Music History 131 Ch 16

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French monarchy

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king used the arts for propaganda and social control (Italy's chief music competitor)

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French idiom

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elegance and restraint

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English monarchy

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monarch didn't dominate the scene. public supported music through public concerts.

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Germany

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adopted French styles, also influenced by Italy

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Spain

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followed its own path. colonies.

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Louis XIV (1643-1715)

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wanted absolute authority. projected himself as in supreme control, using the arts as propaganda tools. "Sun King." Centralized the arts and sciences with academies in many fields. Rebuilt the Louvre. Kept aristocracy under his control at Versailles. Did ballet (discipline, order, restraint).

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an extensive, musical dramatic work with costumes, scenery, poetry, and dance that featured members of the court as well as professional dancers (several acts, styles appropriate to characters)

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court ballet

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hierarchy of king's music

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-Music of the Royal Chapel
-Music of the Chamber
-Music of the Great Stable

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singers, organists, other instrumentalists who performed for religious services

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Music of the Royal Chapel

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primarily string, lute, harpsichord, and flute players, provided music for indoor entertainments

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Music of the Chamber

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wind, brass, and timpani players who played for military and outdoor ceremonies (sometimes joined chapel or indoor)

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Music of the Great Stable

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effects of Louis XIV

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higher quality instruments, playing techniques, generations of performers. large ensembles of the violin family: Twenty-four Violins of the King and The Small Violin Ensemble

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ensemble whose core consists of strings with more than one player on a part, usually joined by woodwinds, brass, and percussion instruments

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orchestra

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Louis XIV's favorite musician. He had greatest success with dramatic music. Created a distinctive French kind of opera.

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Jean-Baptiste Lully

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Italian opera in France

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met opposition on political and artistic grounds (ballet tradition seemed too strong to do full opera. French drama also was too strong--sung dialogue lacked believability)

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Lully

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contributed ballet music and created successful comedies-ballets, which blended elements of ballet and opera. established the Royal Academy of Music (with Quinault) and reconciled drama, music, and ballet in a new form of opera.

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French 17th and 18th century form of opera, pioneered by Jean-Baptiste Lully, that combined the French classic drama and ballet traditions with music, dances, and spectacles

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tragedie en musique or tragedie lyrique

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in tragedie en musique, a long interlude of ballet, solo airs, choral singing, and spectacle, intended as entertainment (diversions)

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divertissements (appeared at center or end of act)

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Quinault's texts

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were propagandistic: sang the king's praises and depicted a well-ordered disciplined society

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"opening." an orchestral piece introducing an opera or other long work. initially marked the entry of the king, welcoming him and the audience to the performance.

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overture (ouverture)

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opens with a slow, homophonic and majestic section, followed by a faster second section that begins with imitation (like in Armide)

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French overture

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French recit.

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Lully attempted to create French recit. by imitating actors (simple and measured recit.)

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English or French song for solo voice with instrumental accompaniment, setting rhymed poetry, often strophic, and usually in the meter of a dance (not elaborate like arias)

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airs

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dichotomy between refined elegance and naturalism (pleased both political figures and artists). focus on drama over the performers and ornamentation

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French Baroque

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"unequal notes." 17th century convention of performing French music in which passages notated in short, even durations, such as a succession of eighth notes, are performed by alternating longer notes on the beat with shorter off beats to produce a lilting rhythm (considered a matter of expression and elegance)

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notes inegales

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performing practice in French Baroque music in which a dotted note is held longer than written, while the following note is shortened

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overdotting

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ornament in French music (not elaborate like in Italy)

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agrements

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new system of major and minor keys, rather than modal (Lully used this)

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tonal

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Lully's followers

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wrote in his style, although they introduced occasional Italian-style arias, expanded divertissements, intensified harmony, etc. English and German music was also influenced.

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air

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the leading genre of vocal chamber music in France. Charpentier composed these.

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until 1650

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French church music used old Renaissance counterpoint. Then, composers borrowed Italian genres--sacred concertos and oratorios while uniting in French styles.

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French version of the small sacred concerto, for one, two, or three voices and continuo

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petit motet

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French version of the large-scale sacred concerto, for soloists, double chorus, and orchestra

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grand motet (many written by Michel-Richard de Lalande)

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Lute and Harpsichord in France.

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Lute music flourished until the clavecin (harpsichord) displaced it as main solo instrument. It imitated the lute style. Both played dance music in binary form.

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organ music

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distinctive and popular in France.

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broken or arpeggiated texture in keyboard and lute music from 17th century France. The technique originated with the lute and the figuration was transferred to the harpsichord

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sytle luthe or style brise

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a set of pieces linked together into a single work (dance pieces)

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suite

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a French Baroque keyboard genre, usually the first movement in a suite, whose nonmetric notation gives a feeling of improvisation

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unmeasured prelude

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highly stylized dance in binary form, in moderately fast quadruple meter with almost continuous movement, beginning with an upbeat

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allemande

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a dance in binary form, in compound meter at a moderate temp and with an upbeat, featured as a standard movement of the Baroque dance suite

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courante

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a slow dance in binary form and triple meter, often emphasizing the second beat (came from Central America)

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sarabande

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stylized dance movement in binary form, marked by fast compound meter (6/4 or 12/8) with wide melodic leaps and continuous triplets. The two sections usually begin with imitation

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gigue

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a refrain alternates with a series of contrasting periods called couplets

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rondeau

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one of several periods or passages that alternate with the refrain

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couplets

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duple-time dance in binary form, with a half measure upbeat and a characteristic rhythm of short-short-long

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gavotte

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dance in moderate triple meter, two-measure units, and binary form

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minuet

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German dance suites vs. French dance suites

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German ones assumed a standard order while French ones allowed for more variety

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integration of French and Italian music

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became a theme of the 18th century. France was a leading power and highly refined.

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unlike France, England...

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was a limited monarchy whose king shared rule with the parliament (royal house had less money to spend on music)

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17th century English entertainment involving poetry, music, dance, costumes, choruses, and elaborate sets, akin to the French court ballet (like opera but not unified drama and not written by one composer)

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masques

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English "operas"

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prohibited plays (during time of Puritans) led to mixed genres--mixtures of spoken drama and the masque

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only two dramas sung-throughout were successful in England (there was little interest in French opera, even after the Restoration in 1660)

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-Blow's Venus and Adonis (~1683)
-Purcell's Dido and Aeneas (1689)

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Purcell

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Englands leading composer, combined elements of masque and French and Italian opera. English royal family commissioned many large works or home performances

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17th century English mixed genre of musical theatre, a spoken play with an overture and four or more masques or long musical interludes

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dramatic opera or semi opera

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English genre of canon, usually with a humorous or ribald text

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catch

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Playford collected tunes and published them

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social dancing in England

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after the 1670s

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public concerts gained popularity. in London, middle class was interested in music, there were excellent musicians, and the king was unable to pay them well, so this led to public concerts

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Spain history

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silver made Spain the richest country in Europe, but it lost its dominance after spending its money elsewhere in Europe. Spain ruled colonies in America with its own as well as borrowed music.

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Spanish genre of musical theatre, a light, mythological play in a pastoral setting that alternates between sung and spoken dialogue and various types of ensemble and solo song

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zarzuela

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founder of enduring traditions. composer who appealed to royal patrons and general public

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Hidalgo (equal to the Lully of France)

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few Spanish pieces were published because

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they lacked printers

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the most vibrant genre of sacred music. sung at important feasts

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villancico

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Spanish improvisatory-style instrumental piece that features imitation, akin to the sixteenth century fantasia

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tiento (organ)

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guitar and harp

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were popular, centered around dances