Lecture Notes 19C - Music theory PDF

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Music 100 Lecture Notes Meeting I Introduction Welcome Administrivia SOCIAL MEDIA Facebook: Uwaterloo Music Department Twitter @UWMusicDept Grebel Music Events Page: https://uwaterloo.ca/music/events

Review Outline: text requirements Concert reviews Presentation option. Will update notes weekly. Also study guides for LQ, MT, and final Dates are important but not most important. Sequence and context are far more critical. Course Reserves access through LEARN or Library PLAY Copland fanfare Aims/Scope/Method You have your aims, I have mine. Some might take this course to acquire a thin veneer of "cultcha." Not altogether a bad thing. . . a thin veneer is better than no veneer at all. This is an introductory course. No previous experience or knowledge (of notation, for example) is necessary.

What is the aim of this course? My aim is the same as Copland's. . . to encourage all of you "to become as completely conscious and wide awake a listener as can possibly be developed." Note the absence of value judgements. We will hear a lot of "great" music in this course but I will never ask you to accept its greatness simply on my authority. In fact, you're not obligated to agree that it's great at all. I guarantee that at some point, you will all say to yourselves, "What's so great about that piece of @#$%^?" I want this course to give you the tools to defend your position. What is the scope of this course? This course is about "classical" or "art" music This is the approach we'll use: Eclectic with as few "isms" as possible. 100 is basically chronological with a few side excursions into materials and genre. 100 is centred on sound. First excursion: Social Context of Music All music has a context, even this course "I like both kinds of music, country and western" What do we mean by "music?" One of the most important questions one can ask about any social or cultural activity is, "Who gets to define the terms?" Much Music is not the same as CBC Radio Music. All music, indeed all art or any other cultural product has a function. Functions change over time. Second Excursion: Elements What is Music Anyway? Problems with definitions, especially romantic ones. (see page 17) My favourite: Wiora – “A game with tones.” In order even to have a discussion about musical sounds we have to establish a basic

vocabulary. Musical sounds (tones) pitch, duration, (timbre) use "note" for the written symbol or name of the pitch (which we won't use very often) Frequency/pitch relationship Brief gloss on the circle of 5ths.

Melody, Harmony, Rhythm Melody A melody is a sequence of pitches. Interval is the distance between pitches (hard concept) A scale is a sequence of pitches within an octave arranged in ascending or descending order. Melodic motion - melodies made up of mixture of steps, leaps, and repeated notes. Examples: pg. 18, 19 Melodic range is the span from the highest to lowest tone (examples: narrow, medium, wide. Examples: Wide – Star Spangled Banner. Narrow: Mary Had a Little Lamb. Melodic line or shape is the graphic representation of the sequence of pitches. up/down, A phrase is a "unit" of melody, like a sentence Examples: God Save the Queen/My Country ‘tis of Thee (p.18), steps, melodic sequence – rhythm/movement pattern repeated at a different pitch level. . . common device), Twinkle, Twinkle, repeats and leaps (p.19) Most melodies are diatonic.

Harmony Simultaneous sounds.

Dissonance/consonance. Shifting meaning. "What we like"=consonance, "what we don't like"=dissonance. Dissonance is necessary for phenomenon of movement. The big leap. . . notion of harmonic movement. Certain combinations of sounds "lead to" or "imply" or "demand" certain other combinations of sounds (Demonstrate). Where does this come from? We all sense it, training or no training. . . there is still no accepted explanation in neuroscience for this basic feature of music. Demonstrate on piano Chord=3 or more pitches Though a chord can be any set of three or more pitches they are usually thought of as being built from particular sets of pitches or scales (more on scales later). EXPAND Triad=3 pitch chord (commonly, alternate notes of a scale. . . demonstrate). . . inversions possible. Tonic=central pitch. Most common-practice Western music is tonal. Review LQ typical questions, melody and harmony examples. Reminder: Music that uses primarily the major or minor pitch-set (which are really two versions of the same thing. . . demonstrate) is said to be diatonic (recall term from melody discussion). Anything else is chromatic.

Rhythm Rhythm Defined as the temporal aspect of music. Rhythmos="flow" in ancient Greek. The Western understanding of rhythm is notoriously unsophisticated. "marking off" of time Pulse/beats Regular pulse Meter(re) Pattern of stress Marked off in notation by “measures”/”bar lines.” Duple:(ex.Vivaldi: La Primavera) Triple: (ex. Mozart: Minuet)

Tempo – rate of pulse Italian or metronome marking (P.24) Syncopation – straightforward meter but the stresses of the melody don’t line up with the stresses of the meter. Creates a kind of forward momentum that is essential in dance music. ================================ Expression Tempo and dynamics. . . give "life" to music

Tempo: pace or rate of flow of beats usually indicated by Italian (1600-1750) terms (listed in Yudkin) Dynamics: volume more Italian (pg 20) Texture "Weaving" metaphor Graphic illustrations of texture on pg. 28. Monophony - single voice (not necessarily one voice). . . unaccompanied melody PLAY – Kyrie (chant) Song Texture (Homophony) - single voice with accompaniment most familiar texture PLAY (Ravel Pavane) – complex Chordal Harmony – all parts move together (familiar choir texture) Polyphony - two or more independent voices most difficult to hear PLAY Exsultate Deo 1.49 (Palestrina) polyphony that follows strict “rules” is called counterpoint (rules for combining melodies. . . punctus contra punctum or "note against note") simple example: rounds ("Row, Row," "Frere Jacques") repetition. PLAY Bach: Art of Fugue: Contrapunctus I Real-world examples are sometimes complicated (intentionally).

PLAY Handel Messiah: Hallelujah pg.104

Form (pg. 30) Best thought of as "organization" in time. Difficulty of recognizing "form" in a temporal art. . . one can see form (balance, contrast, etc.) in sculpture and painting. Balance/contrast are also important in creating musical form. Really only two things you can do. . . the same thing (repetition) or something different (contrast). Variation is really a little of both. A variation is a little bit different from the original but not so different as to be unrecognizable. Notion of musical "structure" or arrangement of material. Form can be on a small or (very) large scale Note potential quiz questions. Common forms. . . binary A-B (Example: “Mary Had A Little Lamb,” “God Save the Queen”), ternary or "arch" form A-B-A (Example: "Twinkle, Twinkle” pg 19) many classic songs are A-A-B-A (Example: "Somewhere Over the Rainbow," "I Got Rhythm." “Blue Skies,” “Deck the Halls”) Rock/blues/jazz also uses the 12 bar blues form (AAB) Very loose descriptors. Short tunes and long symphonies can have the same A-B-A form. Subsections within sections etc. In large scale classical music there are many forms – sonata, theme and variations, rondo, etc. . PLAY Haydn, Rondo. Note form (p.121) ABACAD… PLAY Haydn Minuet (pp.120) ABA PLAY Purcell “Come Ye Sons of Art” AABCBCC Instruments Text pgs 33-40 We need different instruments for their different timbres (tone colours), Unpack Sachs/Hornbostel classifications: Aerophones: brass, woodwinds Chordophones: strings, guitars, banjos, lutes, harps. etc. Idiophones: percussion (vibrating body) Membranophones: drums (vibrating membranes)

Some have suggested electrophones for instruments that produce sound electronically (synthesizers, turntables, etc.) Aerophones: Brass: trumpet, trombone, French horn, tuba, pipe organ Woodwinds (single reed): clarinet, saxophone (double reed): oboe, English horn, bassoon (no reed): flute Chordophones: Strings: violin, viola, cello, double bass (all generally bowed) Guitar, lute, banjo, harp (plucked) Piano, harpsichord (hammered) Idiophones: woodblocks, cymbals, xylophone, etc. Membranophones: drums, kettledrums, etc. Ensembles Orchestras (symphony and otherwise) Large mixed ensemble (strings, brass, woodwinds, percussion) Chamber music (small ensemble of any makeup) String quartet, woodwind quartet, brass quintet, piano trio, percussion ensemble, etc. Mixed ensembles (voices and instruments) Chorus plus orchestra PLAY Britten: Young Person’s Guide Quiz Rubric now posted on LEARN

Medieval A bit of history first: will cover a greater time span today than in the rest of the course combined. "Middle Ages" approx. 1000 yrs. (476 CE (Fall of Rome) to 1450 or so (the beginning of the Renaissance. . . Re-Naissance; Rebirth).

Popularly called the "Dark Ages" – technological and scientific progress was slow. Much knowledge preserved and advanced in the Islamic world (astronomy (Mizar, Alcor), mathematics (algebra – Arabic root), etc.) Roman Empire was Christian at the end. Christianity continued as the dominant religion of Europe after the fall of the Western Roman Empire. Feudal society (pyramid, God-King-etc). Monasteries were the dominant centres of learning although there wasn't much new learning going on in the European world – plenty in the Islamic world. Ms preserved the learning of the ancient world. (Greek and Roman). Term music itself derives from the Muses. . . 9 daughters of Zeus who inspired the various arts (Calliope-epic poetry, Euterpe-lyric poetry and what we would call music).

Sacred and Secular Two broadest functional categories for music are "sacred" and "secular." There was, of course, sacred music before the Middle Ages, and there was all kinds of secular music going on in the Middle Ages. . . work songs, singing in taverns, love songs, nursery songs and lullabies. . . we have little idea what these were or sounded like. Earliest music we know anything about is sacred music of the day because of a single, critical development. . . notation. A reasonably sophisticated system for writing music down began to be developed in the church in the early Middle ages. Why write it down? Need to standardize the liturgy or order and structure of the service. Usually attributed to Pope Gregory I (590-604). Gregorian chant (plainsong, plainchant) Earliest chants were transmitted orally PLAY Kyrie

Characteristics of chant Yudkin’s characteristics of chant: 1) Flowing Rhythm [non-metric], 2) Single melodic line without harmony, 3) Use of modes rather than scales [POOR CHOICE OF TERMS]. Monophonic Occasionally responsorial Modal (diatonic but not necessarily major or minor) (ex. p. 55-57) Texts for chant come from the liturgy

Where did chant happen? In the offices (matins, prime, lauds, etc., services at various times of the day and the Mass). Ordinary-sections of the mass that are always observed (Kyrie (Lord Have Mercy), Gloria (Glory to God in the Highest), Credo (in unum Deum. . . I believe in one God), Sanctus (Holy,) Agnus Dei (Lamb of God) Proper-texts that vary from week to week and season to season.

3 types of text setting: syllabic, neumatic, melismatic. In practice, all three are often found in the same example. (Examples pg. 56) Rise of polyphony circa 850 multiple voices needed more elaborate notation, controlled meters earliest polyphony was organum (12th-13th centuries). Initially, voices added above and below in parallel. Independent movement was an important development. PLAY Peritonus Alleluya, Nativitas (Magister Leonin) (page 61)

Secular music Importance of notation again Minstrels, jongleurs (entertainers, "jugglers"), troubadours/trouveres ("finders," poetmusicians), love songs, chivalry, etc. End of Middle Ages - Ars Nova. . . replaced the Ars Antiqua Machaut - freedom of rhythm PLAY Beatriz de Dia (1175) chantar – strophic song (p.58)

Renaissance (1400-1600 – from a musical point of view) List names. . . Leonardo, Michelangelo, Donatello, Raphael (the Ninja Turtles), Botticelli, Luther, Machiavelli; what a list! A time not unlike the present. Looked to the future and the past ("classical" civilizations of Greece and Rome, renewed interest in science and philosophy (Aristotle, Plato, poetry of Ovid, etc.), architecture reflects antiquity (see pg. 70-71, Palladio villa) Perspective drawing (Leonardo) Questioning of received wisdom

Interest in “this” world (as opposed to the “next”). Technology changed the world (and the minds of humans). the compass, astrolabe (but not the chronometer). . . which made long sea voyages out of sight of land possible. Europe encounters the New World Trade to India and Asia begins seriously with a sea route. Longbow and gunpowder ended the age of chivalry and began the decline of feudalism. More secular society - merchants, scientists, engineers In art - realism, perspective - Leonardo (polymath) Reformation - circa 1500 - Luther's Protestant revolt Counter-Reformation - circa 1545-63 (Council of Trent) In music: Publishing -> market of amateur musicians, printing press (1440 – Gutenberg) Styles: Genres pretty much the same: liturgical music (masses), non-liturgical sacred music (motets), secular songs and dances. Trend that began in the Middle Ages - music begins to have more authors (composers) rather than “anonymous.” A cappella - no instrumental accompaniment use of 3rds and 6ths still polyphonic - "cantus firmus" increased use of imitation as a compositional device. word painting (ancient Greek idea) Examples: "death" = dissonance, descending line "heaven" = ascending line Josquin des Prez master of technical counterpoint musical setting must serve the emotion of the text PLAY Kyrie from Pange Lingua Mass (1520) (pp 73). Based on a plainchant hymn. Mass (cont'd) prior to the Reformation - "runaway" improvisation and complexity over the cantus firmus or chant base. Counter-Reformation (Council of Trent 1545-1563, a long meeting) demanded a "back to basics" program - more "pious" music Enter Palestrina (1524-1594) Patron: Pope Julius III

Cathedral: St. Peter's Conservative, a cappella style master of counterpoint ("Palestrina," or species, counterpoint). See pg. 72 Motets – usually 4 voices, unaccompanied, sacred text, very expressive (“mot”) PLAY Palestrina motet Exsultate Deo (pp 76) Secular Music market of both professionals and amateurs created. PLAY Tielman Susato, Quarter Braules (Different example on p.83). Instrumental music PLAY Gabrieli Canzona per sonare Secular Music Dance music (see note pp. 113): there was always dance music but once again, publishing served a growing market. Instrumental forms -> earliest published instrumental music. Wide variety - pavanes, allemandes, bourees, gigues, rondes, courantes, galliardes, sicilianos, salterellos, etc.

Madrigals Monteverdi (Italian madrigals) English madrigals (English texts) full of nonsense (fa la las. . . like "Deck the Halls," often an oblique reference to naughty activity (the "yadda, yadda" of the 15th century). Many Christmas carols have their roots in the madrigal tradition. Listen to King's Singers, "All at once well met" CD 4, "Now is the Month of Maying" (Thomas Morley). up tempo King’s Singers CD 5, "Four Arms, Two Necks, One Wreathing" (Thomas Weelkes)

CD 10, "Weep, O Mine Eyes" (John Bennet). Word painting. . . descending melody for "downer" (lachrymose) emotional effect CD 14 “Fair Phyliss” note rhythmic complexity. CD 12, "Come, sirrah Jack, ho!" (Thomas Weelkes) STUDENTS ARE NOT RESPONSIBLE FOR THESE AS LISTENING EXAMPLES (you are responsible for content on madrigals however). ===============

Week IV Baroque Intro 1600-1750 (death of Bach) expanding middle (merchant) class, expanding wealth, expansion of European colonial territories. Visual art reflected the growing importance of the middle class - domestic scenes, portraits, business men (Rembrandt) courts still maintained most musical institutions: orchestras, opera companies, choirs but non-court musical activities expand; collegium musicum (university music societies). A time of intellectual ferment; Science continued apace (Newton, Harvey, Kepler, Descartes, Copernicus, etc.). While the era was intensely devout, rationalism and science were chipping away at religious dogma (Galileo example) FINAL EXAM: December 16, 12:30-3:00 Scientific attitude reflected in the arts – order, organization, symmetry, geometry (architecture – Versailles, Orangerie garden 1662) The baroque term for what we are calling “song texture” was "monody" (not to be confused with "monophony") - single line with accompaniment ("song" in the present day sense). No longer polyphony but homophony/song texture. PLAY Purcell (1659-1695) Come Ye Sons of Art

Camerata (Florentine group of musicians\composers) figured bass, basso continuo, major\minor system, equal temperament general interest in "decoration" is reflected in music. . . florid style, lots of elaboration and melisma in melodies (both vocal and instrumental). . . leads to the rise of the virtuoso (extreme specialization). doctrine of affections (affektenlehre). . . in Baroque terms, music not only ought to arouse emotions - it actually makes the listener experience certain emotions. PLAY the saddest music in the world (in JB's opinion): Purcell: Queen Mary Funeral Music Ironically, one of the greatest masters of polyphonic composition was J. S. Bach who lived in the Baroque. Baroque Vocal Music – Opera, Oratorio, Cantata, and Passion

More on opera in a few weeks. INVENTED in the Baroque A drama that is sung. It seems a bit odd to us now but is a logical development in preelectronic amplification days. Combines all the arts (and hence has attracted many of the greatest artists in all fields): music, literature (text or "libretto"), theatre, dance, visual art (design of costumes, sets, staging) Uses total musical resources: soloists, chorus, orchestra, dancers. Opera developed first in Italy (surprise) – Commedia del Arte Masques Conventions in Baroque opera Overture Recitatives Arias Ensembles (duets, trios, etc.) Choruses (often used for the "big finish" of an act or opera) Baroque opera is spectacle (flying machines, waves, trap doors, etc.. . . OA examples) "opera seria," "opera comique" Often on themes from "classical" antiquity (Greece and Rome)

Monteverdi: "Orfeo" (PLAY (Rosa), pp. 89) – note Castrato discussion on pg. 104, "Arianna," "Poppea" (historical) PLAY Purcell: Thy Hand Belinda from Dido and Aeneas (pg. 91) Note ground bass Sacred Music In the Catholic church vocal music continues much as before (Masses, etc.). Conventions of opera formed the model for much sacred vocal music in the Protestant church. Cantata (sacred and secular) Work for vocalists w\instrumental acc. (choruses added later), poetic text Italian cantata: 3 genres: lyric, dramatic, narrative Sacred cantatas for the Lutheran service (therefore not Masses) but serve much the same purpose. Always based on a chorale (hymn tune) Takes much from opera. . . arias, recitative, choruses but not staged J. S. Bach (1685-1750) wrote hundreds PLAY “A Mighty Fortress” (“Ein feste Burg ist unser Gott”) cantata + chorale Passions Passion plays (depiction of the last days and Crucifixion of Christ) - earliest known form of European theatre. Not surprising that music was incorporated early on. Discuss/PLAY “St. Matthew Passion: Blute nur…, + Aber am…, + Ich bins…” ( 3 tracks), Page 100-1 Like an opera – characters, solos, choruses, etc. A Passion is defined by its subject matter. Creativity of baroque performers figured bass, basso continuo Discuss Handel (1685-1759) Composed in all idioms Instrumental music operas, ex. Julius Caesar Oratorio

Similarities to opera PLAY Handel, Messiah “Hallelujah" (pp.104), “Sinfonia,” “Since by man came death,” “Behold! I Tell You a Mystery,” “The Trumpet Shall Sound,” “Amen” Note word painting Note use of a variety of textures - song texture (homophony), polyphony, even monop...