history of music

By ivannuvi04
  • Period: 800 to 1000

    Gregorian chant

    • It has a monophonic texture, without instrumental accompaniment.
    • It uses modal scales and is in free time.
    • The text in Latin with a religious theme.
    • Performed by male voices and alternates between a soloist and the choir, or between two choirs.
  • Period: 992 to 1050

    Important musicians. Guido d´Arezzo and Hildegard Von Bingen

    GUIDO D´AREZZO:
    He was a teacher in the catedral school.
    He created the four-line stave and gave the notes the names that we still use today.
    He used a hymn dedicated to Saint John the Baptist called Ut Quent.
    He gave the name Ut to the note that we now call DO.
  • Period: 1000 to

    Liturgical polyphony.

    The main liturgical polyphony forms were:
    - Organum: the earliest form. The main voice was added to the Melody and a second, parallel voice was added.
    - Discantus: appeared later. A new voice was added to the Gregorian Melody that moved in contrary motion.
    - Conductuc: it was a new composition for two to four voices. The same text, with the same rhythm, in the syllabic style.
  • Period: 1098 to 1179

    Important musicians Guido d´arezzoand Hildegard Von Bingen.

    Hildegard Von Bingen: was a num. writer, scientist and composer. She experienced mystic visions and she said that these visions were accompanied by music. She composed a total of 78 liturgical pieces. She said that singing was a manifestation of the divine spirit of humanity.
  • Period: 1453 to

    SECULAR VOCAL MUSIC

    Madrigal was created in ITALY.
    Song was created in ENGLAND.
    Chansons was created in FRANCE.
    SPAIN have:
    -Romance: it was the based on popular poetic.
    -Villancico: it also had popular origins. It name comes from the tunes that peasants (villanus) sang in the villages .
    -Ensalada: this composition was a combination of different form, languages and polyphonic textures.
  • Period: 1453 to

    MUSIC FORM

    -Compositions based on vocal music: instrumentalist, who usuallyaccompanied vocal pieces, used these as a base for instrumental work.Tiento in SPAIN and PORTUGAL.
    -Compositions with a improvisational feel: composers started to write down any brief improvised pieces that were of good musical quality.The toccata was one of the most important forms.
    -Variations: it consisted of the expositionof a short musical theme followed by some variations. In Spain it was called diferencias.
  • Period: 1453 to

    SEVERALS PART/ ONE PART

    One part-MONOPHONY: One melodic line.
    Severals parts:
    -IMITATIVE COUNTERPOINT: severals melodic line imitate each other, but start at different times. The simplest form is the canon.
    -HOMORHYTHMIC HOMOPHONY: several similar melodic lines that move simultaneously.
    -MELODY-DOMINATED HOMOPHONY: a main melodic line that can be identified, with a harmonic accompaniment.
  • Period: 1483 to 1546

    MARTIN LUTHER

    Was a German theologian and monk, known for starting the PROTESTANT REFORMATION in his country. He was also a composer and a flautist, and he wanted the parishioners to take part in the singing in church. For this reason, he created a repertoire of simple melodies in the vernacular. CATHOLIC MUSIC, on the other hand, continued to be solemn and written in Latin. Only the clergy performed it.
  • Period: 1544 to

    MADDALENA CASULANA

    Was the first woman to publish her compositions in the history of Western music. We known very little about the life of the Italian composer, lutenist and singer, whose compositions had expressive melodies in which the text takes priority.
    In the first of her four books of madrigal, Casulana expressed her position very clearly.' i want to show the world, as much as i can in this profession of music, the vain error that only men posses the gifts of art nd intellect.
  • Period: 1548 to

    TOMÁS LUIS DE VICTORIA

    Was a Spanish composer. He was born in Avila and received his first music lessons there. At the age of 19 he travelled to Rome to complete his musical training with GIOVANNI PIERLUIGI DA PALESTRA, the most important composer at the time. In 1587, Victoria became chapel master to the EMPRESS MARIA of Australia in Madrid. He later worked as an organist at the Convent of Las Descalzas Reales. His influence is still with us in the 20th century.
  • Period: to

    THE BAROQUE ORCHESTRA

    -Basso continuo: it was perfomed by the harpsichord, harp or organ.
    Together with the strings, these instrument were the base of the orchestra.
    --strings: it was the largest section of the orchestra and played the most important parts.
    -Wind: it included two groups. Woodwind instruments consisted of flutes, oboes and bassoons, and brass instruments consisted of a small number of trumpets.
    -Percussion: it consisted of just two kettedrums.
  • Period: to

    VOCAL MUSIC / OPERA

    PARTS:
    -Overture: introduction to the work. It usually gives a taste of the melodies that will come later.
    -Interlude: section that comes between the acts or scenes to give time for scene changes.
    -Recitative: semi-sung part, very basic melody and simple accompanimentof basso continuo.Its fuction is to helpto tell the story.
    -Aria: part where one of two soloist perform moving texts with expressve melodies.
    -Chorus: part performed by all the singers proportion of the supporting cast of the opera.
  • Period: to

    INSTRUMENTAL FORMS

    -Fugue: one movement based on the same musical idea, performed by different parts that started at different times.
    -Suite: series of various with different characteristic, rhythms and tempos. Written for a solist or for an orchestra.
    -Sonata: four movements, alternating between fast and slow tempos. Written for one, two and three instruments.
    -Concerto: the concerto grosso performed by a group or a solist and solo concerto the dialogue between the orchestra and a solist.
  • Period: to

    RELIGIOUS VOCAL MUSIC

    -The cantata: was originally secular, but the Church used it to spread its teachings, using texts that worshipped God. It consisted of a sequence of recitatives, arias and choruses.
    -The oratoria: was similar to the opera, but with religious plot, a narrator and a large choir.
    -The passion: was similar to the ortorio, but related exclusively to the passion and death of Christ, and it was inspired by the Golpels.
  • Period: to

    BAROQUE MUSIC

    -It aimed to arouse emotions and make musical performances spectacular.
    -It used contrasting elements and overelaborate melodies.
    -It was based on the diatonic scales that we know, with their scale degrees and functions. This is why it sounds more familiar to us than music from previous periods.
    -It had an insistent, mechanicalrhythm, with strong, repeated beats.
    -The predominant texture was melody-dominated homophony.
  • Period: to

    MUSIC IN THE CLASSICAL PERIOD

    -It was balanced, clear anf bright, without excessive ornamentation.
    -It aimed to find a musical language to expressformal perfection and universal beauty.
    -It used musical forms with well-defined structures and smooth transitions between its section.
    -It emphasisedthe melody, using short musical phrases that were symetrical.
    -The use of a simple harmany, with clear breaks, that gave a precise structure to the piece of music.
    -The use of melody-dominated homophony, especilly with Alberty Bass.
  • Period: to

    INSTRUMENTAL MUSIC

    WOODWIND INSTRUMENT:
    -The clarinet has a single-reed mouthpiece and keys. Mozart composed with this intrument.
    BRASS INSTRUMET:
    -The french horn has a conicalmouthpiece and a long tube curled into a circular shape.
    STRUCK STRING INSTRUMENT:
    -The piano is a keyboard instrument that was invented in about 1700 by Bartolome Cristofori of Italy.
  • Period: to

    THE CLASSICAL PERIOD IN SPAIN

    The classical period coincided with the enlightened despotism of Carlos tercero and Carlos cuarto. The composers of this period, Juan Crisóstomo de Arriaga, Fernando Sor and Luigi Boccherini.
    The Italian influence was especially clear in opera: companies were always performing Italian operas and composers like Vicente Martín y Solerwrote many operas in the Italian style.
    Martín y Soler even shared a librettist with Mozart and competed with him as a composer in Vienna.
  • Period: to

    The reform of the opera

    -The plots were a closer reflection f the lives of the audience.
    -The music reflected the dramatic action and the characters.
    -The chorus became more relevant.
    -The orchestra grew and became more important.
  • Period: to

    INSTRUMENTAL FORMS

    Sonata: perrformed by one or two soloists.
    Trio, quartet, quintet…:composed for different chamber ensembles.
    Shymphony: performed by the orchestra.
    Concerto: performed by a soloist and the orchestra.
  • Period: to

    OPERA SERIA, OPERA BUFFA AND RELIGIOUS VOCAL MUSIC

    Opera seria:
    Was represented by the German composer Christoph Willibald Gluck.
    Opera buffa:
    was originated in Naples in Italy. One of the most important represent was Mozart and one of his work was The marriage of figaro.
    Religious vocal music:
    Was in gradual decline, although the Barroque musical form were still practise, in particular the requiem. The most important requien was Mozart. which the composer left unfinished when he died.
  • Period: to

    INSTRUMENTAL MUSIC

    Woodwind
    -The bass clarinet: The modern version was in 1830 designed by Adolphe Sax.
    -The contrabassoon: long tube that curves around on itself twice. It supported by an iron endpin.
    -The saxophone: invented in 1845 by Adolphe Sax. It is made of brass and single-reed mouthpiece.
    Brass
    -The trombone: cup-shaped mouthpiece, a tube bent into three sections and bell.
    -The tuba: lowest register in the orchestra.
    Percussion
    Bass drum, snare drum, cymbals, gong, triangle, marimba and celesta.
  • Period: to

    Compositions for piano

    -Short pieces for solo piano: These works were shorter than the sonata, which was still developing in this period. They were also sometimes based on popular dances of the period.
    -Chamber music: this music was performed in concert halls and in private concert.
    -Longer works: the piano and the violin were the instrument that most frequetly performed as soloists in these types of composition.
  • Period: to

    Symphony music

    • Over 80 musician. -The wind and the percussion section also grew. -Symphony and the concerto stood out. -This music developed in the Romantic period and was called programme music. The programme music aims to describe a programme or a narrative inspired by extra-musical elements, like a landscape, a lilerary text, a painting or a personal experience. The form that stood out the most in programme music wasthe symphonic poem.
  • Period: to

    Zarzuela and lied.

    Zarzuela: lyrical and theatrical musicalform that appeared in the 17 th, but produce some of its in the 19 th century.Also use folk and local elements. The zarzuela grande, in three acts, had a large amount of choruses and more singing that spoken parts. The género chico had just one act, fewer characters and more spoken text yhan singing.
    Lied:
    The romantic lied is a poem set to simpe music, accompanied by the piano, which aims to reinforce the contens of the texts.This come from Germany.
  • Period: to

    Musical nationalism

    -Russia. Pyotr Iyich Tchaikovsky an The Five, the composer Alexander Borodin, Modest Mussorgsky, Nikolai Rimski-Korsakov, Mily Balakirev and Cesar Cui.
    -Hungary: Bela bartok start the ethnomusicology, ascience dedicated to study of folk and world music.
    -Spain: with Felipe Pedrell, Isaac Albeniz, Enrique Granadosand Pablo Sarasatebecome the most famous composers. 20 th Manuel de Falla took Spanish musical ncionalism beyond its borders,
  • Period: to

    Ballet

    Ballet
    was flourishing around the globe as an essential ingredient of popular entertainment. In Britain alone, dozens of new venues for ballet opened across the country. Some staged divertissements, pantomimes or narrative ballets based on well-known works like La Sylphide and Paquita. Others, like London’s Alhambra Theatre, specialised in lavish ballet “spectaculars” that celebrated patriotic pride and popular culture, employing vast numbers of buxom young women.
  • Period: to

    MUSIC IN THE ROMANTIC PERIOD

    -Wanting to be free from Classical rules and express emotions.
    -Aiming for virtuosity.
    -Making the melody an important means of expression.
    -Using a winder vocabulary on scores to show precise changes in dynamics, tempo and character.
    -Using melody-dominated homophony with complex harmonies.
    -Appearing in small musical forms designed for smaller venues.
    -Aiming for unity in the piece of music by using resources like the repetition of musical ideas.
  • Period: to

    20 th century music

    -Pursuing novelty, experimentation and originaly.
    -Searching for a new musical language that broke away from previous concepts of tone, rhythm and timbre.
    -Exploring different ways of representing music.
    -Using new computer and instrumental resources.