Study Guide for Music 1000 1
 Music
o Organization of Sound and Time
o Time based cognitive process
 Listing: thinking process with music
 Hearing: noise- background
 3 levels of music
o Sensual: surface impact of sound itself, how are you feeling
o Perceptual: how the sound is related to one another or why is the
music making you feel a certain way
o Imaginal: able to anticipate what is going to happen.
 Texture
o Monophony
 Simple
o Poloyphony
 More than one melody
o Homophony
 1 + background
 Melody
o Range
o Intervals: leaps or steps
o Modes: major minor atonal or other
o Length: short or long
o Cadence
o Direction
o Shape: smooth or jagged
o Register
o Structure
o Usage
 Rythem
o Tempo
o Beat
 Grouping: 2 or 3rds
 Strength
o Quality
 Duration
 Articulation
 Accents
 Rubato
 Patterns
 Harmony
o Structure
o Quality
o Tonality
o Density
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o Cadences
o Modulation
o Harmonic rhythm
o Prominence
Timbre/ colour
Dynamics
o Forte
o Piano
o Adjective mezzo
o Fortissimo
o Pianissimo
o Crescendo
o Diminuendo
Tempo
o Largo
o Adagio
o Andante
o Moderato
o Allegretto
o Allegro
o Presto
Diatonic: belongs to the same scale
Chromatics: uses notes outside of the scale
Orchestra
o String
o Woodwinds
o Brass
o Percussion
Other ways to make sound
o Chordophones: String interements
 zither
 lates
 lyres
 harps
 musical bow
o Aerophones: sound created be vibrating air
o Membranophones: sound created by vibration over a stretch
membrane
o Idiophones: source of sound: drum stick
o Electrophones: electronic sound
Form
o Organization of structures in music
o Planned structures (we will talk more about these when we get to
chapters 5-20)
o Melodic repetition
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o Ordering of timbres
o Text rhyme (for songs)
o Affects the Imagenial level
o Theme and variation
Early Music overview
o 600 A.D
o Controlled by the catholic church
 Music was sung in
 Mass
o Kyrie
o Gloria
o Credo
o Sanctus
o Agnus dei
 Divine office
 Plainchant
 Only voices, steady beat, no meter
 Plain chant
 Monophonic
 Melisma
 Organum
 Antiphone: call and echo
 Polyphony
 2 or more melodies are uses
 Trinity: music in 3
 ARS Antique: old way
 ARS Nova: New Way 1300
 composers carried rhythmic complexities to
extraordinary degrees. Rhythm seems to have obsessed
them.
o School of Notre Dame- 1600
o Tonic: final note
Resonance: 1350-1600 14th-16th centuries
o Italy
o Intellectual movement
o Paraphrase: Used chants from the church and change the bits
o Imitation was used
o Homopony was created in the 15th centrenty
o High Resonance 15th century
 The creation of music to illustrate specific feelings or moods
 Creation of word painting
o Slowly started to add in instruments
The Reformation- part of the late reformation
o Rebellion against the authority of the catholic church
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o Martian Luther (1483-1546): created the Lutheran Church, took parts
of the C. church and change parts
o Giovanni Gabrieli (1525/1526-1594)
 Wrote the Pope Marcellous Mass
 Used 2 choirs, 3 voice parts, 4 instrumenal parts plus and
organ
Gesualdo (1580)
o Used harmony to alter feelings
Baroque start of the 1600s
o Florence Italy
o Text is the mistress of music
o The mistress of music is the text
o Creation of musical instruments
o Dance
o Fugue: Music a contrapuntal composition in which a short melody or
phrase (the subject) is introduced by one part and successively
taken up by others and developed by interweaving the parts
 Once complete the subject can play a counter subject
o Inversion: making the subject upside down
o Oggentation: change in speed: longer
o Diminution: change in speed: shorter
o Episode: related to the subject but not the subject
o The Music
 Rhythms became more definite, regular and insistent
 No floating rhythms, same time through out the whole
piece
 Creation of the bar line
 Basso Continuo: constant bass to fill in the background
 Ground bass: ostinato, keeps coming back
 Evolved harmony: Functional harmony
o Opera- early baroque
 Recitative: Storyline
 Aria: Emotions
 Extended piece for a solo singer
 Orchestra had more variety due to the story line
o Orchestra
 Strings
 1st violins
 2nd violins
 violas
 Cello
 Winds and brass and percussion
o King Louis (XIV- 14)
 24 violinistes du roi: violinist of the king
Study Guide 2:
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Concerto
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Contrast between an orchestra and soloist
 1 vs. the many
 Concerto-vivaldi
 3 movements
 2 different organizational principles
o 1st and 3rd are writing in ritornello
o 2nd ground bass
 Concerto Grasso
 Several solo instruments and orchestra
o Arcangelo Corelli (1700)
 First to:
 Musician to make money publishing
 Wrote only for instruments
 Clearly in a major or minor scale
Opera sierra
o Upper scale
o More serious
o Appled to the upper class
Recitative
o The music accomplices the words
o Used for plot action dialog where the words are brought more b/c it is
a important/ intense part of the story
Aria
o A set piece for a solo singer
o More elaborate and coherence
Libertto
o Words of the opera
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Classical Genres
o The Sonata
 Created in the classical period
 Way of creating the music
 A:BA
 A is the expostion usally is repeated
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 B is the delvopment
 A is the replication: hear the first theme again
 The bridge is between to different themes
o The Classical Concerto
 Mozart
o The string Quartet
 Only strings
 Ussly 4 people
o Opera Buffa
 Comic opera
 Offered to the public
Forms
o Binary
 Simple only 2 sections
 A B format
o Ronda
 Alternates
 A B A B A or A B A C A
o Sonta- allergro
 Complex
 Started Classical period
 Exposition: development/ recapitulation: Coda
o Introduction
 Happens before the exposition
 Never repeated
 Part of Sonta- allergro
o Coda
 End of piece
 Independent section
 Closing theme
o Harmonic
 Key structure(s) of the different sections (including in general
…modulations)
o Melodic
 What melodies are heard, how they are typically contrasting,
exposed, developed, recapitulated
o Motivic
 What happens to the melody (ies) (in the development section
of sonata form)
Periods
o Late Brouque 1700- 1750
 Style by periods
 Melody
o Longer, more complex, asymmetrical,
instruments influenced vocal melodies
 Harmony
o Chords
 Rhythm
o Driving constant
o Bass creates the consistent
 Colour
 Texture
o Homophonic
 Form
o Binary
 J.S Bach 1685- 1750
 Church- wrote music for them
 Local fame: Did not move
 His music died with him
 Wrote a ton of music
 G.F Handel 1685- 1756
 Famous
 Traveled
 Brought opera to London
 International fame
 Telemann
 Vivaldi
o Classical 1750- 1800
 Style by periods
 Melody
o Short , balanced create tuneful melodies
o More influenced by vocals
 Harmony
o Chord changes verity
 Rhythm
o Varies
o Stop and go
o Depends on the movement
 Colour
 Texture
o Homophonic
 Form
 Mozart 1756-1791
 Started young
 Wrote in popular Genre
 Toured all of Europe with his father and sister
 FJ Haydn 1732- 1809
 Started his real first job in 1751
 Father of symphony
 Created orginal pieces
 Worked for a rich family
 Jean- jaques Rousseau
 Philoshper, significant impact on music
 Comic opera about “real” people
o Romantic period
 Style by period
 Melody
o Long, sing able lines with powerful climaxes and
chromatic inflections for expressiveness
 Harmony
o More colorful and richer
o Helps with expessing emotin through the music
o More dissonance to convey feeling of anxiety and
longing
 Rhythm
o Fexlible
o Not very clearly articulated
 Colour
o Orchestra becomes HUGE
o This gave new effects to the music
 Variation in dynamics
o Piano becomes larger and more powerful
 Texture
o Homophonic
 Form
o No new forms are created, stay with traditional
forms but length them
o Lied is created: symphonic poem and orchestral
song or mini opera
 Composers
o Beethoven
o Schubert
o Schumann
o Chopin
o Strauss
o Wagner
 Genres
o NEW
 Symphonic poem
 Leid
 Character piece for the piano
 Impressionism (1820-1920)
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Style by period
o Melody
 Varies from short dabs to long free
flowing lines
 Chromatic scales whole tone scale and
pentatonic scale often replace major and
minor scales
o Harmony
 Homophonic
o Rhythm
 Free flexible with irregular accents
o Colour
 Focus on the woodwinds and brass to
carry the melody
 More soloistic writing -> brings out the
colour more
o Texture
 Can vary from thin and airy to heavy and
dense
o Form
 Tried to use a unique form and
particulcular to each musical work.
o Composers
 Debussy
 Ravel
 faure
Composers
o Late baroque
 J.S Bach 1685- 1750
 Church- wrote music for them
 Local fame: Did not move
 His music died with him
 Wrote a ton of music
 G.F Handel 1685- 1756
 Famous
 Traveled
 Brought opera to London
 International fame
o Classical (1750- 1800)
 Mozart 1756-1791
 Started young
 Wrote in popular Genre
 Toured all of Europe with his father and sister
 FJ Haydn 1732- 1809
 Started his real first job in 1751
 Father of symphony
 Created original pieces
 Worked for a rich family
o Romantic (1800-1900)-> Individuality
 Beethoven Early (1700-1827)
 Wrote 9 symphonies
o 1-2: first period of his life: pushes the envelope
of classical period
o 3-8: second period of life -> more emotional
o 9: 3rd period of life
Schubert (1797-1828) early
 Spont. Melodist
 Combined music with lyrics
o Lied: Love poems with music
 R. Schumann (1810- 1856) traditionalist early
 Character pieces
 Wrote many Lieds for his wife
 Strauss
 Mendelssohn (1809 – 47)
 Created program music
 Berlioz (1803- 1847)
 Created the transformation from one motif (Music a
short succession of notes producing a single
impression; a brief melodic or rhythmic formula out of
which longer passages are developed: the motif in the
second violin is submerged by the first violin's
countermelody.) to another
 Wagner (1813-1883) late romantic
 German
 Nationalist
 Gesamtkunstwerk
o Ultimate art work art
 Romantic opera
 Lizet
 Symphonic poem
 Created crazy melodies
 Mainly a pianist
 J. Brahms
 Traditionalist
 Followed Beethoven
 Sonata form
 Gustan Mahler
 Pushing boundaries
th
o 20 century
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Oliver Messiaen
 changes the concepts of time