Survey of French Harpsichord Music
|
|
- Gavin Price
- 5 years ago
- Views:
Transcription
1 Survey of French Harpsichord Music The first important composer in France for the harpsichord was Jacques Champion Chambonnières. Nearly 150 of his pieces survive, some of which appeared in his 1670 publication. One stylistic trait of the French composers that is found from the beginning is stile brisé, or broken style. This arpeggiated texture was borrowed from contemporary lute music. Chambonnières promoted the career of Louis Couperin, who, apparently out of loyalty to his mentor, refused the offer of his post as jouer d espinette ( royal harpsichordist ). Couperin appears to have been the first harpsichord composer to write préludes non mesuré ( unmeasured preludes ), of which he wrote sixteen, in rhythmically unmeasured notation which lacks meter, barlines, and rhythm (though some later composers did add some rhythmic values). Couperin (who did not publish any pieces during his short lifetime) and Jean-Henri D Anglebert (four suites published in 1689) are the most important of this second generation of harpsichord composers, with Elisabeth Jacquet de la Guerre ( ; harpsichordist, composer), the precocious child prodigy who grew up to publish two books of harpsichord pieces (1687 and 1707) at their heels. Nicolas Lebègue also produced two engraved books (1677 and 1687), but, according to Fuller, The poverty of his invention disappoints us; there is a sameness about his pieces... 1 James Anthony describes these composers: Although all shared in the creation of a common language, some individual differences are worth noting. Louis Couperin was certainly the most adventurous harmonically; Chambonnières, the greatest melodist; Lebègue, the most academic and predictable; D Anglebert, the most difficult;... and Jacquet de La Guerre, the most eloquent. 2 1 Fuller, French Harpsichord Music, James R. Anthony, French Baroque Music from Beaujoyeulx to Rameau, revised and expanded edition (Portland: Amadeus Press, 1997),
2 Mention should be made of the two most important sources for French harpsichord music in the seventeenth century, the Bauyn and Parville manuscripts. Gustafson summarizes: The Bauyn MS has long been recognized as the cornerstone of the repertory. It is the largest single source of seventeenth-century French harpsichord music, containing 345 pieces that provide readings of more than a third of all the extant seventeenth-century French works written originally for the harpsichord. It is the only source for half of Louis Couperin s harpsichord music and a third of Chambonnières s output. Its music was largely composed no later than the 1650 s (Chambonnières was already well known in the 1630 s and Couperin died in 1661), but the date of the manuscript itself has been very difficult to determine.... Recent research shows that the manufacturer of its paper did not begin his business until A second important manuscript[,]... the Parville MS, is closely related to Bauyn in its readings of the 79 pieces that the sources have in common.... Parville contains transcriptions of works from 16 of Lully s dramatic works, the latest being Acis et Galathée (1686). This provides a terminus post quem of 1686 for the manuscript. 3 Fuller tells us that the whole body of harpsichord music surviving from seventeenthcentury France, excluding that published in the next century, amounts to something in the neighborhood of 500 pieces. 4 The suite was [essentially] the only genre of classic French harpsichord music,... 5 notes Gustafson, and the suites in the pièces de clavecin published between 1670 and 1700 range from 4 to 21 movements in length; the majority comprise 7 or 8 pieces. Of these 26 suites, more than half (14) begin with unmeasured preludes... and all but 2 have an allemande as the first dance. 6 The individual dances are overwhelmingly binary in form. 7 Carol Henry Bates describes the next phase in harpsichord publications: The very first decade of the eighteenth century opened with a flourish. Ten collections of harpsichord pieces were published within those ten years. This remarkably productive 3 Gustafson, France, Fuller, French Harpsichord Music, 2. 5 Gustafson, France, Ibid. 7 Ibid.,
3 period bridges the gap between the 1689 collection of D Anglebert and the appearance of François Couperin s first book in Charles Dieupart (? after 1667-c.1740; harpsichordist, violinist, composer), who was active mainly in London, published Six suittes in c They are the first to actually be called suites, and his treatment of the suite as a form, with a fixed number of movements in a fixed order, was without precedent in French harpsichord music, as was the prefixing of an overture to each suite. 9 Louis Marchand (two books published in 1699 and 1702) was a famous keyboard virtuoso. Nicolas Clérambault ( ; organist, composer) (1704) and Jean-François Dandrieu ( ; composer, organist) (three books in c.1704/1705, with three more to come later) were followed by Gaspard Le Roux (1705), Jean-Philippe Rameau (1706), and Elisabeth Jacquet de La Guerre (second book, 1707). An interesting feature of Le Roux s publication is the inclusion for most of the pieces of an alternative performance option, that of two treble instruments and continuo. David Fuller says about Dandrieu, After Couperin and Rameau, he was the most celebrated French harpsichord composer of the 18 th century. 10 This opening spurt of harpsichord publications started the eighteenth century on its way to the more than 180 titles of printed solo harpsichord music (with or without the accompaniment of violin) from 1699 to 1780, as identified by Gustafson and Fuller in their A Catalogue of French Harpsichord Music. Jean-Philippe Rameau would later publish two more books, in 1724 and 1729 or According to Mark Kroll, The 1724 collection features some of the most virtuosic and 8 Carol Henry Bates, French Harpsichord Music in the First Decade of the 18 th Century, Journal of the American Musicological Society 17, no. 1 (Spring, 1964): David Fuller, Dieupart, Grove Music Online ed. L. Macy (Accessed 9 June 2008), 10 David Fuller, Dandrieu, Grove Music Online ed. L. Macy (Accessed 10 June 2008), 3
4 progressive keyboard writing in the history of French harpsichord music. 11 Cuthbert Girdlestone, Rameau s biographer, elaborates: Two-thirds of the 1724 book are genre pieces, the rest dances; they are grouped by keys but do not form suites. The writing looks both forward and backward. Some pieces are almost lute-like, with the harmonies spread out in arpeggios.... On the whole the writing is based on arpeggio formation rather than on scalic motion. 12 Regarding Rameau s third book, Girdlestone notes that it contains some of his most ambitious writing. 13 All three harpsichord books came out well before Rameau wrote his first opera in 1733, though in1741 he did publish 19 pieces grouped in five suites, or concerts, for harpsichord, violin or flute, and tenor viol or second violin, 14 called Pièces de clavecin en concerts. Their remote forebears were harpsichord suites to which was added an optional violin part; their more immediate ones were the six sonatas op. 3 by Mondonville (1734), 15 for solo harpsichord or harpsichord with violin accompaniment. Rameau s older contemporary, François Couperin, is considered by many to be the pinnacle of the French clavecin school. His four books, published in 1713, , 1722, and 1730 respectively, contain twenty-eight ordres. James Anthony remarks: The effect of François Couperin s first publication, Pièces de clavecin 1713, was electrifying.... The impact of Couperin s four harpsichord books catapulted the genre piece to a position of prominence.... Significantly, there was an appreciable drop in the number of collections published between the year of Couperin s Book 1 (1713) and his Book 4 (1730) Mark Kroll, French Masters, in Eighteenth-Century Keyboard Music, second edition, ed. by Robert L. Marshall (New York: Routledge, 2003), Cuthbert Girdlestone, Rameau, Grove Music Online ed. L. Macy (Accessed 10 June 2008), 13 Ibid. 14 Ibid. 15 Ibid. 16 Anthony, French Baroque Music,
5 In the intervening seventeen years only three other composers seemed to dare publish works: Nicolas Siret ( ; organist, composer) (1719); Rameau (1724, c ); Jean-François Dandrieu (1724, 1728). Conversely, in the next decade after the publication of Couperin s fourth book, no fewer than thirteen composers came out with new publications of solo harpsichord music. Mark Kroll attempts to summarize the music of Couperin: François Couperin represents the ultimate expression of the art of the French harpsichord tradition. His music encompasses all the elements of the national style raised to an unequaled level of refinement. Couperin s achievement towers over those of his predecessors and successors. Acknowledged as le Grand in his own lifetime, he enjoyed the most esteemed reputation among his contemporaries as a performer and composer. Couperin occupies a central position both chronologically and stylistically. His career unfolded at the middle of the 200-year tradition of clavecinistes. He was witness to the last twenty years of the reign of Louis XIV and to the beginning of the gradual dissolution of the French absolute monarchy. Couperin s music was not only a synthesis of all that had come before, it profoundly influenced all that would follow. Couperin drew upon the French opera as epitomized by Lully, upon Italian chamber music and the sonatas of [Arcangelo] Corelli [ ; Italian composer, violinist], on the commedia dell arte and the tragédies lyriques, French folk songs, and the paintings of [Jean-Antoine] Watteau [ ]. All these traditions left their imprint on Couperin s harpsichord music, where they were imbued with delicacy, passion, humanity, and bon goût. 17 Besides the publications of Couperin, Dandrieu, and Mondonville already mentioned, other works that we have today which appeared in the 1730 s, the decade of Bernard de Bury s compositions, include: Louis Antoine Dornel (c.1680-soon after 1756; organist, composer) (1731); François Dagincourt ( ; composer, organist, harpsichordist) (1733); Durocher (fl 1733; organist, composer) (1733); Pierre Fevrier (1696-between 1762 and 1779; organist, composer) (1734); Michel Corrette ( ; organist, teacher, composer-arranger, author) (1734); Louis-Claude Daquin ( ; organist, harpsichordist, composer) (1735); Charles 17 Kroll, French Masters,
6 Demars ( ; organist, composer) (1735); Joseph Bodin de Boismortier ( ; composer) (1736); Bernard de Bury (c.1736); Charles-Alexandre Jollage (d 1761; organist, composer) (1738); Jean Adam Guilain (fl ; organist, harpsichordist, composer) (1739). From the 1740 s and on into the 1780 s, publications of French harpsichord music continued unabated. From over a dozen of these were for harpsichord accompanied by violin. This trend was especially pronounced in the 1770 s and 1780 s when over sixty such volumes were printed. In addition, many of the title pages during these decades indicate pour le clavecin, ou forte piano, reflecting the increase in production and popularity of the piano. As Mark Kroll summarizes, The most significant composers of the period [around midcentury]... were Jacques Duphly [ ; harpsichordist, composer], Claude [Bénigne] Balbastre [ ; organist, composer], and Joseph Nicolas Pancrace Royer [c ; composer, harpsichordist, organist, administrator]. 18 Duphly published four books of harpsichord pieces (1744, 1748, 1758, 1768).... The vast majority of pieces are descriptive or dedicatory. 19 Anthony adds, French and Italian styles, as exemplified by dances and descriptive pieces on the one hand and sonatas on the other, co-exist harmoniously in the first two books by Duphly.... The first book... includes fifteen pieces with some musical portraits and some traditional dances. 20 Among the students of Balbastre were Marie-Antoinette and Thomas Jefferson.... He published his first book of Pièces de clavecin in These works provide us often with great elegance [and] keyboard portraits of minor personages Ibid., Ibid. 20 Anthony, French Baroque Music, Kroll, French Masters, Anthony, French Baroque Music,
7 Balbastre wrote what is believed to be the last unmeasured prelude, decades later than any others. Royer published one volume of harpsichord works in 1746, which are among the most attractive in the literature They derive from the elaborate and virtuosic descriptive pieces found in earlier collections of Dandrieu, Daquin, and Corrette and exhibit little Italian influence. 24 Describing French harpsichord music of the eighteenth century, James Anthony notes: Early eighteenth-century harpsichord composers gradually modified the style brisé with more continuous part writing.... The rondeau became increasingly popular.... Sixty out of over 240 compositions by Couperin are in this form. Harmonically, French eighteenthcentury harpsichord music remained essentially conservative. 25 Furthermore, The use of melodic sequence as a means of expanding motivic material became much more common in the eighteenth century, reaching such proportions in the Rameau A minor courante [c ]... that the entire piece is built on interlocking sequences. 26 David Fuller informs: The shift of emphasis from dance to non-dance pieces in the eighteenth century collections constitutes perhaps the chief point of contrast between the seventeenth and eighteenthcenturies. The largest category of non-dance pieces is that of the pieces with titles. A great many dance pieces also have titles, to be sure, but the majority of titled pieces cannot be identified as dances. 27 This shift again reflects the incredible influence of François Couperin: [Before the publication of Couperin s first book in 1713]... most collections show a marked preference for a nucleus of allemande, courante, and sarabande, preceded by a prelude or overture and followed at a 23 Kroll, French Masters, Anthony, French Baroque Music, Ibid., Ibid., Fuller, French Harpsichord Music,
8 greater or lesser distance by a gigue. 28 Fuller continues: A few titled character pieces are also found [before Couperin]... but... character pieces are rare in this period. Not more than a half-dozen out of perhaps a hundred pieces belong to this category. The impact of Couperin s first books very nearly effected a mathematical reversal of the proportion within the space of a few years. 29 As James Anthony writes in French Baroque Music, Inevitably, French harpsichord music came to terms with the Italian influences that flooded Paris at the turn of the century in the form of cantatas and sonatas David Tunley explains that before the [seventeenth] century was out the two centres [Paris and Versailles], though only seventeen miles from each other, seemed worlds apart; one the bastion of conservatism, the other forward-looking and cosmopolitan. Thus, it was in Paris that Italian music... was fostered. 31 Moreover, given the French penchant for heated debate it was inevitable that the merits and shortcomings of French and Italian music were endlessly argued in tract and pamphlet. 32 Some of the characteristics of Italian music enumerated by David Tunley are that: Woven into the melody are... those ubiquitous musical fibres scales and broken-chords or arpeggios which provide much of the filling in baroque (and, later, classical) music The patterns of many an Italian melody are inextricably linked with the harmonic progressions outlined by the bass line One such harmonic progression found in abundance in Italian baroque music is the cycle of fifths. 33 In summarizing French music, Tunley notes that the very conservative nature of the classical French style links it more to Renaissance practice in which it is the melody that directs the 28 Ibid., Ibid., Anthony, French Baroque Music, David Tunley, François Couperin and The Perfection of Music (Burlington, VT: Ashgate Publishing Company, 2004), Ibid., Ibid., 44. 8
9 harmony, taking it into progressions that do not necessarily generate the kind of tonality associated with Italian baroque music. 34 François Couperin makes a number of comments about the Italian style. For example, he writes in the preface to Les Goûts réunis and Nouveaux concerts (1724): Italian and French styles have for a long time (in France) shared the Republic of Music; for my part, I have always esteemed those things which have merit, without distinction of author or nation; and the first Italian sonatas which appeared in Paris more than thirty years ago... did no disservice to my mind, either to the works of Lully or to those of my forebears, who will always be as admirable as they are inimitable. 35 In fact, his statement that... the bringing together of French and Italian styles must create musical perfection, 36 (L Apothéose composé à la mémoire de l incomparable Monsieur de Lully, 1725) served as the inspiration for the title of Tunley s book, François Couperin and The Perfection of Music. Couperin also gives clues as to characteristics of Italian music in his 1716 L art de toucher le clavecin: Regarding broken chords or arpeggios... whose origin comes from the (Italian) Sonatas, my opinion would be that the number of them played on the harpsichord should be a little restricted. This instrument has its own properties as the violin [favored instrument in Italy] has its own. 37 He thus associates arpeggios with violinistic Italian figures. Discussion of more characteristics of French and Italian music can be found in: the 1702 essay of Abbé François Raguenet (c ; priest, physician, historian), anonymously translated as A Comparison between the French and Italian Music and Operas ; the Ibid., François Couperin, Goûts Réunis, reprint of original edition published 1724 and 1725, Paris: Chez l auteur (Geneva: Minkoff Reprint, 1979) as quoted in Tunley, Perfection, Ibid., ii. 37 Couperin, L art de toucher, 46. 9
10 response by Jean Laurent Le Cerf de la Viéville ( ; Lord of Freneuse and Keeper of the Seals for the parliament of Normandy) translated by Margaret Murata as Comparison between Italian and French Music ; the 1752 treatise by Johann Joachim Quantz translated by Edward Reilly as On Playing the Flute. Le Cerf, speaking of France says, Here we have only common harmonies. So be it. Provided that these harmonies are not at all defective and do not disfigure the beauty of the expression, the listener could want no more. 38 This is in contrast to the Italians, of whom Raguenet says:... venture the boldest cadences, and the most irregular dissonances... [The passages have] such irregular tones as shall instill a terror as well as surprize [sic] into the listener, who will immediately conclude, that the whole concert is degenerating into a dreadful dissonance.... The Italians venture at ev ry [sic] thing that is harsh Raguenet also notes, If you would hit their palate, you must regale it with variety, and be continually passing from one key to another Quantz devotes consideration space in his treatise to the characteristics of Italian and French music and to a comparison of the two styles. Speaking of the French he writes, The instrumentalists, especially the keyboard players, do not ordinarily devote themselves to the performance of difficult feats He later confirms, They [the Italians] write more for the connoisseur than for the amateur... They [the French] write more for the amateur than for the connoisseur. 42 Speaking of vocal music, he explains, The French manner of singing is not 38 Jean Laurent Le Cerf de la Viéville, Comparison between Italian and French Music, from a trans. by Margaret Murata, in Strunk s Source Readings in Music History, revised edition, originally ed. by Oliver Strunk, revised edition ed. by Leo Treitler (New York: W.W. Norton and Company, Inc., 1998), François Raguenet, anonymous translation, A Comparison between the French and Italian Music and Operas, in Strunk s Source Readings in Music History, revised edition, originally ed. by Oliver Strunk, revised edition ed. by Leo Treitler (New York: W.W Norton and Company, Inc., 1998), Ibid., Quantz, Flute, Ibid.,
11 designed, like the Italian, to train great virtuosos. 43 In a word, he concludes, Italian music is arbitrary, and French is circumscribed. If it is to have a good effect, the French depends more upon the composition than the performance, while the Italian depends upon the performance almost as much as upon the composition, and in some cases almost more. 44 Quantz also addresses the harmonic practices of the Italian composers: They take too much liberty in harmonic progression. 45 In contrast, [The French] prefer diatonic rather than chromatic progressions. 46 He also alludes to the multitude of running sixteenth-note passages that can be found in many an Italian score, In the Allegro they consider the sawing out of a multitude of notes in a single bow-stroke to be some special achievement. 47 Speaking of vocal music, he comments, Those singers... ought to devote their time... [to] singing tastefully and expressively, instead of martyring themselves with passagework in order to be fashionable. 48 Thus, Italian music characteristics vied with French traits. To summarize (including some personal observations not yet mentioned), the French: esteem the composer more than the performer; use a more controlled, disciplined style; prefer the harpsichord (along with the flute, viola da gamba, and oboe); write melodies based on short motivic units; use the common diatonic harmonic language; eschew fancy passage work; use many symbolized ornament signs; write frequent changes in the numbers of voices leading to changing textures; make use of notes inégales. The Italians: esteem the performer more than the composer; prefer the violin; write melodies based on harmonic progressions and thus use many arpeggiated violinistic 43 Ibid., Ibid., Ibid., Ibid., Ibid., Ibid.,
12 figures; write bold and harsh dissonances, frequent modulations, and use circle of fifths progressions; include imitation noticeably often; write many sixteenth-note passage sections; expect performers to add divisions; have more consistent texture; do not use notes inégales. 12
Program Notes CESAR Symposium Williams College Department of Music and the Clark Brooks-Rogers Recital Hall September 13, 2008 by Mark Kroll
Program Notes CESAR Symposium Williams College Department of Music and the Clark Brooks-Rogers Recital Hall September 13, 2008 by Mark Kroll 1 The French harpsichord tradition spans a period of almost
More informationJean-Philippe Rameau. Premier Livre de Pièces de Clavecin (Paris, 1706) Edited from the original printing By Tom Ó Drisceoil
Jean-Philippe Rameau Premier Livre de Pièces de Clavecin (Paris 1706) Edited from the original printing By Tom Ó Drisceoil 2011 ii CONTENTS Preface Facsimiles v vii Premier Livre de Pièces de Clavecin
More informationBAROQUE MUSIC. the richest and most diverse periods in music history.
BAROQUE MUSIC the richest and most diverse periods in music history. WHEN? Approximately from 1600 to 1750 WHEREDOESTHEWORD BAROQUE COME FROM? There are two hypothesis Baroque(french)= whimsical Barroco
More informationVivaldi: Concerto in D minor, Op. 3 No. 11 (for component 3: Appraising)
Vivaldi: Concerto in D minor, Op. 3 No. 11 (for component 3: Appraising) Background information and performance circumstances Antonio Vivaldi (1678 1741) was a leading Italian composer of the Baroque period.
More informationFrench Baroque Organ Art: Musique, Organ building, Performance
Marina Tchebourkina French Baroque Organ Art: Musique, Organ building, Performance Table of Contents Introduction... 5 Chapter I Aesthetic and Stylistic principles of French Baroque Organ Art... 12 1.1
More informationEarly music movement versus academic convention: manifestation of creativity. MARIS VALK-FALK Estonian Academy of Music
Early music movement versus academic convention: manifestation of creativity MARIS VALK-FALK Estonian Academy of Music Abstract Musical creativity is not merely a philosophical or sociological manifestation.
More informationThe Baroque 1/4 ( ) Based on the writings of Anna Butterworth: Stylistic Harmony (OUP 1992)
The Baroque 1/4 (1600 1750) Based on the writings of Anna Butterworth: Stylistic Harmony (OUP 1992) NB To understand the slides herein, you must play though all the sound examples to hear the principles
More information15. Corelli Trio Sonata in D, Op. 3 No. 2: Movement IV (for Unit 3: Developing Musical Understanding)
15. Corelli Trio Sonata in D, Op. 3 No. 2: Movement IV (for Unit 3: Developing Musical Understanding) Background information and performance circumstances Arcangelo Corelli (1653 1713) was one of the most
More informationFollia. William Summers: Baroque Flute Diane Moore: Baroque Violin Ibrahim Aziz: Viola da Gamba Yeo Yat-Soon: Harpsichord
Follia William Summers: Baroque Flute Ibrahim Aziz: Viola da Gamba ç Follia William Summers: Baroque Flute Ibrahim Aziz: Viola da Gamba Evening in the Palace of Reason Johann Sebastian Bach at the court
More informationIntroduction to Classical Music Joe Gusmano
Introduction to Classical Music Joe Gusmano Overview We will cover three important musical eras: 1 Baroque (ca. 1600-1750) 2 Classical (ca. 1730-1815) 3 - Romantic (ca. 1780-1910) Week 1: J.S. Bach and
More informationChapter 10. Instrumental Music Sunday, October 21, 12
Chapter 10 Instrumental Music 1600-1750 Instruments of the Baroque Era The Violin Baroque violin was similar to the modern violin but differed in ways that gave it a sweeter, more rounded tone Instruments
More informationMusic Burkholder Reading Questions
Music 332 - Burkholder Reading Questions Free Advice: Begin by reading each chapter without the questions at hand. Next, read each question and begin to reread the chapter, jotting down your answers as
More informationBrandenburg Concerto No. 5 Mvmt 3
Brandenburg Concerto No. 5 Mvmt 3 Key words 1) Instrumentation and Sonority 2) Structure 3) Tonality 4) Harmony 5) Rhythm, Metre and Tempo 6) Melody 7) Texture At the top of your Bach Score write each
More informationMusic in the Baroque Period ( )
Music in the Baroque Period (1600 1750) The Renaissance period ushered in the rebirth and rediscovery of the arts such as music, painting, sculpture, and poetry and also saw the beginning of some scientific
More information13. Holborne Pavane The image of melancholy and Galliard Ecce quam bonum (For Unit 6: Further Musical Understanding)
13. Holborne Pavane The image of melancholy and Galliard Ecce quam bonum (For Unit 6: Further Musical Understanding) Introduction These two short pieces belong to the genre known as consort music, a popular
More informationPLAYING RAMEAU ON THE PIANO: THE SUITE IN A MINOR FROM NOUVELLES SUITES DE PIÈCES DE CLAVECIN A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL
PLAYING RAMEAU ON THE PIANO: THE SUITE IN A MINOR FROM NOUVELLES SUITES DE PIÈCES DE CLAVECIN A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR
More informationPavane and Galliard Anthony Holborne
Pavane and Galliard Anthony Holborne Introduction These two short pieces belong to the genre known as consort music, a popular form of domestic music-making in Elizabethan England. The word consort itself
More information7. Stravinsky. Pulcinella Suite: Sinfonia, Gavotta and Vivo
7. Stravinsky Pulcinella Suite: Sinfonia, Gavotta and Vivo (For Unit 6: Further Musical Understanding) Background information and performance circumstances The Russian composer, Igor Stravinsky wrote the
More information3 against 2. Acciaccatura. Added 6th. Augmentation. Basso continuo
3 against 2 Acciaccatura One line of music may be playing quavers in groups of two whilst at the same time another line of music will be playing triplets. Other note values can be similarly used. An ornament
More information25 Name. Grout, Chapter 12 Music in the Early Eighteenth Century. 11. TQ: What does "RV" stand for?
25 Name Grout, Chapter 12 Music in the Early Eighteenth Century 1. (373) What were Pluche's two categories of music? What kind of music represented each? TQ: What is a Concert spirituel? 11. TQ: What does
More informationAcknowledgements. p. 21
Preface p. v Acknowledgements p. xi List of Plates p. xxi List of Figures p. xxiv The Formative Period, 1520-1600 General introduction p. 2 The Origin and Development of the Early Violin, 1520-50 p. 6
More informationThe Baroque Period: A.D
The Baroque Period: 1600-1750 A.D What is the Baroque Era? The Baroque era was a time in history where much of what we know about our surroundings are being discovered. There is more focus on the human
More informationThe Baroque Period. Better known today as the scales of.. A Minor(now with a #7 th note) From this time onwards the Major and Minor Key System ruled.
The Baroque Period The Baroque period lasted from approximately 1600 1750 The word Baroque is used to describes the highly ornamented style of fashion, art, architecture and, of course Music. It was during
More informationExample 3.1. Bars 1 3 a,, 6 b 9 9 a. continued. Bars. Bars b. Legend: = sixteenth-note afterbeat displacement. (etc.
Chapter 620 Example.1 a) Handel, Concerto Grosso in in F, F, Op. Op. 6 6, No. No. 2, II: 2, II: Allegro Allegro in D (in minor D minor) a b a 1 a,, 6 b 9 9 a concertino. Violoncello. 1 6 b (etc.) Solo.
More informationEdexcel A Level Syllabus Analysis
M USIC T EACHERS.CO.UK the internet service for practical musicians. Edexcel A Level Syllabus Analysis Mozart: Piano Sonata in B-flat K333, first movement. 2000 MusicTeachers.co.uk Mozart: Piano Sonata
More informationUniversity of West Florida Department of Music Levels of Attainment piano
University of West Florida Department of Music Levels of Attainment piano Entry level: Incoming students are required to prepare two contrasting pieces from different periods. At the audition they are
More informationStylistic features Antonio Vivaldi: Concerto in D minor, Op. 3 No. 11
Stylistic features Antonio Vivaldi: Concerto in D minor, Op. 3 No. 11 Piece Structure Tonality Organisation of Pitch Antonio Vivaldi 1678-1741 Concerto in D minor, Op. 3 No. 11 See separate table for details
More information3. Berlioz Harold in Italy: movement III (for Unit 3: Developing Musical Understanding)
3. Berlioz Harold in Italy: movement III (for Unit 3: Developing Musical Understanding) Background information Biography Berlioz was born in 1803 in La Côte Saint-André, a small town between Lyon and Grenoble
More informationPrelude and Fantasy for Baroque Lute by Denis Gaultier
Prelude and Fantasy for Baroque Lute by Denis Gaultier The prelude and fantasy presented in the music supplement are drawn from the joint publication of Ennemond and Denis Gaultier i of 1672. Within the
More information33. Dowland Flow my tears (for Unit 3: Developing Musical Understanding)
33. Dowland Flow my tears (for Unit 3: Developing Musical Understanding) Background information Introduction John Dowland is regarded by many as one of England s greatest song-writers, along with Purcell
More informationGRADUATE PLACEMENT EXAMINATIONS - COMPOSITION
McGILL UNIVERSITY SCHULICH SCHOOL OF MUSIC GRADUATE PLACEMENT EXAMINATIONS - COMPOSITION All students beginning graduate studies in Composition, Music Education, Music Technology and Theory are required
More informationHOMEWORK CHAPTER Which of the following letter schemes best represents the formal play of a da-capo aria a. AAAAA b. ABCA c. AAB d. ABA e.
Julianne Baird, Music History II HOMEWORK CHAPTER 17 1. Which of the following letter schemes best represents the formal play of a da-capo aria a. AAAAA b. ABCA c. AAB d. ABA e. AABB 2. Which of the following
More informationMUSIC (MUS) Music (MUS) 1
Music (MUS) 1 MUSIC (MUS) MUS 2 Music Theory 3 Units (Degree Applicable, CSU, UC, C-ID #: MUS 120) Corequisite: MUS 5A Preparation for the study of harmony and form as it is practiced in Western tonal
More informationL van Beethoven: 1st Movement from Piano Sonata no. 8 in C minor Pathétique (for component 3: Appraising)
L van Beethoven: 1st Movement from Piano Sonata no. 8 in C minor Pathétique (for component 3: Appraising) Background information and performance circumstances The composer Ludwig van Beethoven was born
More information2018 Music. Advanced Higher. Finalised Marking Instructions
National Qualifications 2018 2018 Music Advanced Higher Finalised Marking Instructions Scottish Qualifications Authority 2018 The information in this publication may be reproduced to support SQA qualifications
More informationBach & his Contemporaries Session Five: France. Session Plan
Bach & his Contemporaries Session Five: France A LIFE Institute Course Bob Fabian Spring 2015 [LIFEcourses.ca] Session Plan Session Six Discussion Le Roi Danse (movie about Lully & Luis XIV) Jean-Baptiste
More informationAfter our test we dug into our new unit historical unit and considered some pieces that are based on loops.
MSC 1003 Music in Civilization Spring 2019 Prof. Smey Double Session 4, Thurs Feb 21 After our test we dug into our new unit historical unit and considered some pieces that are based on loops. Scales We
More informationLecture Notes - Music Owen J. Lee - day 9-1. Descent from the Cross (Raphael, 1507) - Renaissance
Lecture Notes - Music 110 - Owen J. Lee - day 9-1 Descent from the Cross (Raphael, 1507) - Renaissance The Entombment of Christ (Caravaggio, 1603) - Baroque Lecture Notes - Music 110 - Owen J. Lee - day
More informationThe Classical Period (1825)
The Classical Period 1750-1820 (1825) 1 Historical Themes Industrial Revolution Age of Enlightenment Violent political and social upheaval Culture 2 Industrial Revolution Steam engine changed the nature
More informationMovements from the Bach Cello Suites
Movements from the Bach Cello Suites Realized for Harpsichord ~ Organ ~ Piano Realizations ~ noel Jones dedicated to Fred & Janet Schweitzer. Fifteen Movements from the Bach Cello Suites Realized for Keyboard
More informationCopyright 2009 Pearson Education, Inc. or its affiliate(s). All rights reserved. NES, the NES logo, Pearson, the Pearson logo, and National
Music (504) NES, the NES logo, Pearson, the Pearson logo, and National Evaluation Series are trademarks in the U.S. and/or other countries of Pearson Education, Inc. or its affiliate(s). NES Profile: Music
More informationChamber Music Traced through history.
Chamber Music Traced through history. Definition What is Chamber Music? Webster definition: instrumental ensemble music intended for performance in a private room or small auditorium and usually having
More informationABSTRACT PIECES DE VIOLE, TROISIEME LIVRE (1711) William James McClain, Doctor of Musical Arts, Professor Edward Maclary School of Music
ABSTRACT Title of dissertation: PIECES DE VIOLE, TROISIEME LIVRE (1711) William James McClain, Doctor of Musical Arts, 2009 Dissertation directed by: Professor Edward Maclary School of Music I was first
More informationThe Composition and Performance Practice of the Cadenza in the Classical Era
McNair Scholars Research Journal Volume 2 Issue 1 Article 12 2-12-2010 The Composition and Performance Practice of the Cadenza in the Classical Era Eastern Michigan University, skarafot@emich.edu Follow
More information17. Beethoven. Septet in E flat, Op. 20: movement I
17. Beethoven Septet in, Op. 20: movement I (For Unit 6: Further Musical understanding) Background information Ludwig van Beethoven was born in 1770 in Bonn, but spent most of his life in Vienna and studied
More informationTechnical and Musical Analysis of Trio No: 2 in C Major for Flute, Clarinet and Bassoon by Ignaz Joseph Pleyel
Technical and Musical Analysis of Trio No: 2 in C Major for Flute, Clarinet and Bassoon by Ignaz Joseph Pleyel Sabriye Özkan*, Burçin Barut Dikicigiller** & İlkay Ak*** *Associate professor, Music Department,
More informationDavid Schrader, harpsichord TT: (77:15)
DDD Absolutely Digital CDR 90000 020 BACH A LA CARTE THE INTERNATIONAL BACH Italian Concerto in F major, BWV 971 (11:31) 1 I. (Allegro) (4:00) 2 II. Andante (3:44) 3 III. Presto (3:43) Overture in the
More informationH Purcell: Music for a While (For component 3: Appraising)
H Purcell: Music for a While (For component 3: Appraising) Background information and performance circumstances Henry Purcell (1659 95) was an English Baroque composer and is widely regarded as being one
More informationIntroduction to Music Chapter 4 - Music of the Baroque Period ( )
Introduction to Music Chapter 4 - Music of the Baroque Period (1600-1750) The term Baroque is used to indicate a particular style in the arts. This style tends to fill space with movement and action. Artists
More informationNORVIS XLIX Music List 27th July to 3rd August 2019
NORVIS XLIX Music List 27th July to 3rd August 2019 The daily programme is as follows, except on Wednesday, when the afternoon is free: 1st morning session technique class on your chosen instrument or
More informationThe Baroque ( ): Cultural Background
MSC 1003 Music in Civilization Fall 2017 Prof. Smey Session 7 (Tues Sept 19) After we finished our first quiz we started our new historical unit. The Baroque (1600-1750): Cultural Background Up until now
More informationEARLY MUSIC AREA PRACTICAL EXAM REQUIREMENTS. General Regulations and Requirements for Examinations and Recitals
EARLY MUSIC AREA PRACTICAL EXAM REQUIREMENTS General Regulations and Requirements for Examinations and Recitals General Information Examinations Normally, students should sit a practical exam at the end
More informationThe Development of Modern Sonata Form through the Classical Era: A Survey of the Masterworks of Haydn and Beethoven B.
The Development of Modern Sonata Form through the Classical Era: A Survey of the Masterworks of Haydn and Beethoven B. Michael Winslow B. Michael Winslow is a senior music composition and theory major,
More informationNaxos COUPERIN, L.: Tombeau de M. de Blancrocher / Preludes (Wilson) ...l autre Couperin deffunt... By Glen Wilson
Naxos 8.555936 COUPERIN, L.: Tombeau de M. de Blancrocher / Preludes (Wilson) Appendix: About This Recording Harpsichordist Glen Wilson offers Naxos the première of his musicological research on the works
More informationGRADUATE PLACEMENT EXAMINATIONS MUSIC THEORY
McGILL UNIVERSITY SCHULICH SCHOOL OF MUSIC GRADUATE PLACEMENT EXAMINATIONS MUSIC THEORY All students beginning graduate studies in Composition, Music Education, Music Technology and Theory are required
More informationMusic Appreciation - Chapter 4 The Late Baroque Period
Music Appreciation - Chapter 4 The Late Baroque Period I. Introduction In the latter 17th and early 18th centuries, the medium for which music was composed helped to determine how it was composed. There
More informationA World of Possibilities
A World of Possibilities Master Lessons in Organ Improvisation Jeffrey Brillhart A World of Possibilities Master Lessons in Organ Improvisation Jeffrey Brillhart Reproduction of any part of this book is
More informationLevel performance examination descriptions
Unofficial translation from the original Finnish document Level performance examination descriptions LEVEL PERFORMANCE EXAMINATION DESCRIPTIONS Accordion, kantele, guitar, piano and organ... 6 Accordion...
More informationThe following review by Michael O Loghlin appeared in the Journal of the Viola da Gamba Society of America, volume XL, 2003, p.
The following review by Michael O Loghlin appeared in the Journal of the Viola da Gamba Society of America, volume XL, 2003, p. 67f Königliche Gambenduos [Royal Gamba Duets]: 23 sonatas by French and Italian
More informationCHAPTER 1 ANTONIN DVORAK S SERENADE IN D MINOR, OP. 44, B.77. Czech composer, Antonin Dvořák is well known for his orchestral repertoire.
1 CHAPTER 1 ANTONIN DVORAK S SERENADE IN D MINOR, OP. 44, B.77 Czech composer, Antonin Dvořák is well known for his orchestral repertoire. His works encompass a variety of genres including, but not limited
More informationMUSIC THEORY CURRICULUM STANDARDS GRADES Students will sing, alone and with others, a varied repertoire of music.
MUSIC THEORY CURRICULUM STANDARDS GRADES 9-12 Content Standard 1.0 Singing Students will sing, alone and with others, a varied repertoire of music. The student will 1.1 Sing simple tonal melodies representing
More informationMusic 1. the aesthetic experience. Students are required to attend live concerts on and off-campus.
WWW.SXU.EDU 1 MUS 100 Fundamentals of Music Theory This class introduces rudiments of music theory for those with little or no musical background. The fundamentals of basic music notation of melody, rhythm
More informationRagtime wordsearch. Activity SYNCOPATED B T S A D E T N E C C A G E M F AMERICA Y N O M R A H T N A N I M O D Z SCOTT JOPLIN
page 9 Activity Ragtime wordsearch SYNCOPATED AMERICA SCOTT JOPLIN THEMES RECAPITULATION TONIC HARMONY DOMINANT HARMONY ACCENTED ACCOMPANIMENT THE ENTERTAINER MAPLE LEAF B T S A D E T N E C C A G E M F
More informationHaydn: Symphony No. 97 in C major, Hob. I:97. the Esterhazy court. This meant that the wonderful composer was stuck in one area for a large
Haydn: Symphony No. 97 in C major, Hob. I:97 Franz Joseph Haydn, a brilliant composer, was born on March 31, 1732 in Austria and died May 13, 1809 in Vienna. For nearly thirty years Haydn was employed
More informationPercussion in the Baroque Period
Percussion in the Baroque Period Unit 2 - World Percussion - Hargrave Baroque Period (1600-1750) Baroque Period (1600-1750) The Baroque period refers to an era that started around 1600 and ended around
More informationHOMEWORK FOR CHAPTER 13
Julianne Baird, Music History II HOMEWORK FOR CHAPTER 13 1. The 17 th c was an era in which. a. People deferred to Church teaching on all matters, including science b. Scientists combined deductive reasoning
More informatione.g.: value of the note itself, general tempo, harmony in the other ~~!5~~~~ ~
... _, T H E 0 R N A M E N T A T I U N As in the rhythms of French Music, the fundamental characteristic of the Urnamentation is freedom. 1) Basically, the ornament is an indication given to an " improviser-interpreter
More informationNews Digital release: Oct. 2, 2012 CD release: Oct. 30, 2012
Cedille Records 1205 W. Balmoral Ave., Chicago IL 60640 Cedille Records Press Contact: Rachel Barton Pine Press Contact: Nat Silverman/Nathan J. Silverman Co. PR Jane Covner/Allison Van Etten Phone (847)
More informationTrio de M r Charpentier
Trio de M r Charpentier ed. by John S. Powell Jan van Bijlert (1597/98-1671), The Concert Trio de Mr Charpentier, ed. John S. Powell, January 2005 (2d ed.) Introduction, p. i INTRODUCTION The Trio de M
More information29 Music CO-SG-FLD Program for Licensing Assessments for Colorado Educators
29 Music CO-SG-FLD029-02 Program for Licensing Assessments for Colorado Educators Readers should be advised that this study guide, including many of the excerpts used herein, is protected by federal copyright
More informationHaydn: Symphony No. 101 second movement, The Clock Listening Exam Section B: Study Pieces
Haydn: Symphony No. 101 second movement, The Clock Listening Exam Section B: Study Pieces AQA Specimen paper: 2 Rhinegold Listening tests book: 4 Renaissance Practice Paper 1: 6 Renaissance Practice Paper
More informationMUSIC HISTORY Please do not write on this exam.
MUSIC HISTORY Please do not write on this exam. 1. Which of the following characterize Baroque music? a. Music based on Gregorian Chant b. The figured bass (Basso continuo) (the writing out of the bass
More informationChapter III. The English Continuo Writings by Matthew Locke and Thomas Mace and their. Application to the English Cavalier Songs
83 Chapter III The English Continuo Writings by Matthew Locke and Thomas Mace and their Application to the English Cavalier Songs 1630-1670 This chapter will examine the two seventeenth-century publications
More informationExam 2 MUS 101 (CSUDH) MUS4 (Chaffey) Dr. Mann Spring 2018 KEY
Provide the best possible answer to each question: Chapter 20: Voicing the Virgin: Cozzolani and Italian Baroque Sacred Music 1. Which of the following was a reason that a woman would join a convent during
More information37. Haydn My mother bids me bind my hair (for Unit 3: Developing Musical Understanding)
37. Haydn My mother bids me bind my hair (for Unit 3: Developing Musical Understanding) Background information and performance circumstances By the time Haydn published this song in 1794, he was the most
More informationTEXAS MUSIC TEACHERS ASSOCIATION Student Affiliate World of Music
Identity Symbol TEXAS MUSIC TEACHERS ASSOCIATION Student Affiliate World of Music Grade 11 2012-13 Name School Grade Date 5 MUSIC ERAS: Match the correct period of music history to the dates below. (pg.42,43)
More informationSymphony No. 4, I. Analysis. Gustav Mahler s Fourth Symphony is in dialogue with the Type 3 sonata, though with some
Karolyn Byers Mr. Darcy The Music of Mahler 15 May 2013 Symphony No. 4, I. Analysis Gustav Mahler s Fourth Symphony is in dialogue with the Type 3 sonata, though with some deformations. The exposition
More informationLesson One. New Terms. a note between two chords, dissonant to the first and consonant to the second. example
Lesson One Anticipation New Terms a note between two chords, dissonant to the first and consonant to the second example Suspension a non-harmonic tone carried over from the previous chord where it was
More informationIntroduction to Music
Introduction to Music Review Music in Baroque Society Fugue Baroque Dance Concerto Grosso and Ritornello Form Opera an art form in which singers and musicians perform a dramatic work combining text (called
More informationMUSIC (MUAP, MUEN, MUSI)
Music (MUAP, MUEN, MUSI) 1 MUSIC (MUAP, MUEN, MUSI) Music Applied Private instruction on instruments and in voice is available to students majoring or minoring in music, and to other students who desire
More informationCONCERT MUSIC ( ) GERALD ABRAHAM EDITED BY
CONCERT MUSIC (1630-1750) EDITED BY GERALD ABRAHAM OXFORD NEW YORK OXFORD UNIVERSITY PRESS 1986 ILLUSTRATIONS INTRODUCTION TO VOLUMES V AND VI XU xiii EDITOR'S NOTE I. ODE AND ORATORIO IN ENGLAND. (a)
More informationAP Music Theory Syllabus
AP Music Theory Syllabus Course Overview AP Music Theory is designed for the music student who has an interest in advanced knowledge of music theory, increased sight-singing ability, ear training composition.
More informationStrathaven Academy Music Department. Advanced Higher Listening Glossary
Strathaven Academy Music Department Advanced Higher Listening Glossary Using this Glossary As an Advanced Higher candidate it is important that your knowledge includes concepts from National 3, National
More informationCLASSICAL STYLE RISE OF INSTRUMENTAL MUSIC. The new style gallant musical style in opera was adapted for instrumental works.
CLASSICAL STYLE RISE OF INSTRUMENTAL MUSIC The new style gallant musical style in opera was adapted for instrumental works. Instrumental music becomes more independent and gained prominence. COMIC INTERMEZZO
More informationGrade Level 5-12 Subject Area: Vocal and Instrumental Music
1 Grade Level 5-12 Subject Area: Vocal and Instrumental Music Standard 1 - Sings alone and with others, a varied repertoire of music The student will be able to. 1. Sings ostinatos (repetition of a short
More informationSgoil Lionacleit. Advanced Higher Music Revision
Sgoil Lionacleit Advanced Higher Music Revision Useful links: http://www.dunblanehsmusic.co.uk/sqa-past-papers.html http://www.educationscotland.gov.uk/nqmusic/advancedhigher/allconcepts.as p HIGHER http://files.snacktools.com/iframes/files.edu.flipsnack.com/iframe/embed.html?hash=fzk52nj1&wmode=opaque&forcewidget=1&t=1457730457
More informationChapter 16 Sacred and Secular Baroque Music
Chapter 16 Sacred and Secular Baroque Music Illustration 1: Excerpt from "Kyrie" of the B Minor Mass by J. S. Bach--felt by many music historians to be the greatest piece of music written in the West (courtesy
More informationComplete Analysis of the Four Suites for Harpsichord by Bernard de Bury
Complete Analysis of the Four Suites for Harpsichord by Bernard de Bury Analysis of Premier livre de pièces de clavecin by Bernard de Bury In order to gain a sense of the range of movements found in the
More informationNUMBER OF TIMES COURSE MAY BE TAKEN FOR CREDIT: One.
I. COURSE DESCRIPTION: A. Division: Humanities Department: Speech & Performing Arts Course ID: MUS 202L Course Title: Musicianship IV Units: 1 Lecture: None Laboratory: 3 hours Prerequisite Music 201 and
More informationNATIONAL SENIOR CERTIFICATE GRADE 12
NATIONAL SENIOR CERTIFICATE GRADE 12 MUSIC P2 NOVEMBER 2008 MARKS: 33 TIME: 1½ hours EXAMINATION NUMBER: This question paper consists of 11 pages and 1 rough work sheet. Music/P2 2 DoE/November 2008 INSTRUCTIONS
More informationThe Baroque ( ): Cultural Background
MSC 1003 Music in Civilization Fall 2018 Prof. Smey Double Session 4, Thursday Sept 20 After we finished our first quiz we started our new historical unit. We did our intro to the Baroque and a survey
More informationAoS1 set works Handel: And the Glory of the Lord Mozart: 1 st movement (sonata) from Symphony No.40 in Gminor Chopin: Raindrop Prelude
The KING S Medium Term Plan - Music Y10 LC4 Programme out-going GCSE Module Area of Study 1 Analysing three additional set works. Learners will be required to focus their skills on a more formal style
More informationBach s influence in keyboard music. Motin Yeung. Research paper In Music seminar 89s. Fall 2012 Teacher: Harry Davidson
Yeung 1 Bach s influence in keyboard music by Motin Yeung Research paper In Music seminar 89s Fall 2012 Teacher: Harry Davidson Yeung 2 Introduction The purpose of this paper is to understand why it is
More informationTonality Tonality is how the piece sounds. The most common types of tonality are major & minor these are tonal and have a the sense of a fixed key.
Name: Class: Ostinato An ostinato is a repeated pattern of notes or phrased used within classical music. It can be a repeated melodic phrase or rhythmic pattern. Look below at the musical example below
More informationMusic Theory. Fine Arts Curriculum Framework. Revised 2008
Music Theory Fine Arts Curriculum Framework Revised 2008 Course Title: Music Theory Course/Unit Credit: 1 Course Number: Teacher Licensure: Grades: 9-12 Music Theory Music Theory is a two-semester course
More informationChapter 11: Class of 1685 (II): The Vocal Music of Handel and Bach
Chapter 11: Class of 1685 (II): The Vocal Music of Handel and Bach I. Handel A. Introduction 1. In every idiom, Handel s music is imbued with aspects of music for theater. 2. In the early eighteenth century,
More informationExample 1. Beethoven, Piano Sonata No. 9 in E major, Op. 14, No. 1, second movement, p. 249, CD 4/Track 6
Compound Part Forms and Rondo Example 1. Beethoven, Piano Sonata No. 9 in E major, Op. 14, No. 1, second movement, p. 249, CD 4/Track 6 You are a pianist performing a Beethoven recital. In order to perform
More informationThe Baroque Period: The Romantic Era: th & 21st Century Classical Music: 1900-Present day. Course work and revision materials
Course work and revision materials The Baroque Period:1600-1750 The Romantic Era: 1810-1900 20th & 21st Century Classical Music: 1900-Present day www.creativeartsmusic.wordpress.com Name:... Class:...
More informationThe Classical Period-Notes
The Classical Period-Notes The Classical period lasted from approximately 1750 1810. This was a fairly brief period but contains the work of three of the greatest composers of all time. They were... Joseph
More informationNUMBER OF TIMES COURSE MAY BE TAKEN FOR CREDIT: One
I. COURSE DESCRIPTION Division: Humanities Department: Speech and Performing Arts Course ID: MUS 202 Course Title: Music Theory IV: Harmony Units: 3 Lecture: 3 Hours Laboratory: None Prerequisite: Music
More information