COURSE ANNOUNCEMENTS

August 2002 please read chapter two thoroughly re: christian chant and the informantion pertaining to early harmony; this will be important on the first test.  Also, make sure to practice distinguishing your vocal listening examples from instrumental categories as a good starting place.

September 2002 please go over the Order of the Mass; separating the Propers vs. the Ordinary of the Mass

September 2002 remember, the Divine Office was sung on a daily basis in addition to the celebration of the Mass
 the Clausula is a section in a piece of organum which is composed in discant style

September 2002 Discant style refers to the vox principalis (pre-existent Gregorian chant voice in a piece of organum), which now speeds up
 the defining feature of the isorhythmic motet is the TALEA:  this is a repeating rhythmic pattern found in the tenor voice

Rondeau:  ABaAabAB
(capital letters are your refrains)
"Messe de Notre Dame" by Machaut:  one of the earliest examples in history of music of a complete setting of the Mass Ordinary (Machaut uses isorhythm quite often in this Mass)
 the VIRELAI and the Italian BALLATA are the same form:  AbbaA (do not confuse the BALLATA with BALLADE FORM)
as you prepare for Exam #1, be sure to trace the development of early polyphony/ORGANUM from its roots in chant (tropes/sequences/Vox principalis/St. Martial style, etc.)
  Intabulation:  vocal music such as the motet and French chanson which is transcribed for instrumentalists
Tenor Cantus Firmus Mass:  the entire Mass Ordinary is built around a pre-existent melodic idea (could be either secular or sacred) which is found in the tenor voice of the new composition
"madrigalism" the desire to communicate the meaning of the words through expressive musical devices such as chormaticism for "morte" (death) or "piange" (tears)
 the early history of Baroque opera shows many aria types
a) simple strophic song
b) melody based upon a bass ostinato pattern
c) the emerging DaCapo aria:  ABA with expected embellishment in A'
"stile recitativo" was intended for powerful dramatic affect
declamatory
often syllabic
expressive harmonic changes with dissonance and chromaticism
Impact of the Reformation:
a) development of the Lutheran chorale
"Ein feste burg is unser Gott"
b) adaptation of chant
c) contrafactum
"O Welt, ich muss dich lassen"
d) Luther's vision of congregational participation
e) stimulus for the organ composers of late Reniassance and early Baroque
Sweelinck
Scheidt
Scheidemann
 
 stylized dances of the German Baroque Suite
a) Allemande:  in a moderate quadruple
b) Courante:   Italian = fast triple
                      French =moderate 6/4 with hemiola
c) Sarabande:  slow triple, stress on beat 2
d) Gigue:    fast dance; usually in a compound meter such as 6/8 or 12/8
Froberger (1616-1667) stndardized these stylized dances in his suite MSS dating from the 1650's:  REMEMBER  Froberger's concluding dance was the Sarabande; however in a 1690's posthumous publication of his suites, the Gigue was moved to the fianl position.
 by mid 17th Century, clear distinctions between arias and recitative (the stile recitative found in earlier operas by Monteverdi and Cesti gave way to the newer type of recitative:
2 distinct types of recitative:
a) recitative secco:  simple, declamatory and syllabic over sustained chors in the continuo ensemble
b) recitative accompagnato: use of the orchestra with continuo for a more dramatic rendition of the singing, including a variety of vocal styles