make clear what is important, where it fits, why it matters, and who cares. Each part, each chapter, and each section tells a story that is in some ways complete in itself but also connects to all the others, like pearls on a string, to forma single nar- rative thread rooted in human choices and values. USING THE BOOK A HistoryofWestem Music, Ninth Edition, is designed for maximum readabil- ity. The narrative is accompanied by many features to assist you: • BriefPart lntroductions highlight the most important themes in each period. • Chapter Overviews and Summaries establish social and histori- cal context at the outset and reception history and musical legacy at
- 34. Preface to the Ninth Edition xxxiii 660 Ç II AP'I t:R 27 • Ro~•M.cOp,or••ndMuu,.ITh..a,~,t<>M.dcMtuty N PERFORMANCE - THE BEL CANTO D1VA TM dr! of be/ e.anta f011u.d the rise of a MW breed of operol ~,ngers in the Íirsl h~f of the nineteenth cen11xy. Uke today·s pop wpem,1rs. fema~ vi,tuosos lil:e G iudina Pana. Angelica Catalal'li. Giulia G1isi. Henriette Sontag. and Jer.ny lind were more 1han m<!-1e singers; d'lfy were l;3r9e1-1han-life cultural icons The- term used to desc1ibe them. diva (l1o1lian fot •god· dess"). reflects the semi-div.ne Slat:us ascr,btd to tMmby 1M11 ~ions ofadmuNs The Spamsh~zzo-sopraoo Maria Mal,b<an (1808·11Hó). shown in Figure lH ep1tOITllZC'S the d.Jzrling aura of thc bcl canto div.J Bom tnto ,1 celebrated musical fam.ly. she made her London ck-buton182SasROSll'a1n T~~o(~lethc fN'st of many Roswii roles withwhidi W would ~ do$Clyider.tified Sherepc,;1ted her w<cc,;s a few months l.lter in Ncw York City. appcdíing w,th a tourmgtompanyorg.wiored byhei"fother the tenor M~el Ga1oa. and went on 10 take Fraoce and ltaly ~ storm ,n worb ~ Rossn Bel,n, Mozart Mcyc,bccr. Don,zcu,. and othcr composcu Malibran·s c:<ceptoOn;JI voe.ai ,ange ofoe-arly tt'vec oct.wesWilS marched byhc-rdr<1ma(,c poweu Shto w.lsar theleóght olhe!" famewhen shed.ed ai the ageo/ twenty•eightasa ,ewlt o/a ,idingaocident ,n8,rmngh.Jm.E::nglan,ilhoftlya'tél herINl'n~e toth.B~violll'll!.t C~le,de&i:,iot Ma~b,.1n w,ualso rema,kable lo, he, versa• lllity, being ~ually at home in Ro~~1 ú frolhy comed,H and in 1,agic role1, l,l:e Bellini"s N0rma Both bnds o/ music alowed her to show o/1 her «·~ • ' ·Jt ', ,f ' . '' FIGURE 274 Apor1rouofMg.na .lfg.lilm:m byJ1g.!1g.11 ont-1"1LuigiPtdrwzi. (JSI.C-ISIS).(T,n ..u ....:11r."t.,wn1nn..n..u ..ii...te..,.. ,m .....-cou,~nO"IM<:t lOUI} prowess m adormng melodies w11h 1mprov1 sed embell,shments, il pract,ce that WilS 65 mtrins,c to bel,;;a,nto ,d,om as ,t was ,n eoghteenth•century oper,1 (see ch.ipter 21) M,11.b,~and other d,vas often wrote down 1he,r orn<1men1ed VefSlOOS of pop!Jlararias. bothlo, teac:hing purpos,H and lo, sale as sheet music. Not ali o/ their elaborat.ons bore 1he com~er·, stamp o/approv.11.howeve, Once. after sullenng through ,m ove,wrough1 ~lo,mance o/ Rosin.úaria UNI voce poccf.,by the soprano Addina Pa111, R~!>!nt remarked ca1- 11ly, "Vfly nice. my dear. and who wrote 1he pH!'Ce you have 1ust pNÍormed?" the town's bnbcrand n::tndcnt schemer. hdpsacount (d1sguisedu Lmdoro. a poor soldier) to wm the hand ofthc beautiful and wcalthy Rosina. who h.u bccnlockcd away byhcrguard1an. Dr. IS.anoto a manin1cn1 onmarryinghcr for hcr inheritance. Secret me&s.ages. drunken brawls. and misU:ken iden1L- tiesareali part ofthe chaotlc plot. • ROSSINl,1/b,,""',J; ~Aur.l.J,-.,._.,_.,f, Rvsi11a's justl} ra mous arfa Un0- ~ pocofq. (~A"'tM 1 1.í) com'C}& her character 1l1rough changes of&t)lc. as show,, in E,,:ample 27.2. TI1e orches· trai inlroduction prcsents idcas that will reappear later. TI1 cre is noopening recitati·e. but the fiNlt par1 ofl1er cant.abile-as she narra1 es beingserenaded the end of each chapter to facilitate an understanding of each period and musical repertoire. • NEW ln Performance sidebars trace the careers of major performers, illustrating what it was like to be a professional singer or instrumentalist from ancient times to the present, and highlight issues relevant to performers today, including ornamenta- tion, improvisation, historically informed performance, and bel canto. The coverage ofperformance practice has been greatly expanded throughout this new edition. • Composer Biographies highlight compos- ers' lives and works. lt was to 9uard .t9<11 ns1 sud, excesses that Ron1n1 <1nd othe, compo1-ers b-eg.,.,, 111 ,hc 1-ec· ond deude o/ the century. to notale o,naments evenmo,e pa1 nstahngly in theu ~OIH. Although thelil! wunen•out embell1 shmentswere meantas sugge1,1ions ,ather than prescnp1.on1,,there i1,t>vi• dence1h.Jtm.i...,, 1,ir,ger!. foM<'.lwflt 1hem Íaithfully. iÍ not slavishly. One such manu~ript. prese,ved 1 n the l,br.lry oí lhe Conserv.i101y "Giuseppe Verd," 1 n Milan,conta1 ns a ta.tefultyorr1.11mented ve,sion of Rosina's Una'o'CKe p<JCO /a in Rossini's h•'y hand. f."xcerptcd ,n Ex-1mple 27 1(comparc w,th the un-adorned mek,dy shown ,n E~;,mple 17 2d which comes betwttn 11-.e passageVlõwn he,e) Although penned m•ny ye;m.1her lhe 1816pre• m,e,e of Thl." &,be, o{ Sev1l/e, and l.lilored fo, anotherMn9ff 0 J.voice.1he 1i0anng ~ nt.a.liquid runs. and per! 91,ace notei in lhe final cabaletta seclion of the ana convey a ~en~e oí pyrotech• nics that 11even1een-yea1-old Maria M.il1 b1.ln dis- played in New York's Park Tl-.eateron November 29, l82S EXAMPLE 211. fu,opa.ssagufrom ftwsini 'sornoim111ed1'trsi,onofUna voce pc:x.--o fa./rom Thc BarbcroíSc·ille w:::·::· 'i f['. '.[if ,~..-· 1 : .:;·~- ~,f .,, "° !l',lt-o»r _ _ _ _ _ _ __ by and falling m lo'C wnh Lmdoro 1s broken mtosmall phrascs punctuaied byorchcstral choreis. a stylcappropnatc to narration {E.u.mple 27.2a). "'t'hen shc swears to outwit her guardu.n. the stylc brieflychangcs to a oomic pattcr song (Example 27.2b). wl1ich is precedcd and followed by daborale embel- listunents a11d nn,s as she vows to marry l.fodoro. Rossi11i proceeds direetl) to d,e cabaletta, wherethe music revealsRosina·s true nature.Sl,ecb.ims lv be botl, docileand obedient-singi11gawinning.1)rical melody(Example 27.2c)- as wdl as a viperand 1rick&1er-showingoff hersudden ·ocal leaps ;ind rapid passagc work ln buffo&l)le (E.umpie27.2d). TI1earia isa cu1111ingpor1raplof 661 Typetollnmumeni..lMu..c SOCIAL DANCE O.i,nc ng ,s euen1i,I in, well-ord~red soeety be(,,.sei1 _, lowsm-,les -,-,d lem,Jes, to m;...gi,.. ~ obse-1"'!' one-;,·,od,e-, Howeis, dOl's, la<fydec<de .,.4,omtom;,,')'?ih,o,.,ghd,ncing. $hec,n tell w+i.1he,someor>e issh,1pelyand f,1 or un~m,1,;:. ,.,.e andlarre.wheiher heis ingood health or has unp--easam breath,.tndw41<!1her he d g'acef.J.tnd •:tl'ntMordJmsy and•ww•rd So w,ites the Renaiuance daocing master Thoinot Arbeau (pen name for the astronomer Jeh.1n Tabourot} in his O,c:h,mg,aphie (1S89), the best•known dance ueato,e o/ the Rl'na,s• s.ince. He offers these ..-,ews 10 a young man who has just 1t-lurn1."d home- from a big city where he devoted many years 10 studying law but wht-re. as he conft-nes with wme reg1e1_ h• did not mal:t- lime 10 learn how to dance. Bclatf."dly. the young m.ln has rt-ali2ed th.it. fa, from being a frivolol/$ pasiime.d•ncing is• ple.tsant .tnd profoable activity. one that c:on'en and preserves heitJth provided il 1s practiced in modera110nat soitable t1mes and 1 n appro- pri..lte- pl;,ces lt is cspe,::ialty rccommcnded fo, those who le-,d sedent<1ry lives. soch ;,1 swdcnls intenl upon1hc1rboob<>ndyoung women who spend loog hoors at kn,ning and needteworl! s-ee in1he 1lus1 ra1.ons.111snowonder the women nttded help gemngoff the ground~ As rhe d-1n;ln9 mastf."r we-nt on to suggest to h,s new pup,1. daoc1 ng •s ..Jso il k111d of mui~ rhetoric by wh1 ch persons. 1hrCH.19h movement c• n m.1ke themselves understood and pNsuade onlool:ers that they are gaff.lnt o, comely .1nd worthy to be acda,med. admaed. and loved Suc:h ,11111udes help 10 hplain thl' impôr• lance of soei.ti dance in the Renaiuance. And ahhough 1he steps m•y be diffe,ent. the place of d.lnce in iociety today rema1 ns rema,bbly urw:h.lnged.-BRH • Music in Context sidebars emphasize the --~ importance of music in the daily life of Most dances of tht- Reruiss.ttKI." we<t- performed by couples who arr;mged them• selves tn •ows or ci,clf."s Some. 1 ,ke the p.ivaoe.wereelegilnl -arld dignif1 ed. 1nvolv• 1 ng il "''r1 es of gliding steps as in a stately process10n Others like the various b,anles werc e.-N;uted w,th s1dewa)'lo or sway,ng mohons St~Iotheu. 1 ,ke thf." gaU.ard. shown 1 n Figure 12 5. requ.red such n1 mble sreps people at every level ofsociety, showing what they valued in it and how they pro- duced and consumed it. and leaps tha! K1mel1mes the man had to FIGURE 12 S A c"upltdoncin&O-&"OU~rd. llCeomp'1n.1<1d hoi1it h,s p.1r1Mr 1 nto1heau.(W,1h tl-.e lad,H b)'p,ptonddrum.fid,Jle. ,..nd 1t:h,;,t '1Pp<!QrJI-O be,.._ nol dressed in the elab01~1e costumei that we odult. lf'ood<'.ul br H""' Hof~r. u 154(). 271
- 35. xxxiv Preface to the Ninth Edition SO• C II AP'IEK 12 • 1..m u .....n1alMutoc.S...,.,•. S.,ffll'ho"Y- • ndC<>n<:et1<> ·-~ORMS ATA GLANCE B,na ry Fotm and lts Relat,ves - BinaJyform is onc-ofthe mos.t fruitful .Jndwidcly adapted formsin thehistOfY of music. ln1hceighteenth century. therewere three mam typesof blfldry form, shown in Figure 22 5 1 1:A :li: B :li 1 1 8.1lantC<!bin~ry forrn li. A 8 :11:A B :li or A 8 :II X 8 : Rou ndedb;ruryform li- A 8 -11, X A 8 :li 1 mod 1 1 FIGURE.US Thref')]'($r,fl,uw yform AI 1hr~ type s.::ould M us~ , u tM lorm of an t>nlife movem-. wdl as a m,nuet:.:ould be p,i,irlM with anot~r binaryform. ;n in .:a mlmttt1tnd trio or could serve as the fo, m for the themeofa rondoo, i<K of ..,.,,J.,tlons(see pp 507-8} ln addihon, b,nary fo1m w,u developed 1n10 what was then alled f,rst•mõvHnMI form. renamed 1ot1ata fo,m 1 n the l'l1 Mteenth centu,y. As lhown in Figure 22 6. eighteenth•century wnteu re-c:ognized that s.on.it..1 lorm w.is an h p.insionof bin.i,yfo,m but nineteenth•century music::i.ins canw, to re,g.ird it .1s a tlvee•p.i11fo,m h appy $ta bility-repre,en1ed by a ma1vr - mvde theme in a su ble key and prcd1c1able p hr.asiug-th rough dangcrs a nd tMals-reprcsented by mmo r keys. frequem modula1io n. and u n stable ph ruing-and the n back to 1he home key and 1heme becamea pa rad1gm of Classie-era form. BINARY FORMS Mos! forms of the Class1cera are esse1111ally harmomc. modulatm g from the tome 10 1he domm ant for. m .i, mino r key. the rela11•e maior) and then back home. e1therd1rectlyorafterfunher ha nno,uc ad·entures through a po1nt of greatest d1s1 u 1ce from the tome. lmportuu poims 111 1h1 s harmomc pla n are typ1cally m.arked by new. repeated. or nned musical material .1nd by changes in phrasmg, 1 exture, and 01 h erparamete rs. Sunp/4' bmar,fom1 Many Cl.us1c forma are b.ised on b mat)" form, wh1 ch features two sec t1ons. cach repeated. the first usudly movmgírom tonic lo dommant orrela tive major a nd th e second returnmg to the tonic. Binary form o rigmated as a form for dance&. reaching prominence m the dances and dance sun es of the Baroque pe riod (see ch apters 16 and 18). The dances for lute by Derus Gaul1ier (IA'P,~ 87) a11d in 1he ke)boa rd suites or Elisabeih-Claude Jacquct de la Gue rre (r,óA'i'{ 188) use ,i1111:,/1:- bim1ry f(Jn11.. in which !l1 c two 1>«:tivns /t!'f; roughly equal in lc ngth and fcalure musical ma1erial d1a1 is differtnt or only loosd J rebted. • lnnovations sidebars-one for each part, plus one for the twenty-first century- focus on key technological or sociological innova- tions that significantly changed the dissemi- nation, performance, and consumption of mus1c. • Forms ata Glance sidebars describe and diagram important musical forms in a straightforward, visual format for maximum clarity. • KeyTerms are highlighted in boldface italics throughout and are defined, for easy reference, in the Glossary at the back ofthe book. • Source Readings, with new readings in this edition, offer pithy and colorful excerpts from writings by people at the center ofthe story, allowingyou to hear directly from the composers, performers, and patrons in their own words. S«ondS(Ç1lon Ont l,hrnPa i,:,d Ktv: 1 1 V U ho1M,rnPcriod li'' º"V NIIHTU NT H• CUHUltY Vl[W THltU•P...lt T FOltM (41...') ~• elopmtn• Ko, 11- r V 11 Koch" tModtl nr,1S.,c11on h rt c~nd t«ond phruet ThiTdphruc mod10 t'ourthphr au Appcndi1 S.,eondSttt ion t'ir11MainPcriod l'rcc mod.oftcnto• í. ii.iii Prq1anuon forretyrn StwndMa 1 11 Ptriod f irstonda«ondphruu Thlrd phrue mo,d f"vur1hphra.;e >.~pendi• FIGURE226 View:,o{fim nQ<Yll'lfnl/on,1_ º"" h~1t1on f",nt1hc= Tnnaiuon S.,wndthcmc Closingthcmc Dc,clopmcnl llc•clop1idcu fromuiw-1uon MctnnflllOn leopi111 ab1,on firatth-tmc Tr1nJiuon S.:t,: md1hcme Cl,;isin,r1hcme SetO<ld!.blnf>triod ' 1 ' ' li mod10V ' mod ,;in ' .,, ' SOS ln 1he c1 ghtecmh «ntury. composers sough1to cmphasu.e the arrival o n & funced bina,)' 1he dommant m the f1rs1 sccuon a11d thc return IO thc tonic m thc second fom~ secuon. producmg the new types of b mary fom• shown 111 Figure 22.5 (see Fonnsat a Glance. abovc).Onc common strategywas to prcscnt new material in thc domm ant at thc e nd of the Í1!"$t aectionand to repea, 1ha1material 111 1he to me ai the cnd ofthc &econd sec11o n. hke a musical rhymc that se r.·cs to oonfinn the return to tbe homc kcy Sucha n appro.ach heigbtcnsthe con trast between tonic and dommant by associatingd1ffertnt musical 1deasw11h each and th en resolves the harmonic te n sion by rtpeatmg m the tonic matenal that first a ppeared in another kcy. Th1s panem . caUcd bulm1ccd bi,wry form. appears in Françoi, Couperin'sLa. musericsoneuu: (NA M Q':n) a nd 1 Sl)'Jlleil of Domemco Scarlam 'ssonatas, discussed below AJ101her approach. known as rQ1111det/ bi1mr-y JQrm. h igl,lights d1e Roundfdbmon rcturn TO 1he 1onie in lhesecond 8,::c1ion by repearingthe m3terial 1!1atopened fonn 1h,:: f,rst s,::ction. The double rtturn of 1hc open ing key and opening macerial BERLIOZ ON HISREGUIEM 6•7 I.> h<s m~s c•I b,o.g,;,phy Be,l..:,1 bll,ts fl,s R~nt,c sou1...t..1.eM!ttli""J mariy ..ic.ds.:ore He.-el>edescnbes 1he q,.,• t<!'S th.t,n,.de 1, s 00'111rn.;s,c bytums o_.· p,l>w<et,.-.g11nd «lt"í'"-""<.ingco h<s(Qll1tmp,.,r.,,~ - "'- Th.e prev;uling ch• ra.:temhcs of my muYC .are ~ uionatt exp,tss,on, inrerSt" ard01J1. ,hyrhmi· cal <1mmat100. and unupccte<I lums Whcn 1 uy p~u,on.ate upru1.1on, 1me.an .an exp,ernon detcrnlN1e<I on cnfo,OOg tl>c ÍllnCf mc~•t'(J ofits s1;bjcct.evet1 wheri thlt wbjcct is tlic cort1a1y oi p,,nion, ~nd WMn tk fecl111g to be eiprcsscd 1$ gentil"~ tende,.o, everi p,oioondlyc.ilm This is meSOII ofel(p!'l!S~ that hilS becnd1sCOlercd m CEn{~e duChmt.,l>e Gels,çene in the D~· lJon deF,l(Js/ .and 1 1,e Sanclus of lhe Reqwem The musical pioblemsl liave 1 11ed to solvem theseworb are ex~ t1Q11;,l,andreql-11eexcep· 11011al methods ln tlie Requ,em. for example. 1 employ fou, CÍ4Uinet b,au 01diemas.answiering eacl, otf.e, c11 ctrtc1•11 d1stc1nces IOl-nd tfie main o,,dte~tr• .andcJ,01us ln tlic Te D,~·m. the org.in • ttho,endof1hechu1ch•nswe,slfae orchestr~.and twoeh:.,~.whilst• dmd lar~ dion ,,ep,csentsthe man of the pcople t~k,ng p.,rt fro m hme lo t1111c ,n a v~•t ue,ed conee,l BLt 1 1..: more l!Sf)il'C1 .lly tfac form of thc pieees. tf.c b,eadih of style. and the dd1be1ateness of ccttam p1ogress1ons. thc 90.I of wf.d, 1s not ~t once-pe,celVl!d. th.it 91ve those- worh thcn st,ange g1 gantie phy~ aMcolossal aspect Tf.c 1es1,lt of tlits1111men51ty off01m1s. tfic1te,1he1one en111ely m,sses 1 1,e dnft ofthe whole.Ot ,s cn,sl,edbya t,iemendousffll0· rion. AI many performances of the Requiem 1 l,a,,, seen one man h ienmg III ttHOI. shaktn to the,,e,ydepthsofh.slOIJI wh~ h<Snextne,ghbor codd not catch an idl"a. thoi.gh trying witli d liis m,glir todoso F,om M•""""' o{ HH.r,.,, BH4<>r. oan.l•,• d bv RKh,o (Scott RusseH) Hom>es and Elur>0< Holm,01,; ~nolit,od 1nd tt,,o tr;)r'lsl..t<l" revise<! bv E, nest New=" (N- Yor< l::n<>pf.19~2), <IH-89 on puno or organ. Thcyeould be sungbya ny number of ,,o,cc8 from one on s pan to a large cho ir, mak1ngthem smuble for domesuc mus1c-makmg as well as puhhc performance Likc L1cder and parlor songs, pansongs ,,.-cre mos1ly syllab1e:tnd .,. ,cre eloselyattuned to thepoetry. S<:huben, McndeltM.Ohn , He nsel. Schuman n. Llut. a nd ncarly !"VCI)' 01her compo,er in central and nor1hen1 Europe produced pan songs and choruses on p.alriolic, se nttmental. conv1vfal. 3nd 01her kmds ofvtrse. ~31ure,,.3s" favorile subjcel. Sdmbtrf$ Di~Nachr (NAM 144) for nu.levoiee• in four pan, (1,,.0 1e11or and two bus) is typ1cal in using 311 a text a strophic. lync j>CM'ffi that would serve cquallywell for a L1 ed .The poem expresses awe at the beaulyofthe n1gh1 $lar• $hining over 1he flowering flelds of spring. Sehul)crf $ mueie captu res 1hc tranquil scenc and a sense ofwondcr ...-11h quiel. slowly movmg chords. mostly resona nt maior triada w1th occas10n;,l d1mm1shed , augmen1cd, a ntl se.,cnth chords rhu ertate eolor 3,nJ m tcnsity. He e:trtfully sclS the tcx1, emphasmng 1mpor1ant words with melodie peaks and cha nges ofdyn amics Thc mus1c1sp,::rfcetlysuncd for amatcurs p,::rformmg for 1he1ro...-n plcasure. 11is relativelys, mple and casyto sing" hilco rfenngínlrigu,ng ch:tllc nges. 1he melodiesare ann cti·c. a nd thc lower part~ al,ro ha'C melodie in1eres1. &hubert"s Die Naeht
- 36. 336 ORATORIO TIMELINE haly had a long trad1tion of religious music oumde church services. such ,as the lauda. ln seventttnth-cenrury Rome. a new genre ofrel1gious dramauc music emerged. combimng narrat1YC. d1.i.logue. and commentary. Toward m1dcenmry. suchworks bccameknown u Qrt1lorfo,. aftcrthcltalianword orat,mo.orpraycrha.ll.whcre laysociet1umettocomemplate. Muuc/or Chambtr and Church in thc E:arly 171h Century hearsermons,and sing b.udasand otherde..,otional wngs perfomll!'d ,n Flo,ence Like operas. oratorios used rccitati'CS. u ias. ducts. and instrome11tal preludesJ nd rilornellos. But or.a1 orios differed from uperai, in several wa.)S: their subjecr matter w.is reli- gfous; the) wcresddomifel·erst.iged;.iction wudescribedo, suggcstcd ruhcr eh.in plaJed out: thcre wu ofrcn 3 n.irnlOr. .ind rhechorus- u&U31ly .incnscmblcofsever.il "0iceasinging one 1 0 a pa1 1-could uke v:irioua role&. from p3111cip.:1.1ingrn the dram.a lo>narrahngor me,;hunngon event.$ • '"· 1601 Shak~pearc. Ham~r • 1602 GiulioCawl'li.Lenvo.-e • 1602 Lodovico Viadana Oratorio librenos were rn ltali:iu or in Utin. and desplte • 1605 C~udioMonteverdi ~: 1 ;;:: 1 c:i.~~l;:e 1 ~ ~e~~ 1 :;;~o1 ~~~1 : s;;;1 ~c::r~7,:::a~ii:;::;~ publi1hesF.{rh8ooko/Madng~ls rios were a useful roo for the Ca1holic Clmrch to spread its • 11'11 Klflg .Mme1, translalionof mess.age of fairh 10 commoner .and 11oblemen .alike. halian theB,bk ora1orio, resembled operas very closely and could provide • 1615 Guolamo F,escobaldi. a h1gh-mmdcd .ahem.atu-e to the 1hea1ric.al fonn 1hat was at 11mes condemned as smful by the church. Often the sarne singers were hired to smgopera and ora1or10. helpingto blur the s1yhst1c differences between the genres. llowever. espe- ciallyearly 011. the lt.ahan or.ator10 repe11ory was no, asc.are- fully presen•ed. since li wu cons1dered functioml mus1c to spread the faith Thc l.atm oratorio. on the other hand. was morechenshcd hJihe ehurch elnes. because like e.arlJoperas Fo rs1 BoolofTocc.atas • 1617 JolwonnHctrT,.,nnSc.he-in, &nc~romusk:ale • 1618-•8 Thirty Years' Wa1 • 1618 Sd- ,ein, O~,HIOY<l Guicomo Canssmu for aristocratic couns. u was presented h}' invita11on only. with tbe most soplusticatcd resourccs available.sparingno expense. The lcadmg compoSer of l.atm oratonos wasCiaCQmo Canssimi (1605 167-4). H,sJcphic (ca l648)ocmplihesthe midccntul)·oralorio Thelibmto is bascd on Judgcs 11:29----40. with some par.aphrasmg and added materi.al. ln recitat1vc. the mrrator mtroduccs the Story. Thcn Jephtha. an lsraclue general. ,·ows that if thc Lord gi'CS him victOI) in ihe impcnding ba11le. he will s.acrifice...-hatcvercreaturcf1r&tgreeis himon his rcturn home.Jephth.a's victoryovertheAmrnonitesis rccounted bythe ensembleofsue singers. with appropria1e effew; includiug rtilt Mncil<Hü TI;c 11arra1or rel3tes in recita- tive h,:.,wJeplnha returns home in triumph. but rhe f1rst togreet hirn is his daugl1ter. Só he rnu8t ucrií1ce her. S-Ongs of rejoicing for victOI) are set as soloarias. duets.and ensembles.followed bya dialoguein recitalive bctween fa1her and daughter. lhe chorus te.lls how the. daughter goes to the moun- t.ains with hercompanion, io bewailherapproachingdeath. lnthefinal scene (NAH,I 80). she sings a lament. .a 1011g. affecting reeitative. Two S-Opr.anos. reprue111rng her comp.ani,ms. echo some of her c.adenhal flourishes TI1e rcsponse by the chorosofsu:voices employs bothpolychoraland 1 nadrtgalis- nc effects.includmgthedescendingtetrachord bass.associa1ed w11h Jamems. • NEW StreamlinedTimelines in every chapter set the music in a social and histori- cal context, facilitating a clearview ofthe interrelationship between musical and his- torical events-ofwhat happened when. • Four-Color Maps establish a location and context for the musical events and works. • VividArtwork and Photographs throughout provide essential cultural context and high- light important ideas, architecture, people, and events, includingportraits ofmany of the composers and performers discussed. • Detailed Diagrams clarify forms of musical works and genres to help you grasp some of the essential structures of music. • Cross-references to the accompanying scores and recordings are found throughout the text. The scores are identifi.ed by their numbers in the NortonAnthology ofWestem Music (NAWM), Seventh Edition. Symbols in the margins indicate which pieces are in the Concise edition ofthis text (all ofthem are in the Full version). Preface to the Ninth Edition m ln the sacred concel1os of Gabneh. Grand1. Viizan.a. and Coizolani. the or.a1or10s of Canss1m1. and other C.athohc sacred music, we see composers uung a wide range ofstyles wuh both secularand rehgiousorigins 10conveythe churclú mcssage10theirlis1eners. Rhctorical effeet1·enesswas prized fu a.bove stylishc punl}'· ln tbe$e works. the pnmacy ofthe tot and its dr.amat1c declamatwnwas central. • 1619 Heinridi$dw.stz.~n O;,vk/5 Lutheran Church Music ln Cerman-speaking rtgi<ms. composer& in both the Catho- lic and Lu1l1eran churches soon took upihe ncw monodic and conccrtato tcchniques. Sacred music in Austri.a and Ca1holic southem Germany remained under srrong h.ali.an rnfluencc. ,,mh h.alian composers pa111cularly ac11vc in Mumch. Salz- burg. Prague. .andVienru.. Composer-& 111 thc Lutheran cemral and uonhcm rcgions cmploycd 1he ncw media. sometimes usingchoraie runesortcxts. Alongsidecompositions m mod- em style. Lmher.an composers connnued 10 write polyphomc chorale motets and m01e1s on b1blical tex1s w1thou1 chorale melodie&. Mauy b1blic.al molets by !Ians Leo llassler. Michael Prac· tonus. and othersm the early seventeenthcenturywere 1n1he l.arge-sc.ale conceno med1um. showmgGenn.ans· adm1r.ar1on for the Veneu.an fashion. Toe sm.all ucred conceno was even morecommon. Itere themostinfluenu.alfigures werc'iad.an.a. whoseworksc1rculatedm German-speakmgl.ands. andJohann llerma11n Schem (1586~1630). who pubhshed two 1mpol1ant collectionsin lól8 and 1626.at Leipzig. bothtitledOpello11ova {New ü.nleWorks).Thc fust bookconsists dueflyofdue1s wi1h • 1620 M11y{lowtt ,mrvM ,n New[ngland • 162] Lucrezi;,Vizz- Compomment, mU$ici1/1 • 162-4 Samuel Xheim. T.ob<,/ ;,/uril nov;, • 1629 B1~0Manni. Son.Ne Jymphon~. Op.S • 1632 G3'ileoCft.lrgedw,th 1-ierMy • 1635 F,eu:ob;,ldi_Fron muJic~/; • 1637 Fim publ1<:opera hovse opensinVertK.e • c• .16-48 GiacomoCauss,mo, .sacr<1elll • 1659 &rb,3r,3Strozzi.D,port, difotier~ contmuoonchoralcs. freely pa.raphrasingthechor.:&l.emelodies, inser1ingmc.:&l. embclhshmcnts..anddiVldmg phrasesamongthevoices ln thcseworksSchcin blcndstheLutheranchoraie tradmon withthemodemlta.lians-tyle,Thesecond book includes morechorale duels. but rn0&t piecesareon biblica.l !extsand the seltirtgs art mort v.arieJ. often usingone or mort sulo instn.nnel'IIS and c,:.,n- trastingoolowitherisemblc6C(.1iuns. Schein's&acri:dc<mccrt06seta prc<:edent fora long seriesofsimilarworks by l..u1 t1eran composers. HEINRICH SCHÜTZ Heinricb Schu11(1585-16?2) w;is a mastcrat appl)irig1he new l1a.lian Sl)le&IO church rnusic. He studieJ in 'enice wirl1GiovanniCabricli. visitedagain dur- ingMo111everdi's}Carsthere.and brought thcir approaches backto Germ.auy. where he w.as chapei master ai the Saxon cou11 in Oresden (see biography. p. 338). Heispa11icul.arl) renownedforwntingmusic1ha1c.aptures1hemeamngs and 1mageryof t11e text. Although he was .a Lut11er.an comp0$er a1 .a Lut11era11 coui,. he seldom uaed chorale melodies in his sacreJ music. prefcning to crc.atc motetsand sacred ooncenoson 1 cxtsfrom the B1 ble andothersources. XXXV hily 659 A AR IA {SOLO OR W IT H CHORU S) 0rche1tral Su"o 1n1roduNrnn u&uillrelow 0rd1 u1r~I &r,.o Tr,npod"oc/auo C..'W<lhWC 1n1roducuon (opcn,ng .cclÍon) FIGURE27.3 &rn,,lrul'UU'ffi11feossmioptm~ Tt,..,,.d,,..t::o Cl>l,,Jl(Ho {m1ddlc1cc11on) th~ngoccmpo. nullyfni mc.dub1u "la) be tr•ns,uon (nJ,tml)l,e.Q>"thoru, r~..,pod,....,,,o s1ruc1urethat d1s1ributed 1hc storymorecvenly and1ntegrated new plot devcl- opmems or changes ofmood w1thin .an ana or cnsemble. A connnuous suc- ccssion oforchestra.lly accvrnp.1r1icd recuatives, solo ari.as.due1,. enscmbles, and cl,oruses 311 cuntributed to advancing 1he plo1. with bo•h o~hes1ra aud chorosplaying m,:.,rcsignif1ca.n1 rolestlrnn tl1 cyhad inprevious l1ali11n operas As shown in Figure 27.3. a IJpical ,cene begins with an instrumental introducuon and a recit•11ve aection (c.alled a.srena, ltalia.n for ·scene·) th.at is accompamed by the orchestra Thc ensumg aria. has two mam seclions. a slow. lync.al crmlt1bile anda hvel}' and bnlhant cf1bt1IP.lhl. The cama- bde expresses rela11vel}'calm moodssuch as pens1veneu, udness. or hope. and thecabaleua more acnve feehngs such as .anger or JºY· P:m or ali ofthe ~i~~a~~:a.::c:e::: 0 1 j!·r~~:~:~~;~r~~1~~d(~~~~;slh4~~; . 11 ,::- ...~,•::s:r~~~ 1C ~ 1 1 ~.. ~ 1 sections only. but i11 most arias. we also fmd a middle section between the cantabile and the cabaletta called the ft'III/W tli m t>.;zo (middle rnove,ne111), which is usually some kind of rransi1io11 or 111rerruptio11 b}' orher charac- tersand inwhichsomethinghappcns loaherthesituauon or the character·s mood.Aduct or cnsemble hasa similar fonn (.as in the duet from Verdiºs La traviala. rn ~A'( M 150). bu1the c•ntabtle is usually preccded by an open mg section (called l(mpo dtlnacco) lll which the char.acters trade melod1c phrases. The finale ofan act u; normally an acl1on pieccthat bnng.logether 1110&1 or ali of the charactcrs .and is orb<anlzcd in many scctions. employing s II ts III empo. meter. an · y to accomm ate t 1e rap1 c ianges o s1 ua- n on andemouon t.aking pl.ace on stage.The actio11 oftenculminates III a fast srr,:m,oorrespondirigwthc c.ibaleita in .inariaorensernble. Rossini's b.isic formal could bc ílcxibly applicd co suit almost any dra- ma11c s1ru~tion, ,md bis s1ruclure created .a dra.m~1ic progrcssion from one mood or idea ro another whtle .allowing more 1han 1 wo contra.stingmoodsto bcprcscntedw1th ina coherent form lnlinewllhthecontinued roleof ltalian oper.aasa veh1cle forvinuososmt, '1ng.thisstructure .alsoproV1dedsmgersw1th an opponunuy10show a ...,,.de range of emonons .and vocal effects. from IJnc beau1y ro spark.hng pyrotechntcs Consu;lered today Ro$,Sinfs mos1 popuh.roper.a. Tht &rberof$ev1/lecom- The B.arber bmes fe.arures of opera buffa with bel camo tra.diuon. TI1e main charac1cr. ofSe-ille
- 37. xxxvi Preface to the Ninth Edition Brhten·s delthfour dee.1des bter. Brmen wrote mostofhistenorroles for Pe3rs. .:ond iher....ocollabor.uedasperformers:,nd.asproducel"'$Oítheannualmusic fes- 1iv:ilatAldeburghin Engl1nd. Severa) ofBritten'soperuhavethemesthat relate to homosexuality.indudmg&UyBudd( 1950-51)and Dtatli.m IVuct( 1971-74). PeterGrimes (1944 45).whiéhest.,blishedBri1ten'sreput;:itionandbc1U1me the first Englishopera since Purcell toenlerthe in1ernation.,Irepenory, cen- ters ona fis herman who isd1sliked by lhe other res1dents ofhis vilJage. pur- sued by mobs. and ulcimately driven to suicide The tbeme ofthe individu:1! persecutedby 1hecrowd can be re:idasan:illegory for thecondition ofhomo- sexuais ln :a hostile sodety. Tellingly. Crimes is not a sympa1he11c ch:iracter; weare munt to seeourseI,,es, not in him, but in the ugly crowd that unthin.k ingly persecutes ouisiders on rhe b.uis oí suspicions lnd misiníorm:nion, forcing:. poign:int c:.th.arsis in the fln:il tr.:.gedy. ln the last scene ('AWU 200).asa seuch party pursues him callingbis nlme. Crimesr;i,·esand mocks 1hem in an unrneasured rech.:mve, until bis friend Balstrodeurges him to ui! hisb-O:.tou1 1ose.1 :.ndsinl.: it. The oper.1 endswith.as1unningdepictionofthe uncningsea :ind equ;ill,Yuncaring rownsfolk ina most successful :ipplication ofb1tonalny: strings, harp.:ind winds:irpeggiate 1hirds th.u encompassalithe notes oftheC-m.1jor sc:.le, depicting 1he s himrnering sea. :is rhc town·scili- zens go :ibout theirbusiness , singing:,,slowhymnto the se:t in A m:ijor. each key stubhornly ignoring the other. The entire scene displays the eloquent dra rnaticerree1sBrittcn cre,uesou, ofsimple me:ins Brítlen's pacif1sm bis conscienrious objection to w:u in :my form is expressed m hu chorai mas1.erp1ece. the lf'ar Requiem (1961--62). Commls- sioned For the consecr;1 tion ofrhe new,::31hedr:il :n Co,•entry.;,;cil)' dcstroycd in a Ge rm:in bombing raid during World W:ir II, the work wea,·es togetber 1he Laun text of 1 .he llec 1u1em Mass wuh verses hy Wilfred Owen. Enghsh soldier and poct killed in France in 1918 jusr d:iys beíore 1he end or World War 1. The contr3st of tex1s is highlighted by contnsts o( performrng forces: 1he Lltm texu. .ue set for S()pran() solQiSI. choros. and (ull oro::hes1r3. with sections for boys' choir :1nd Qrg:.n. Jnd the Owen poems are scored for :ihernlting tenor Jnd baritone so!Qis1s with cham ber orchestta. lromes Jbound As the chorus sings ~Requiem .1eternam~ (Granr themeternal rest). they bammer homea truone (pt----Cl. 1he leas1restful ofintel"'J ls hut 1he ton:-11axis o( lhe entire worl.:. Briuen inrerlea'ell the English texcs sothat theycomment onthe Latin. and vice ,·ena, as 1n 1he ~lacrimosa.~ where 1he melodie linl.:s between the soprano·s te.u(ul pie.a formercy and 1.he tenor's English verses highlight. the fu1 .ility he íeels .:u. 1he death of a friend in battle. Brinen'1 comnutmem-to p.1cif:tsm. 1 .0 tolerance. to including 3l1 ages .rnd t.alents m mus1c-n13king-gives his music:.qu.aliiyofsocialeng.agementthat has3Ur.acted many performen and listenen and has inspired la1er composcrs. hs enduring su«ess shows the continumg power of musie with a ton:il center 10 move audiences 3nd eJrn 3 plm:e in the perm3nen1 repe rtoue. Peter Crimes • BRITTEN:A-~ Gro<r>es,Actlll.S~l ío w .,,m;,11you,-,,;:-,' FIGURE 37.1 lkn- Jllfflln 8nlltll(n.gt.1) wtd Ptltr Pt/Jrtonlht W~yof&htOldM,U Snapw ubo1111944. V'htn.Brttltnwar V'Olk,ngonh,ioperr> PeterGnmes.(noro OrTNr lllTTI' . ,_.b IIIUH.AI DUtlCN) • Vídeo excerpts from Metropolitan Opera productions are indicated in the margins. The Ninth Edition features over two hours of stunning performances, from Gluck's Oifeo ed Euridice to Adams's DoctorAtomic, and access to streaming excerpts is included free with every newtext. • For Further Reading, collected at the back of the book, provides an up-to-date bibliogra- phy corresponding to each part, chapter, and section. USING THE ANTHOLOGY ANO RECORDINGS Although this book stands on its own as a narrative history,your understand- ing will be enriched by using it in tandem with the accompanying anthology and recordings: • Available in three spiral-bound volumes, the NortonAnthologyof Western Music (NAWM), Seventh Edition, by J. Peter Burkholder and Claude V. Palisca (Volume 1: Ancient to BaroqueNolume 2: Classic to RomanticNolume 3: The Twentieth Century and After), provides a comprehensive collection ofscores, illustratingthe most significant musical trends, genres, and national schools in the Western world from antiquity to the present. Thirty-nine pieces are new to this edi- tion, including five selections from the past fifteen years, offering unprecedented access to recent music. • Each piece is followed by commentary that relates the piece's ori- gins; describes its form, contents, and important stylistic traits; and addresses issues ofthe edition and performance when appropriate. ln addition, all foreign-language texts are accompanied by English translations. • The recordings that accompany the anthology include outstand- ing performances of the entire NAWM repertoire by some ofthe best
- 38. Preface to the Ninth Edition xxxvii musicians and ensembles working today (see below, pp. xxxviii-xxxix). A variety of formats- including streaming and MP3 discs- are now available. Fifty-six performances are new to this edition. USING TOTAL ACCESS The new Total Access program unlocks a full suite of media resources with every new book, including: • Streamingrecordings ofthe entire NortonAnthology ofWestern Music repertoire. • Stunning Metropolitan Opera video of scenes from selected operas. • An interactive ehook that allows you to take notes, highlight, and lis- ten to audio examples at the click of a mouse. • NEWlisteningquizzes byJessie Fillerup and Joanna Love. To access these resources and more, goto wwnorton.com/studyspace and register with the code in the front of this book. TO THE INSTRUCTOR ÁBOUT THE TEXT The new Ninth Edition of A History of Western Music offers the most cur- rent, authoritative scholarship available. Each chapter has been revised and updated to reflect recent research and to incorporate suggestions from reviewers and instructors. A new final chapter on music in the twenty-first century brings the story up to the present, with a focus on new technologies for producing, distribut- ing, and hearing music and on growing trends toward fusion of traditions to create new approaches to music. The discussion of music in the twenti- eth century has been reorganized both to delineate the differences between vernacular and classical traditions and to emphasize the commonalities between them. Such common themes include engagement with political and social concerns between the wars, the emergence of music of the Americas onto the world stage, and shared trends in the decades after World War II such as increasing demands on performers and listeners, focus on atten- tive listening, experimentation with new techniques, and incorporation of non-Western traditions. Throughout the text, there is greater emphasis on performers and perfor- mance, including ln Performance sidebars on major performers from ancient times to today and on issues such as historically informed performance, the use ofvoices or instruments in performing medieval and Renaissance secu- lar music, the careers of performers from medieval minstrels to a modern string quartet, how to add embellishment and ornamentation to music from the Renaissance and Baroque eras through the nineteenth century, and the changing relationships between opera singers and composers.
- 39. xxxviii Preface to the Ninth Edition ÁBOUT THE ÁNTHOLOGY AND RECORDINGS Responding to extensive feedback from instructors and students, I have expanded the repertoire inthe SeventhEdition ofthe NortonAnthologyofWest- ern Music from 205 to 220 works, with new works from the late Middle Ages by Petrus de Cruce, Philippe de Vitry, Guillaume de Machaut, and Francesco Landini; from the Renaissance by Josquin Desprez, Marchetto Cara, Nico- las Gombert, Thomas Tallis, Anthony Holborne, and William Byrd; from the seventeenth and eighteenth centuries by Jean-Baptiste Lully, Georg Philipp Telemann, Johann Sebastian Bach, Giovanni Battista Pergolesi, and Joseph Haydn; from the nineteenth century by Franz Schubert, Felix Mendelssohn, Fanny Mendelssohn Hensel, Anton Bruckner, and Gabriel Fauré; from the twentieth century by Richard Strauss, Maurice Ravel, Edgard Varese, Alban Berg, Kurt Weill, Heitor Villa-Lobos, Silvestre Revueltas, Leonard Bernstein, and Vincent Persichetti; and from the twenty-first century by Elliott Carter, Kaija Saariaho, Osvaldo Golijov, John Adams, and Jennifer Higdon. The anthology emphasizes complete works or movements. Each work selected is a good teaching piece-representative of its period, genre, and composer. Major composers such as Machaut, Landini, Du Fay,Josquin, Byrd, Gabrieli, Monteverdi, Scarlatti, Bach, Handel, Haydn, Mozart, Beethoven, Schubert, Mendelssohn, Chopin, Schumann, Brahms, Schoenberg, Stravin- sky, Bartók, John Cage, and John Adams are represented by multiple works, reflecting the composers' range of style. Other pieces reveal chains of devel- opment, including genres, conventions, forros, and techniques, from the mass to sonata form and from counterpoint to serialism. Selections encom- pass not only the standard canon but also music from Spain, Eastern Europe, and the Americas; music ofthe AfricanAmerican tradition; music bywomen; and music by living composers. The newly expanded recorded anthology features updated recordings from some of the best performers and ensembles working today alongside classic recordings by great artists, including: • Early music ensembles Academy ofAncient Music, Altramar, Anonymous 4, LesArt Florissants, Chapelle Royale, Chiaroscuro, Circa 1500, Concerto Cologne, Concerto Vocale, Dunedin Consort and Players, English Baroque Soloists, Ex Cathedra, Gabrieli Consort, GothicVoices, The Harp Consort, Hilliard Ensemble, His Majestys Sagbutts & Cornetts, Les Musiciens du Louvre, Lionheart, London Baroque, Martin Best Medieval Ensemble, Orlando Consort, Sequentia, Tallis Scholars, Theatre ofVoices, and La Venexiana. • Singers EllyAmeling, BryanAsawa, Julianne Baird, Cecília Bartoli, Bethany Beardslee, Ian Bostridge, Montserrat Caballé, Paul Elliott, Gerald Finley, Dietrich Fischer-Dieskau, Renée Fleming, Ellen Hargis, Paul Hillier, Lorraine Hunt, Emma Kirkby, Guillemette Laurens, Evelyn Lear, Christa Ludwig, Ethel Merman, Birgit Nilsson, Nigel Rogers, Renata Scotto,William Sharp, Bessie Smith, Joan Sutherland, and Furio Zanasi,
- 40. Preface to the Ninth Edition xxxix • Harpsichordists Gustav Leonhardt, Byron Schenkman, Genevieve Soly, and Colin Tinley. • Lutenists Eduardo Egüez, Lex Eisenhardt , Paul O'Dette, and Hopkinson Smith. • Violinists James Ehnes, Gidon Kramer, Sigiswald Kuijken, Ingrid Matthews, and Jaap Schróder. • Cellist Yo-Yo Ma. • Pianists Pierre-LaurentAimard, VladimirAshkenazy, Malcolm Bilson, Aldo Ciccolini, Henry Cowell, Jõrg Demus, Scott Joplin, Lili Kraus, Jelly Roll Morton, Ursula Oppens, Sergei Rachmaninoff, Artur Rubenstein, Rudolf Serkin, and Yuji Takahashi. • Orchestras Atlanta Symphony Orchestra, Berlin Philharmonic, Chicago Symphony Orchestra, Concertgebouw Orchestra, London Philharmonic Orchestra, London Symphony Orchestra, NewWorld Symphony, NewYork Philharmonic, Orchestre Revolutionnaire et Romantique, San Francisco Symphony, Members ofthe Simón Bolivar Youth Orchestra ofVenezuela, Tafelmusik Baroque Orchestra, and Vienna Philharmonic. • Conductors MarinAlsop, Herbert Blomstedt, Karl Bõhm, Pierre Boulez, William Christie, Aaron Copland, Colin Davis, John Eliot Gardiner, Bernard Haitink, Philippe Herreweghe, René Jacobs, Paavo Jarvi, Erich Leinsdorf, James Levine, Sir Charles Mackerras, Kent Nagano Seiji Ozawa, Robert Shaw, Robert Spano, Igor Stravinsky, and Michael Tilson Thomas. • Opera companies Bayreuth Festival Opera, Deutsche Oper Berlin, Kirov Opera, and Royal Opera House at Covent Garden. • Chamber ensembles the Concord String Quartet, Ensemble InterContemporain, Guarneri String Quartet, Kodály Quartet, Tokyo String Quartet, and Yuval Trio. • Bands the Royal Artillery Band and United States Marine Band. • Jazz artists Louis Armstrong, Duke Ellington, Dizzy Gillespie, Earl (Fatha) Hines, Charlie Parker, and Bud Powell. USING THE INSTRUCTOR'S RESOURCES A History of Western Music, Ninth Edition, comes with a suite of instructor materials that have been carefully developed to align with the goals and con - tent ofthe text. • lnstructor's Resource Disc is a helpful classroom tool that includes PowerPoint lecture slides- with audio excerpts-and all the art from the text.
- 41. xl Preface to the Ninth Edition • Test BankbyAnthony Barone (University of Nevada-Las Vegas), Stephanie Schlagel (College-Conservatory of Music, University of Cincinnati), and Laurel Zeiss (Baylor University) includes over 2,000 multiple-choice, true/false, short-answer, matching, and essay ques- tions. Some questions include musical examples, and each question is identified with a topic, question type (factual, conceptual, or applied), and difficulty level. • Instructor's Manual by Roger Hickman (California State University- Long Beach) includes detailed teachingadvice for new and experienced instructors alike. ln addition to suggested syllabi, the manual contains an overview and list of learning objectives, lecture suggestions and class activities, discussion questions, anda comprehensive annotated bibliography. • Norton Coursepacks enables students to access quizzes, recordings, and more via their campus learning management system. Organized by chapters in a playlist, all the recordings are available as streaming music within the coursepack, which also includes chapter diagnostic quizzes (with 25 questions per chapter exclusive to the coursepack), new listening quizzes for each musical work, flashcards, and more. • Norton Opera Sampler DVD contains over two hours oftop-quality live performances from the Metropolitan Opera. The DVD is available to adopters free ofcharge. ACKNOWLEDGMENTS No work of this magnitude can be written without a legion of help. My pro- found thanks to all who have contributed to the preparation of this Ninth Edition. I have been assisted at every stage by the members of the Editorial Advi- sory Board- Michael Alan Anderson, Arved Ashby, Gregory Barnett, James A. Borders, Mauro Calcagno, Drew Edward Davies, Andrew Dell'Antonio, Charles Dill, Don Fader, Andrew Flory, Rebecca L. Gerber, Jonathan Gibson, Robert O. Gjerdingen, David Grayson, Helen M. Greenwald, James Grier, Karen Henson, D. Kern Holoman, Steven Johnson, Lewis Lockwood, Michael P. Long, Melanie Lowe, Rebecca Maloy, Michael Marissen, Mary Sue Morrow, Margaret Notley, Gretchen Peters, Heather Platt, Hilary Poriss, John Rice, Margaret Rorke, }esse Rosenberg, Stephanie P. Schlagel, Carl B. Schmidt, W. Anthony Sheppard, Christopher J. Smith, Larry Starr, Pamela F. Starr, Rus- sell Stinson, Susan Youens, Charles Youmans, and Laurel Zeiss. Members of the Board reviewed proposed changes to this book and to NAWM; read and commented on chapters; pointed me to relevant scholarship; answered individual queries; and suggested ideas or turns of phrase, many of which I have incorporated. Their help has made this a much better book, and I am deeply grateful. Several others assisted directly with research and writing. Barbara Rus- sano Hanning drafted many of the sidebars (identified with her initials) and
- 42. Preface to the Ninth Edition allowed me to borrow ideas and passages from her Concise History ofWestem Musíc. Gretchen Peters contributed the sidebar on minstrels in chapter 4. Devon Nelson provided research and initial drafts for the sidebar on histori- cally informed performance in chapter 13. Harry Haskell helped with revi- sions for chapters 20- 23 and 25- 30 and drafted preliminaryversions for new sidebars on nineteenth-century women composers, Maria Malibran, Victor Maurel, and Hans von Bülow. Laura Dallman, Nathan Landes, and Amanda Sewell helped me plan chapter 39 and outlined initial drafts for portions of it; the Innovations sidebarontwenty-fi.rst-centurytechnologyis mostly Nathan's work. David Metzer, Kyle Gann, Mark Katz, and Matthew Leone also pro- vided suggestions for chapter 39. Katherine Baber, Joanna Biermann, Bruce A. Brown, Nellie Case, Ted DuBois, Paul M. Ellison, Timothy David Preeze, David A. Gable, Alan Gosman, Jacques Hendrick:x, Berkley Kalin, Mark Katz, HyunJoo Kim, Ralph Locke, William Meredith, David Metzer, Nancy Newman, Heather Platt, Alexander Silbiger, Blake Stevens, Kristen Strandberg, Michael Strasser, Richard Taruskin, Paul van Emmerik, Basil Walsh, Charles Whit- man, and BeverlyWilcox offered suggestions for improvements, from content to wording. My colleagues Phil Ford, Halina Goldberg, Daniel R. Melamed, Kristina Muxfeldt, Massimo Ossi, Ayana O. Smith, and Giovanni Zanovello answered queries and offered ideas. Over three hundred instructors provided extensive feedback about the previous edition and suggestions for changes. Laura Dallman, Nathan Landes, and Matthew Leone assisted with updating the bibliography, and Daniel T. Rogers provided research assistance. Marilyn Bliss created the index. Many thanks for their contributions. ln addition, I remain indebted to the many people who assisted in preparing the Seventh and Eighth Editions, whose ideas continue to play a signifi.cant role in this new edition. It has been a great pleasure to work with the staff at W. W. Norton. Mari- beth Anderson Payne, music editor, has been a constant source of ideas, support, enthusiasm, and editorial suggestions. Kathy Talalay edited and copyedited the manuscript with unfailing good sense and good humor and gently nudged me when I fell behind schedule. Justin Hoffmann oversaw the development of the accompanying edition of NAWM. Allison Courtney Pitch was the copyeditor, and Pamela Lawson served as the project editor for NAWM. Megan Jackson secured permissions for this book and for NAWM. Ariella Poss and Michael Pauver served as editorial assistants. Patricia Marx was the photograph editor, and Michael Podera researched the images and obtained copyright permissions. Jane Searle oversaw production and magi- cally kept the process moving. Jillian Burr contributed the beautiful design, David Botwinik did the elegant music typesetting, and Carole Desnoes the attractive layout. Steve Hoge designed and produced the electronic media accompanyingthe book. I cannot thank them all enough for their skill, dedi- cation, and counsel. I would also like to thank Randall Poster and his staff at Naxos for their diligence and hard work on the recording package that accompanies NAWM. Manythanks as well to Roger Hickman, who was the recordingconsultant and reviewed all the masters. Thanks fi.nally but most of all to my family, especially my parents Donald xli
- 43. xlii Preface to the Ninth Edition and Jean Burkholder, who introduced me to the love of music; Bill, Joanne, and Sylvie Burkholder, whose enthusiasm renewed my own; and P. Douglas McKinney, whose unendingpatience, encouragement, and support have sus- tained me through three editions over more than a dozen years. My father, who passed away during the fmal stages ofrevision, was always my biggest fan, showing my previous editions ofthis bookto everyvisitor and giving copies to anyone he thought would enjoy it. This edition is dedicated to him. ÁBBREVIATIONS B.C.E. Before Common Era (equivalent to B.c.) e.E. Common Era (equivalent to a.d.) - ]. PeterBurkholder October2008 SR Source Readings in Music History (see "For Further Reading," p. A23, for citation code) . PITCH DESIGNATIONS ln this book, a note referred to without regard to its octave register is desig- nated by a capital letter (A). A note in a particular octave is designated in ital- ics, using the following system: :>· CtoB ~ e' to b' ,e <e :e:::--=-- -e-'" ;;-- t)· 2 ( ') 4 ... o... li :;..,o- eto b 1 j ;p c"tob"
- 44. J / lI~fll EDITIO' A HISTORY o/- ~TER N MUSIC l
- 46. · PART· THE ANCIENT AND MEDIEVAL WORLDS very aspect of today's music has a history, and many fundamental elements can be traced back thousands of years. Prehistoric societies developed instruments, pitches, melody, and rhythm. Early civiliza- tions used music in religious ceremonies, to accompany dancing, for recreation, and in education-much as we do today. Ancient writers directly influenced our ways of thinking about music, from concepts such as notes, intervals, and scales, to notions of how music affects our feelings and character. Medieval musicians con- tributed further innovations, devising systems for notating pitch and rhythm that led to our own, creating pedagogical methods that teach- ers continue to use, and developing techniques of polyphony, har- mony, form, and musical structure that laid the foundation for music in all subsequent eras. Church musicians sang chants that are still used today; court poets and musicians composed songs whose themes of love's delights and torments are reflected in songs of our time; and both church and secular musicians developed styles of melody that have influenced the music of later periods. The music and musical practices of antiquity and the Middle Ages echo in our own music, and we know ourselves better if we understand our heritage. Yet only fragments survive from the musical cultures of the past, especially the distant past. So our first task is to consider how we can assemble those fragments to learn about a musi- cal world of long ago. Part Outline 1 MUSIC IN ANTIQUITY 4 2 THE CHRISTIAN CHURCH IN THE FIRST MILLENNIUM 22 3 ROMAN LITURGY AND CHANT 46 4 SONG AND DANCE MUSIC TO 1300 67 5 POLYPHONY THROUGH THE THIRTEENTH CENTURY 84 6 NEW DEVELOPMENTS IN THE FOURTEENTH CENTURY lll
- 47. CHAPTER 1 THE EARLIEST MUSIC 5 MUSIC IN ANCIENT MESOPOTAMIA 6 MUSIC IN ANCIENT GREEK LIFE AND THOUGHT 9 MUSIC IN ANCIENT ROME 19 THE GREEK HERITAGE 20 MUSIC IN ANTIQUITY The culture of Europe and the Americas- known as Western culture to distinguish it from the tra- ditional cultures of Asia- has deep roots in the civilizations of antiquity. Our agriculture, writing, cities, and systems oftrade derive from the ancient Near East. Our mathematics, calendar, astronomy, and medicine grew from Mesopotamian, Egyp- tian, Greek, and Roman sources. Our philosophy is founded on Plato andAristotle. Our primary religions, Christianity and Judaism, arose in the ancient Near East and were influenced by Greek thought. Our literature grew out of Greek and Latin traditions and drew on ancient myth and scripture. Our artists imitated ancient sculpture and architecture. From medieval empires to modern democracies, gov- ernments have looked to Greece and Rome for examples. The music of Western culture, known as Western music, also has roots in antiquity, from the scales we use to the functions music serves. The strongest direct influence comes through Greek writ- ings, which became the foundation for European views of music. The influence of ancient music itself is more diffi.cult to trace. Little notated music survived, and few if any European musicians before the sixteenth century could read the ancient notation. Yet some musi- cal practices continued, passed down through oral tradition. These echoes of ancient music in the Western tradition are reason enough to begin our survey by examiningthe roles of music in ancient cultures, the links between ancient practices and those of later cen- turies, and the debt Western music owes to ancient Greece. Starting with ancient music also lets us consider how we can learn about music
- 48. The Earliest M usic 5 of the past and what types of evidence we can use to reconstruct the history of music from any age. Music is sound, and sound by its nature is impermanent. What remains Types ofevidence of the music from past eras are its historical traces, of four main types: (1) physical remains such as musical instruments and performing spaces; (2) visual images of musicians, instruments, and performances; (3) writings about music and musicians; and (4) music itself, preserved in nota- tion, through oral tradition, or (since the 1870s) in recordings. Using these traces, we cantry to reconstruct what music ofa past culture was like, recognizing that our understanding will always be partial and will be influenced by our ownvalues and concerns. We are most confident of success when we have all four types of evidence in abundance. But for ancient music, relativelylittle remains. Even for Greece, by far the best-documented ancient musical tradi- tion, we have only a small portion of the instruments, images, writ- ings, and music that once existed. For other cultures we have no music at all. By examiningwhat traces survive and what we can conclude from them, we can explore how each type of evidence contributes to our understandingof music ofthe past. The Earliest Music The earliest evidence of music-making lies in surviving instruments and representations. ln the Stone Age, people bored finger holes in animal bones and mammoth ivory to make whistles and flutes. Figure 1.1 shows one of the oldest and most complete bone flutes yet found in Europe, dating from about 40,000 B.c.E. Paleolithic cave paintings appear to show musical instruments being played. Pottery flutes, rat- tles, and drums were common in the Neolithic era, and wall paintings in Turkey from the sixth millennium B.C.E. show drummers playing for dancers and for the hunt, to drive out game. Such images provide our primary evidence for the roles music played in these cultures. Once people learned to work with metal, in the Bronze Age (begin- ning in the fourth millennium B.c.E.), they made metal instruments, including bells, jingles, cymbals, rattles, and horns. Plucked string instruments appeared around the sarne time, as shown on stone carv- ings; the instruments themselves were made of perishable materials, and few have survived. Although we can learn about various facets of prehistoric musical cultures from images and archaeological remains, our understanding is severely limited by the lack of any written record. The invention of writing, which marked the end of the prehistoric period, added a new type of evidence, and it is with these accounts that the history of music properly begins. FIGURE 1.1: Front view ofa boneflute madefrom the radius (wing bone) ofagriffon vulture, unearthed in 2008 at Hohle Fels Cave in theAch Valley in Swabia (southwestem Germany) and estimated to datefrom about 40,000 to 44,000 years ago. With five finger holes, it is the most complete ofthe earlyflutes yet recovered. (sAsHA scHUERMANN/AFP1 GEITY IMAGES)