Power point 15: Late Baroque Music in Germany
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German composers in the Late Baroque Era incorporated elements from German, French, and Italian styles in their compositions. Key figures included Dietrich Buxtehude, who wrote organ works based on chorales as well as praeludiums, Georg Philipp Telemann who was extremely prolific across genres, and George Frideric Handel who combined Italian and German styles in his operas and oratorios. Johann Sebastian Bach lived in several German cities over his career, was highly influential as a keyboard player and composer of cantatas, passions, oratorios and instrumental works, and incorporated counterpoint and chromatic harmony into his distinctive compositional style.
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The Baroque era spanned from 1600 to 1750 and was characterized by grandiose and ornate styles in art, music, and architecture. This period saw advancements in music theory including figured bass, major and minor tonalities, and standardization of tuning systems. New genres like opera, oratorio, and concerto emerged and instrumental music became more popular. Key composers who advanced music through new virtuosic styles and genres included Monteverdi, Purcell, Handel, Vivaldi, and Bach.
Ch16 17th century france, england, spain, new world
This document provides an overview of national styles that emerged in the 17th century, focusing on France, England, Spain, and the New World. In France, King Louis XIV was an absolute monarch who centralized the arts under royal patronage to project an image of supreme power and control. Jean-Baptiste Lully dominated French opera and helped establish the French overture and orchestra. In England, the monarchy had less funding for the arts after the English Civil War, but composers like Henry Purcell incorporated Italian and French influences into English operas, anthems, and instrumental works. Spanish musical traditions blended with those of indigenous and African peoples in the colonies of the New World.
Ch17 late 17th century italy & germany
Italy and Germany had diverse and vibrant musical cultures in the late 17th century. In Italy, opera was the dominant genre, centered in Venice, with increasing numbers of da capo arias. Instrumental forms like the sonata and concerto flourished, particularly thanks to composers like Corelli. Germany drew on Italian and French influences while maintaining native styles. Lutheran church music incorporated both older polyphony and newer concerted styles, with Buxtehude and Pachelbel composing influential organ works during this period.
Wk 8 baroque o pera vocal late 17th century, early 18th century instrument...
This document provides an overview of opera and vocal music in late 17th century England and Germany, as well as Baroque music in the early 18th century across Europe. In England, masques were a popular court entertainment that shared aspects with opera. Henry Purcell was a prominent English composer who synthesized French and Italian elements. In Germany, opera and sacred vocal works incorporated French and Italian styles alongside German traditions. The rise of the instrumental concerto in Italy is discussed, with Antonio Vivaldi emerging as a leading composer who expanded the ritornello form. The document also examines the French composers François Couperin and Jean-Philippe Rameau, who blended French and Italian musical styles.
Mozart - Chapters 27, 31, and 32
This document provides an overview of Wolfgang Amadeus Mozart's life and works. It discusses that Mozart was a child prodigy born in Salzburg, Austria in 1756 who composed his first symphony at age 8 and first opera at 12. Although he struggled to find steady employment, he wrote in every major genre including operas, symphonies, concertos, and masses. The document also summarizes several of Mozart's most famous works such as his Requiem, Eine kleine Nachtmusik, and Piano Concerto No. 21. It concludes with sections on classical forms such as the sonata form and the development of themes.
Handel -Chapter 20 and 22
This document summarizes chapters 20 and 22 from the textbook "The Enjoyment of Music: Essential Listening". It provides biographical information about composer George Frideric Handel, including his background and major works. It discusses Handel's oratorio Messiah in detail, including its structure and famous excerpts like the "Hallelujah Chorus". It also summarizes the Baroque dance suite and instrumental music of Handel and other composers of the time. Key topics covered include Baroque instruments, forms like the allemande and courante, Handel's Water Music and Fireworks Music, and binary form.
Chapter 26 - Romantic choral, chamber and orchestral
MUS 3032 Music History III
Dr. Alicia Wallace
Department of Music
Southeastern Oklahoma State University
Chapter 22 Late 19th Century.pptx
Hugo Wolf was an Austrian composer best known for adapting Wagner's methods to the German Lied form. Gustav Mahler was a leading late Romantic composer of symphonies who was influenced by Wagner and Brahms. Richard Strauss was a prominent German composer and conductor in the late 19th century, known for his tone poems and operas such as Salome and Der Rosenkavalier.
Baroque Music
Baroque music originated around 1600 and lasted until 1750. It is characterized by unity of mood and rhythm, complex melodies, terraced dynamics, polyphonic and homophonic textures, basso continuo, and word painting. Common forms included the concerto grosso, fugue, suite, and cantata. Major Baroque composers included Monteverdi, Purcell, Vivaldi, Bach, and Handel. Bach was renowned for his keyboard works, fugues, concertos, masses, passions, and Brandenburg Concertos. Vivaldi was famous for his concertos, especially The Four Seasons. Handel's oratorio Messiah remains hugely popular.
Chapter 29 Brahms vs The Wagnerians
This document summarizes key aspects of Late Romanticism in German music, focusing on Johannes Brahms and Richard Wagner as representatives of opposing aesthetic approaches. Brahms composed in the Classical tradition, influenced by Beethoven, while Wagner saw Beethoven's legacy pointing in a different direction and developed new concepts like the leitmotif. The document also discusses Franz Liszt, Anton Bruckner, Hugo Wolf, and Richard Strauss as later Wagnerians who incorporated his techniques into their symphonic poems, operas, songs, and other genres.
Classical power point
During the Classical era from 1750-1825, art and music embraced order, balance, and classical ideals inspired by ancient Greece and Rome. This era saw the rise of the symphony, string quartet, and sonata forms, as well as major composers like Haydn, Mozart, and the early Beethoven. Their instrumental works featured memorable melodies, homophonic textures, and an emphasis on form and structure over improvisation. Opera and chamber music were also popular genres during this period.
Bach - Chapters 19 and 24
This document provides an overview of Johann Sebastian Bach and his cantatas. It discusses Bach's life and career, focusing on his work in Leipzig where he composed over 200 sacred cantatas for use in church services. It describes the form and characteristics of the Baroque cantata, and provides analysis of two movements from Bach's famous Cantata No. 140, "Wachet Auf." It also provides background on Baroque keyboard instruments and an introduction to the fugue form, with analysis of the first fugue from Bach's The Art of Fugue.
Unit iii baroque period bach and handel
This document provides an overview of Baroque music from 1600-1750. It discusses two major composers of the period, Johann Sebastian Bach and George Frideric Handel. For Bach, it summarizes his life, works including fugues, dance suites, Brandenburg Concertos, and church cantatas. For Handel, it discusses his life and career in England composing works like Water Music and the famous oratorio Messiah, highlighting pieces such as "Hallelujah Chorus." The document also gives a brief overview of Baroque choral and sacred forms, including the church cantata form that Bach frequently used.
Chapter 21 Later Romantics.pptx
Franz Liszt was one of the most famous and influential pianists and composers of the 19th century. He pioneered new piano techniques and was the first to give solo piano recitals. As a composer, he invented the symphonic poem and made innovations in harmony. Johannes Brahms was a leading German composer who wrote symphonies, chamber works, piano music, and over 200 songs. His works were influenced by Baroque counterpoint and he championed the music of Bach. Pyotr Ilyich Tchaikovsky was the most prominent 19th century Russian composer, known for his ballets, operas, and symphonies, including his popular Symphony No. 4 and 5.
Baroque Period
The Baroque period of music lasted from 1600-1750. It was a time of experimentation and refinement where music became more emotionally intense, energetic, and featured dramatic contrasts and excitement. Some characteristics included expanded instrumental performance, and the establishment of new genres such as opera, cantata, oratorio, concerto, and sonata. Some famous Baroque composers included Johann Sebastian Bach, Antonio Vivaldi, Henry Purcell, and George Frideric Handel.
Chapter 22 Grace and Grandeur: The Baroque Dance Suite
The document discusses Baroque instruments and the Baroque dance suite. It provides details on instrument designs and materials used in the Baroque era. It then describes the typical structure of a Baroque dance suite, including common dances and forms. It highlights two notable Baroque suites: Handel's Water Music and Music for the Royal Fireworks. The Water Music suite included a "Hornpipe" movement, described as a lively sailors' dance written in binary form. The document also briefly mentions other Baroque suites by Jacquet de la Guerre, Couperin, and Bach.
Baroque Era Period of Music
The Baroque Period of Western Music History circa 1600 to 1750 AD. It may derive from the word barroco in Portuguese meaning “irregular shape.” Originally used in a derogatory fashion to describe artistic trends of this time period, baroque has come to broadly refer to the century and a half beginning in 1600.
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Power point 11: Early Baroque Music
The Baroque era saw the development of new musical styles and genres between 1600-1750. A key doctrine was that a piece of music should express a single emotion. Early styles included Stile Antico which used polyphony and strict rules versus Stile Moderno which broke rules to effectively express text. The Florentine Camerata in the 1570s-80s planned to revive Greek opera and develop monody with solo melody and basso continuo accompaniment. Early opera began around 1600 with Dafne by Peri and L'Euridice by Peri and Caccini. Monteverdi's 1607 opera L'Orfeo was highly influential in establishing conventions for the new genre such
Similar to Power point 15: Late Baroque Music in Germany (20)
Ch16 17th century france, england, spain, new world
Ch16 17th century france, england, spain, new world
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Chapter 26 - Romantic choral, chamber and orchestral
Chapter 26 - Romantic choral, chamber and orchestral
Chapter 22 Grace and Grandeur: The Baroque Dance Suite
Chapter 22 Grace and Grandeur: The Baroque Dance Suite
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Power Point 25. The Romantic Era: Diverging Traditions in the Late 19th Century
This document summarizes diverging traditions in late 19th century music between nationalism and internationalism. It provides an overview of prominent composers from different regions who either incorporated national folk elements or adopted more cosmopolitan styles. Key composers discussed include Dvorak, Smetana, and Janacek from Bohemia; Grieg and Sibelius from Scandinavia; the Russian nationalist group known as the Mighty Five including Mussorgsky and Rimsky-Korsakov; and internationalists like Tchaikovsky. French composers covered are Bizet, Franck, Saint-Saens, and Fauré. In England, Edward Elgar is discussed.
Power point 23. The Romantic Era: Late Romantic Opera
This document summarizes late Romantic Italian and German opera. It discusses the key composers Giuseppe Verdi and Richard Wagner. Verdi wrote dramatic operas with emotional subjects and distinctive singing roles. Wagner developed "total art works" using leitmotifs and continuous melody. His epic four-opera cycle Der Ring des Nibelungen combined Norse mythology with themes of power and redemption.
Power point 22. The Romantic Era: Early Romantic Opera
Early Romantic opera between 1820-1850 saw the genre become an important part of popular culture across Europe. Works by Rossini, Bellini, Donizetti, Meyerbeer, and Weber established the permanent repertory of classics. Their operas incorporated bel canto singing, simple harmonies, and highly embellished melodies. They advanced drama through seamless transitions between recitatives and arias. Italian opera dominated the genre, while France had three prominent opera houses and Germany featured works with ordinary characters and personal feelings.
Power point 20. The Romantic Era: Early Romantic Song and Piano
The document summarizes the Early Romantic period in music from 1820-1850, focusing on German Romanticism, style characteristics, and prominent composers of the time. Key points include the rise of art music focusing on individualism and nature, the innovation of Schubert and Schumann in song/lieder setting German poetry, and the emergence of character pieces, etudes, and solo piano works by Chopin, Mendelssohn, Liszt that demonstrated technical virtuosity.
Power point 19. The Classic Era: Beethoven
This document provides biographical information about Ludwig van Beethoven and summarizes the key periods and styles of his compositions. It is divided into sections on his early life and education, his early compositions that were influenced by Haydn and Mozart, his heroic middle period starting around 1803 characterized by expanded forms and counterpoint, and his late period starting in 1815 with more meditative and developed works. The document also provides context about the Enlightenment period in which Beethoven was composing and how his music reflected Enlightenment ideals through heroic, universal, and nature-inspired themes.
Power point 16. The Classic Era: Early Classic Italian Opera
The document summarizes the Classic Era of opera from 1750-1820. It describes the characteristics of early classic Italian opera, including small casts consisting of castrati, sopranos, tenors, and the structure of da capo arias and ensembles. Intermezzi were short comic operas performed between acts of serious operas. Opera buffa were full length comic operas influenced by commedia dell'arte. Italian opera was popular throughout Europe, with composers like Hasse, Pergolesi, Jomelli, J.C. Bach, and Traetta producing operas in Italy, Germany, and Russia. Christoph Willibald Gluck's operas emphasized dramatic unity and simplicity to heighten
Power point 10: Instrumental Music in the 1500s
Music in the Renaissance Era from 1420-1600 saw the development of instrumental music. Treatises in the vernacular provided instruction for amateurs and professionals. The 1500s saw the first lasting tradition of written polyphonic instrumental music. Composers did not specify instruments, allowing for flexibility. Instrumental music was played on families of instruments including winds, plucked strings, bowed strings, and keyboards. New genres included dance suites and variations on vocal themes. Italian composers like the Gabrielis and Frescobaldi pioneered abstract instrumental works for ensembles.
Power point 9: Secular Vocal Music of the 1500s
This document summarizes secular vocal music styles that developed across Europe during the Renaissance period from 1420-1600. It describes the villancico form that emerged in Spain featuring short strophic songs on popular subjects. In Italy, similar frottola and livelier villanella, canzonetta, and balletto emerged alongside the serious madrigal set to poetry. France saw the new chanson style become popular as well as the influence of the musique mesurée movement. England developed the consort song, madrigals, and lute songs. Germany had the tradition of Meistersingers singing unaccompanied songs.
Power point 7: Second and Third Generation Renaissance Vocal Polyphony
During the Renaissance period from 1420-1600, vocal polyphony developed in several ways. Franco-Flemish composers like Ockeghem, Busnoys, Obrecht, Isaac, and Des Prez advanced the genre through more complex meter, cadences using triads rather than double leading tones, and greater use of imitation between equal voices. They also composed secular masses and chansons in addition to sacred masses and motets. By the late Renaissance, composers like Des Prez expertly set text to music and incorporated both imitation and homophony into highly structured works.
Power point 6: First Generation Renaissance Vocal Polyphony
The document summarizes music of the Renaissance era from 1420-1600. It describes the development of polyphony in England and Burgundy during the early Renaissance, with composers like Dunstable, Binchois, and DuFay popularizing new styles. Key changes included the introduction of meter, new cadence formulas, three-voice textures, secular forms like the chanson and ballade, and masses that used existing melodies (cantus firmus) as structural voices. DuFay's works exemplified international Renaissance styles through pieces like the ballade "Resvellies Vous" and his cantus firmus mass "Missa se la face ay pale."
Power point 4: Early Polyphony
This document summarizes the development of early polyphony from the 9th through 13th centuries. It begins with organum, where one or more voices were added above a chant. The Musica Enchiriadis and Scolica Enchiriadis outlined rules for parallel and oblique organum using 4ths, 5ths, and octaves. Aquitanian manuscripts featured florid and discant organum. The Notre Dame school under Leonin and Perotin in the late 12th century developed discant organum with up to 4 voices above a chant. They innovated rhythmic notation modes. In the early 13th century, motets were developed by adding words above discant organum,
Power point 3: Medieval Secular Vocal Music
Medieval secular vocal music developed outside of the church in various regions of Europe between the 11th-13th centuries. In France, the earliest known French writings date to the 800s and included chanson de geste epic poems that were performed by wandering minstrels. Distinguished troubadours and trouvères, who were poet-composers of the nobility, composed songs of courtly love during this period in Southern and Northern France. In Germany, minnesingers wrote bar form love songs praising courtly love. In Iberia, the Cantigas de Santa Maria collection of songs was compiled in the 1200s under King Alfonso X of Castile. Penitential lauda songs were
Power point 1: Ancient Music
This document provides an overview of the history and development of ancient music from prehistoric times through ancient Greece and Rome. It traces the earliest evidence of musical instruments dating back 36,000 BCE found in bone flutes and whistles. Musical traditions developed over millennia, as evidenced by instruments becoming more advanced in different ancient cultures. In ancient Greece, music was deeply ingrained in society and closely linked to mathematics and philosophy. Greek writings provide valuable insights into their theories of music and use of specific instruments. While little music survives from ancient Rome, Greek musical concepts and instruments influenced Roman music.
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Power Point 25. The Romantic Era: Diverging Traditions in the Late 19th Century
Power Point 25. The Romantic Era: Diverging Traditions in the Late 19th Century
Power point 23. The Romantic Era: Late Romantic Opera
Power point 23. The Romantic Era: Late Romantic Opera
Power point 22. The Romantic Era: Early Romantic Opera
Power point 22. The Romantic Era: Early Romantic Opera
Power point 20. The Romantic Era: Early Romantic Song and Piano
Power point 20. The Romantic Era: Early Romantic Song and Piano
Power point 16. The Classic Era: Early Classic Italian Opera
Power point 16. The Classic Era: Early Classic Italian Opera
Power point 7: Second and Third Generation Renaissance Vocal Polyphony
Power point 7: Second and Third Generation Renaissance Vocal Polyphony
Power point 6: First Generation Renaissance Vocal Polyphony
Power point 6: First Generation Renaissance Vocal Polyphony
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- 1. Music in the Baroque Era: Part V 1600-1750
- 2. The Late Baroque Era in Germany 1700-1750 German composers incorporated German, French, and Italian elements in their compositions.
- 3. Dietrich Buxtehude (ca. 1637—1707) • organist • organ works – based on chorales • chorale preludes (short) • chorale fantasias (long) – not based on chorales • praeludium—like Frescobaldi toccatas – Praeludium in E major • influenced Bach
- 4. Georg Philipp Telemann (1681-1767) • worked throughout Germany and Poland as an ensemble director and opera director • extremely prolific – operas – solo and trio sonatas – quartets (3 solo instruments plus continuo) • Quartet for flute, oboe, violin, and continuo from Tafelmusik – concertos – overtures – cantatas – orchestral suites – concertos – sacred works
- 5. George Frederick Handel (1685-1759) • 1703—Hamburg—Italian operas • 1706—Italy—Italian operas • 1710—London – Italian operas until 1741 • Giulio Cesare – English oratorios (1732—1752) • Saul • Messiah • blind 1752 • Works – opera—opera seria • Arias—ritornello Form • combined Italian and German styles – Italian--tuneful, singable music – German—chromatic harmony, counterpoint – large ensemble • orchestra: Water Music • wind band: Music for the Royal Fireworks
- 7. Bach’s life
- 8. • born in 1685 in Eisenach—musical town, musical family • in his lifetime, known only in Germany— never left Germany Eisenach, Germany
- 9. • lived in Arnstadt, 1703- 1707 • church organist – organ music – concertato vocal music – studied w/Buxtehude Arnstadt, Germany
- 10. • lived in Weimar, 1708-1717 • organist @ ducal chapel – court chamber music • concertmeister 1714 – cantatas – organ works – harpsichord pieces – instrumental ensemble works; concertos Weimar, Germany
- 11. • lived in Cöthen, 1717-1723 • court Kapellmeister – solo keyboard works – instrumental ensemble works – secular cantatas Cöthen, Germany
- 12. • lived in Leipzig from 1723 • cantor of St. Thomas School, dir. of music in city’s 5 main churches – cantatas (sacred and secular) – oratorios – passions • St. Matthew Passion • published earlier works • 1729-1741—Director of Leipzig Collegium Musicum – public concerts • instrumental music • secular cantatas – Goldberg Variations – Art of Fugue – Musical Offering – B minor Mass Leipzig, Germany
- 13. Bach’s works
- 14. Keyboard • Organ virtuoso – organ works—same types as Buxtehude. • Praeludium becomes prelude and fugue (separate works) – Toccata and Fugue in d minor – Prelude and Fugue in a minor, BWV 543 • Chorale Prelude on Durch Adams Fall • unspecified keyboard works – 2 & 3 part inventions – Well-Tempered Clavier—preludes and fugues in all 24 major and minor keys – English & French Suites, Partitas • French dances • German and Italian stylistic elements • Italian Concerto style
- 15. Orchestra • overture—orchestral suite in French style • instrumental concerto • solo concerto – studied Vivaldi’s concertos – Brandenburg concertos • #5--1st keyboard harpsichord concerto • # 3--3 violins, 3 violas, 3 cellos, continuo • # 2--F major, fast-slow-fast, ritornello form – Corelli-style concerto grosso (ripieno not necessary)
- 16. Cantatas • one or more solo singers and instruments • all parts sung by men (falsettists) • one to a part • chorale cantata—texts and music derived from a chorale – open with chorale fantasy – arias and recitatives in the middle – 4-part chorale at end • sacred cantatas – organized around church calendar—one for each Sunday and church holiday – Cantata no. 62 – Cantata no. 147 • different from Italian secular cantata: – in German – several singers – sacred
- 17. Bach’s compositional style • church musician, but also composed secular music (little difference) • counterpoint • sometimes highly dissonant, chromatic harmony