1. Medieval Era (476 CE - early 15th century)
1.1. Unification of Chant
1.1.1. Major figures
1.1.1.1. Holy Roman Emperor Charlemagne
1.1.1.1.1. Grow the church, grow the empire
1.1.1.2. Pope Gregory
1.1.1.2.1. Gregorian Chant
1.2. Forms of Worship
1.2.1. Mass
1.2.1.1. Proper
1.2.1.1.1. Changes according to the liturgical calendar
1.2.1.2. Ordinary
1.2.1.2.1. Part of every celebration of the mass
1.2.1.2.2. Kyrie, Gloria, Credo, Sanctus, Agnus Dei
1.2.2. Divine Office
1.2.2.1. 8 Services observed daily by monks and nuns
1.2.3. All Services held in Latin
1.3. Notation
1.3.1. Neumes
1.3.1.1. Signs placed above the words to indicate melodic gesture
1.3.2. Heighted Diastematic Notation
1.3.2.1. Neumes were placed at varying heights above the words
1.3.2.2. Lines were added
1.3.3. Guido of Arezzo
1.3.3.1. Suggested an arrangement of lines and spaces - from this system evolved our modern staff
1.3.4. Franco of Cologne
1.3.4.1. Franconian Notation
1.3.4.1.1. Components: Long, Breve, Semibreve
1.3.4.1.2. Ca. 1260
1.3.5. Petrous de Cruce
1.3.5.1. Petornian Notation
1.3.5.1.1. Components: Long, Breve, Semibreve, Minum, Semiminum
1.3.5.1.2. Ca. 1280
1.4. Medieval Theory
1.4.1. Hexachords
1.4.1.1. Overlapping hexachords were used to span entire octaves
1.4.1.1.1. Seven overlapping hexachords makes up the Gamma Ut
1.4.1.2. Hard
1.4.1.2.1. B natural
1.4.1.3. Soft
1.4.1.3.1. Bb
1.4.1.4. Natural
1.4.1.4.1. no Bs
1.4.2. Guido of Arezzo
1.4.2.1. Developed solemnization syllables
1.4.2.2. Guidonian Hand
1.4.2.2.1. Device for students to learn solemnization syllables and structure of the gamut
1.4.3. Boethius
1.4.3.1. Musica Mundana
1.4.3.2. Musica humana
1.4.3.3. Musica instrumentalis
1.4.3.3.1. lowest form - the only sounding music
1.4.4. Church Modes
1.5. Plainchant
1.5.1. Rhythm
1.5.1.1. Most controversial aspect of plainchant
1.5.2. Syllabic
1.5.2.1. 1 pitch per syllable
1.5.3. Neumatic
1.5.3.1. 2 to 6 pitches per syllable
1.5.4. Melismatic
1.5.4.1. Many pitches per syllable
1.6. Frankish Additions to Chant Repertoire
1.6.1. Sequence
1.6.2. Hymns
1.6.3. Tropes
1.6.3.1. Music is added in the form of melismas over existing words
1.6.3.2. Words are added to existing melismas
1.6.3.3. Music and words are added
1.6.4. Liturgical dramas
1.6.4.1. Hildegard of Bingen
1.7. Troubadours/Trouveres
1.7.1. Troubadour
1.7.1.1. Based out of Southern France
1.7.1.2. Occitan language
1.7.2. Trouvere
1.7.2.1. Based out of Northern France
1.7.2.2. Medieval French
1.7.3. Courtly Love
1.7.4. Formes Fixes
1.7.4.1. Rondeau
1.7.4.1.1. ABaAabAB
1.7.4.2. Ballade
1.7.4.2.1. [R]aab[R]
1.7.4.3. Virelai
1.7.4.3.1. AbbaA
1.8. Organum
1.8.1. a polyphonic work consisting of an original plainchant melody in one voice along with at least one additional voice above or below
1.8.2. Cantus firmus
1.8.2.1. fixed tune often placed in the tenor voice
1.8.3. Discant style
1.8.3.1. Different voice parts move at the same rate
1.8.4. Florid organum
1.8.4.1. Different voice parts move at different rates
1.9. Notre Dame School of Polyphony
1.9.1. Group of musicians active in Paris between about 1150-1250
1.9.2. Associated with the Cathedral of Notre Dame
1.9.3. Cultivated the polyphonic genres of organum, conductus, and the liturgical motet
1.9.4. Leonin
1.9.4.1. two-part organum
1.9.5. Perotin
1.9.5.1. three/four-part organum
1.9.6. Rhythmic modes
1.9.6.1. First notation since Ancient Greeks to indicate duration
1.10. Ars Nova
1.10.1. "New Art"
1.10.2. Increased use of minum and semiminum
1.10.3. Duple divisions become more common even though considered "imperfect"
1.10.4. Mensuration symbols
1.10.4.1. Predecessors to time signatures
1.10.5. Isorhythm
1.10.5.1. Repitition in a voice part of an extended pattern of durations throughout a section or an entire composition
1.10.5.2. Talea: Rhythmic pattern
1.10.5.3. Color: Melodic pattern
1.10.6. Composers
1.10.6.1. Phillippe de Vitry
1.10.6.2. Guillaume de Mauchaut
1.10.7. Opponents
1.10.7.1. Pope John XXII
1.11. Ars Subtilior
1.11.1. "the more subtle art"
1.11.2. final period of the Ars Nova
1.11.3. Rhythmic complexity
1.11.4. Special notation
1.11.5. Obscure rules given to performers
1.11.6. Composer
1.11.6.1. Phillippe de Caserta
1.12. Trecento
1.12.1. 14th Century, Italy
1.12.2. Principal genres
1.12.2.1. Ballata
1.12.2.1.1. Similar to the French virelai
1.12.2.1.2. Form: AbbaA
1.12.2.2. Madrigal
1.12.2.2.1. Features elaborate melismas
1.12.2.2.2. Usually two voices
1.12.2.2.3. No direct connection to the Renaissance madrigal
1.12.2.2.4. Caccia
2. Baroque
2.1. Florentine Camerata
2.1.1. a group of poets, musicians, and noblemen gathered informally at the hose of Count Giovanni de’Bardi (1534-1612) in Florence to discuss issues relating to the arts
2.1.2. Promoted monody and a return to the aesthetics of the Ancient Greeks
2.1.2.1. A single voice accompanied by the lute
2.1.3. Composers
2.1.3.1. Caccini
2.1.3.2. Peri
2.2. Doctrine of Affections
2.2.1. the composer was obliged, like the orator, to arouse in the listener emotional states
2.3. Transitions from Renaissance to Baroque
2.3.1. Prima prattica
2.3.1.1. Vocal polyphony derived from the Burgundian composers and perfected in the music of Palestrina
2.3.1.1.1. music dominated the text
2.3.2. Seconda prattica
2.3.2.1. Style of the modern Italians composers (earliest composers of the seconda prattica include Cipriano de Rore, Luca Marenzio, and Monteverdi)
2.3.2.1.1. the text dominated the music
2.3.2.1.2. Basso continuo
2.4. Early Opera
2.4.1. Early Opera Composers
2.4.1.1. Peri
2.4.1.2. Caccini
2.4.1.3. Cavalieri
2.4.1.4. Monteverdi
2.4.1.4.1. Orfeo
2.4.2. Court Opera
2.4.2.1. Funded by royalty
2.4.2.2. Large casts
2.4.2.3. Elaborate costumes and staging
2.4.2.4. Mythological plots
2.4.3. Public Opera
2.4.3.1. Limited use of elaborative machinery
2.4.3.2. Increased attention on singers themselves
2.4.3.3. Musical style reflected the taste of wider audiences
2.4.3.4. Realistic or historical plots
2.4.3.5. Carnival Season
2.4.3.5.1. The part of the church calendar that preceded the liturgical season of Lent
2.4.3.5.2. Public opera boomed during this time
2.5. Instrumental Music
2.5.1. Abstract types
2.5.1.1. Improvisatory works
2.5.1.2. Continuous works
2.5.1.3. Sectional works
2.5.2. Dance Music
2.5.2.1. Often grouped into suites
2.5.3. Variations
2.5.4. Trio Sonata
2.5.4.1. three notated parts: two higher voices (commonly violins) above a basso continuo
2.5.4.2. sonata da camera
2.5.4.2.1. chamber sonata
2.5.4.2.2. suite of dances
2.5.4.3. sonata da chiesa
2.5.4.3.1. church sonata
2.5.4.3.2. could be performed within the liturgy
2.5.5. Concerto
2.5.5.1. Concerto grosso
2.5.5.1.1. a small group of soloists (the concertino), with its own basso continuo, against a larger ensemble known as the ripieno or tutti
2.5.5.2. Solo concerto
2.5.5.2.1. features a single soloist or a pair of soloists against a ripieno
2.5.5.3. Ripieno concerto
2.5.5.3.1. features no soloists at all; the ensemble is featured
2.5.5.4. Vivaldi
2.5.6. Fugue
2.5.6.1. Subject
2.5.6.1.1. Most instrumental fugues begin with a monophonic statement of the subject, which is initially presented by a single voice
2.5.6.2. Exposition
2.5.6.2.1. A section of a fugue containing entries of the subject
2.5.6.3. Episode
2.5.6.3.1. interlude of significant length from which the subject is absent
2.5.6.4. Bridge
2.5.6.4.1. shorter passage that merely connect entries of the subject
2.6. French Developments/Opera
2.6.1. Academy of Poetry and Music
2.6.1.1. Musique Mesuree
2.6.1.1.1. Resulted in irregular patterns of long/short rhythms (sounding irregular meters)
2.6.2. Ballet de Cour
2.6.2.1. Court ballet
2.6.2.2. Louis XIII and Louis XIV
2.6.3. Comedie-Ballet
2.6.3.1. A French Baroque stage work that combined spoken, or later, sung comédie and ballet
2.6.4. Lully
2.6.4.1. Lully purchased a patent that gave him exclusive right to produce sung dramas in France
2.6.4.2. TRAGÉDIE EN MUSIQUE
2.6.4.2.1. An overture that moves from a slow introduction with dotted rhythms to a fast imitative section
2.6.4.2.2. An allegorical prologue closely connected to some recent event at the court but always flattering to the king, explicitly or implicitly
2.6.4.2.3. Five acts of entirely sung drama, each divided into several different scenes
2.6.4.2.4. Many divertissements (interludes) within individual acts
2.6.4.3. French Overture
2.6.4.3.1. Sections
2.7. Opera in Britain
2.7.1. Henry Purcelll
2.7.1.1. Dido and Aeneas
2.7.2. John Gay
2.7.2.1. Beggar's Opera
2.7.3. Handel
2.7.3.1. Opera seria
2.8. Opera Seria
2.8.1. Da Capo Aria
2.8.1.1. "from the head"
2.8.1.2. ABA - second A section is elaborated
2.8.2. Recitative
2.8.2.1. speech-like singing
2.8.2.2. recitative semplice
2.8.2.2.1. supported by basso continuo
2.8.2.3. Recitativo accompagnato
2.8.2.3.1. supported by full orchestra
2.8.3. Castrati
2.8.4. Impressario
2.8.4.1. the equivalent of modern-day Hollywood producers
3. Ancient Times
3.1. Mesopotamia
3.1.1. Anhuduanna
3.1.1.1. Earliest known composer
3.2. Greece
3.2.1. Ethos
3.2.1.1. Greek writers believed that music could affect ones ethical character
3.2.1.2. Plato
3.2.1.3. Aristotle
3.2.2. Theater
3.2.2.1. Most important public venue for music
3.2.3. Theory
3.2.3.1. Pythagorus
3.2.3.1.1. Discovered the mathematical ratios of the perfect intervals
3.2.3.2. Greater Perfect System
3.2.3.2.1. Tetrachords spanning two octaves
3.2.3.3. Lesser Perfect System
3.2.3.3.1. Tetrachords spanning an octave plus a fourth
3.2.3.4. Cleonides
3.2.3.4.1. Recognized the different species (what later becomes modes)
3.2.4. Epitaph of Seikilos
3.2.4.1. Early music notation carved in stone
3.3. Rome
3.3.1. Borrowed much of their culture from the Greeks
3.3.2. Made advancements over the Greeks in instrument building
3.3.2.1. Hydraulic organ
4. Renaissance
4.1. Sacred Genres
4.1.1. Mass
4.1.1.1. Cyclic Mass
4.1.1.1.1. Cantus firmus mass
4.1.1.1.2. Paraphrase mass
4.1.1.1.3. Imitation (parody) mass
4.1.1.1.4. "Head-motiv"
4.1.1.1.5. Canon mass
4.1.2. Motet
4.1.2.1. Functions
4.1.2.1.1. Liturgical (Part of the Mass or Office)
4.1.2.1.2. Devotional
4.1.2.1.3. Occasional (commissioned for special occasions)
4.2. Contenance Angloise & The Spread of English Influence (15th Century)
4.2.1. Political factors
4.2.1.1. Hundred Years' War (1337-1435)
4.2.1.2. Duke of Bedford brought English musicians to Paris (1420s/1430s)
4.2.2. Composers
4.2.2.1. English
4.2.2.1.1. John Dunstable (ca. 1390-1453)
4.2.2.2. Franco-Flemish
4.2.2.2.1. Guillaume Du Fay (ca. 1397- 1474)
4.2.3. Terms
4.2.3.1. Countenance Angloise: "English guise"
4.2.3.1.1. "Major mode" tonality, triadic harmony, smooth handling of dissonance
4.2.3.2. Faburden
4.2.3.2.1. multiple unnotated lines that would parallel the notated melody: upper line was a fourth above and the lower line would vary between thirds and fifths below (English)
4.2.3.3. Fauxbourdon
4.2.3.3.1. unnotated line that runs parallel to the uppermost of two notated lines, usually at the interval of a fourth below (French)
4.2.3.4. Panconsonance
4.2.3.4.1. a harmonic idiom that makes ample use of triads and limits the use of dissonance considerably
4.2.4. Outcome
4.2.4.1. More common use of thirds, sixths, tenths
4.2.4.2. Composers/musicians begin to "trust the ear" / Go against medieval doctrine
4.2.4.3. Composers begin to establish a consistent formula for harmony / harmonic progressions
4.3. Stylistic Differences From Medieval Era
4.3.1. Texture
4.3.1.1. Voices start to become equal; homogenous texture
4.3.1.2. Pervading Imitation
4.3.2. Treatment of text
4.3.2.1. End of polyglot texts
4.3.3. Form
4.3.3.1. cantus firmus, isorhythm, formes fixes continue until ca. 1490
4.3.3.2. paratactic form becomes common (A, B, C, D, etc.
4.3.4. Harmony
4.3.4.1. Thirds and sixths become consonant
4.3.4.2. Limited and carefully controlled dissonance
4.4. Music Theory
4.4.1. Johannes Tinctoris
4.4.1.1. rules for good counterpoint
4.5. Instrumental Music
4.5.1. Whole consorts
4.5.1.1. instruments all from the same family
4.5.2. Broken consorts
4.5.2.1. instruments from more than one family
4.5.3. "Haut" ensembles
4.5.3.1. ensembles made up of loud instruments and mostly used for playing outside
4.5.4. "Bas" ensembles
4.5.4.1. ensembles made up of quieter instruments, used indoors
4.5.5. Basse Dance
4.5.5.1. Slow, triple meter couples dances
4.5.5.2. The framework of the bass lines are preserved. Other instruments improvised on top of this framework.
4.6. Secular Genres
4.6.1. Frotolla (Italy)
4.6.1.1. avoids imitation
4.6.1.2. chordal textures
4.6.1.3. dance like rhythms
4.6.1.4. simple harmonic progressions (I IV V I)
4.6.2. Tenorlied (Germany)
4.6.2.1. Diskantlied (soprano voice carries the melody)
4.6.3. 15th C. Chanson (Burgandy)
4.6.3.1. Adopted the structures of the formes fixes (developed a preference for the rondeau)
4.6.3.2. When compared to Parisian Chanson: more complex rhythms and polyphony
4.6.4. Parisian Chanson (16th Century)
4.6.4.1. Reflects the influence of the Italian frottola: generally homorhythmic, lighter and more chorally oriented
4.6.4.2. Claudin de Sermisy: Recognized master of the Parisian Chanson
4.6.5. Madrigal
4.6.5.1. No connection to medieval madrigal
4.6.5.2. through-composed
4.6.5.2.1. any form in which each section is based on thematic material different from that presented in other sections
4.6.5.3. frequent use of word painting
4.6.5.3.1. use of musical elements to imitate the meaning of a specific passage of the text being sung at the moment
4.6.5.4. The poetry of Petrarch was favored by madrigal composers
4.6.5.5. Madrigals were performed in many settings, from banquets to private homes (a favorite genre for amateur singers)
4.6.5.6. Three Ladies of Ferrara gained wide fame singing madrigals
4.6.5.7. Villanella
4.6.5.7.1. Subgeneres of the madrigal that were less literary and less musically elaborate
4.7. Reformation
4.7.1. Lutheran Reformation
4.7.1.1. Led by Martin Luther
4.7.1.1.1. Luther never objected to polyphonic music or music with Latin texts
4.7.1.1.2. Luther placed special emphasis on congregational singing
4.7.1.2. Chorale
4.7.1.2.1. The congregational hymn of the German Protestant church service
4.7.1.2.2. Texts: Luther preferred short, monosyllabic words
4.7.1.2.3. Music was borrowed from existing melodies (sacred and secular) or newly composed
4.7.1.3. Johann Walter
4.7.1.3.1. Prominent composer who wrote specifically for the Protestant liturgy (first generation of Protestant composers)
4.7.2. Calvin Reformation
4.7.2.1. Led by Jean Calvin
4.7.2.1.1. Calvin believed any kind of polyphonic texture would distract the congregation from the meaning of the words
4.7.2.1.2. Banned instrumental music and limited sacred music to the unaccompanied union singing of the Psalms
4.7.2.2. Psalm verses
4.7.2.2.1. Unaccompanied, monophonic singing of the Psalms
4.7.2.3. Ulrich Zwingli
4.7.2.3.1. Another major figure in the Reformation movement in Switzerland
4.7.2.3.2. Dismantled organs in churches
4.7.3. English Reformation
4.7.3.1. Led by King Henry VII (wanted his marriage with Catherine of Aragon annulled)
4.7.3.2. Anthem
4.7.3.2.1. Similar to the motet, with English text
4.7.3.2.2. Full anthem
4.7.3.2.3. Verse anthem
4.7.3.3. Composers: William Byrd, Thomas Tallis, Christopher Tye
4.8. Counter-Reformation
4.8.1. The Roman Catholic Church's response to the Protestant Reformation
4.8.2. Council of Trent
4.8.2.1. Met in three sessions to discuss the reforms of the church
4.8.2.2. Decisions concerning music
4.8.2.2.1. The council eliminated some plainchants from the liturgy
4.8.2.2.2. The council declared that the function of sacred music was to serve the text and the text should be clear to listeners
4.8.2.2.3. The council banished from services "all music the contains... things that are lascivious or impure"
4.8.2.2.4. The council decided to allow the continued use of polyphony
4.8.3. Palestrina
4.8.3.1. The polyphonic style developed by Palestrina aligned with the values discussed at the Council of Trent
4.8.3.2. Mass
4.8.3.2.1. Contains straightforward text setting, mostly syllabic setting of text, and careful treatment of dissonance
4.9. Music Printing
4.9.1. Ottoviano Petrucci
4.9.1.1. Triple impression
4.9.1.2. Double impression
4.9.2. Pierre Attaigngnant
4.9.2.1. Single impression
4.9.3. Affects/Consequences
4.9.3.1. Music scores are more consistent
4.9.3.2. Music is more accessible to the public
4.9.3.3. Music literacy increases among the general public
4.9.3.4. A new way for composers to make money: selling scores
4.9.3.5. Increased in survival rates of musical scores
4.9.3.6. Publishers begin competing to secure new music from composers
4.9.3.7. Emergence of genres with international appeal