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LESSON 1: ASSUMPTIONS AND NATURE OF

ARTS WHAT IS ART?

 Art is something that is perpetually around us.


 Some individuals may reject having to do with arts yet it is obvious

that life confronts us with numerous types of and possibilities for

connection with the arts.

 The term ART derives from the old Latin, ars which implies a “craft

or specialized sort of expertise, as carpentry or smithying or

surgery” (Collingwood, 1938). (Collingwood, 1938).

 Ars in Medieval Latin evolved to signify something distinct. It

denoted “any unique sort of book- study, such as grammar or logic,

magic or astrology” (Collingwood, 1983). (Collingwood, 1983).

 The fine arts would come to imply “not delicate or highly trained

skills, but “beautiful arts” (Collingwood, 1983). (Collingwood, 1983).

 “The humanities are one of the oldest and most significant modes of

expression established by man” (Dudley et al., 1960). (Dudley et al.,

1960).Human history has watched how man grew not merely

physically but but culturally, from cave painters to men of fine

paintbrush users of the present.

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ASSUMPTIONS OF ART

1. Art Is Universal

 Timeless, transcending generations and nations through and through.


 Misconception: Artistic created long time ago.

 Age is not a factor in determining art.

 Literature has contributed crucial terms of art.

 lliad and the Odyssey are the two Greek Epics that one’s being

taught in school.

 The Sanskrit compositions Mahabharata and Ramanaya are also

classics in this domain.

 In every nation and in every age, there is always art. Often times,

individuals believe that what is deemed artistic are only those which

have been produced long time ago. This is a misunderstanding. Age is

not a factor in defining art. “An art is not excellent because it is old, but

old because it is good” (Dudley et al., 1960) (Dudley et al., 1960)


 Because they are centuries old, the writings of Jose Rizal and

Francisco Balagtas are no widely read in the Philippines today.

 It is impossible for Florante at Laura to fail to educate high school

pupils about the beauty of love.

 With its timeless teachings, Ibong Adarna, another Filipino classic, has

always grabbed the interest of children and young people everywhere.


 While reciting the Psalms, we experience a sense of connection with

King David, much in the same way as when we pray.

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 When we listen to a Kundiman or do traditional dances, we are still

experiencing the how our Filipino forefathers and foremothers

passed the time in the olden days.

2. Nature Is Not Art, and Art Is Not Nature

 In the absence of a depiction of reality, art may be thought of as a

perspective of reality.

 In the Philippines, it is fairly uncommon for some viewers of local

films to express their dissatisfaction with the films' realism by

stating that they are unrealistic. They argue that local movies are

based on a set of formulas that are detrimental to the content and

fidelity to reality of the films they produce

 'Well and Grinding' is a painting by French artist Paul Cezanne that

depicts a situation from reality.

 The Chateau Noir's Forest has a wheel, and it is located there.

3.Art is a result of personal experience

 It is not a comprehensive guide, but rather an experience. The actual

act of accomplishing something.

 For others, reaching this point without having a good definition of

art might seem bizarre and bizarre. For the majority of people, art

does not need a comprehensive definition. Art is nothing more than

a sensory experience. By

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 We define experience as the "real doing of anything" (Dudley et al.,

1960), and it is further maintained that art is dependent on

experience, and that in order to know art, one must know it not as

truth or knowledge but as an experience (Dudley et al., 1960).


 A product of art, on the other hand, cannot be separated from the

process of creating it. In order to understand

 What wonderful artwork; we have to feel it, see it, and hear it to

really appreciate it.

 The fact that art is very personal, idiosyncratic, and subjective is a

crucial component of the art-going experience. In philosophical

terms, the perception of art is always accompanied by a judgment of

its worth. It is dependent on who the perceiver is, his preferences,

his prejudices, and what he has on the inside.

LESSON 2: THE FUNCTIONS OF ART AND PHILOPHILOLOGY

ART'S FUNCTIONALITIES

The study of the functions of art is an investigation of what art is for. When

it comes to functions, each art form has its own set of capabilities, some of

which may be more functional than others depending on the medium.

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The worth of art is found in the practical advantages that may be derived

from it. One might evaluate the worth of anything based on its specified

function or for personal reasons.

Art Performs a Variety of Personal Functions

It is very subjective to attribute personal purposes to art; thus, it is

dependent on the artist who made the art. Art may be developed for a

variety of reasons, including self-expression, amusement, and other goals.

Art's Contributions to Society

When an art form is opposed to personal interest and is created for the

benefit of a larger group, it is said to have a social role. It is possible for

art to express a message such as support, protest, contestation, and

other themes that an artist desires to transmit via his or her work.

Politics as art is a fairly prevalent example of a kind of art that serves a

societal purpose.

Art may portray socioeconomic situations, such as industrialisation and

poverty via photography, for example.

Performance art, such as plays, fulfills societal purposes by evoking emotions

in response to a shared predicament that a society is experiencing.

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Art performs a variety of physical purposes.

Artworks that are created to fulfill a functional purpose, such as jars,

dishes, and jewelries, are considered functional art.

Architecture, jewelry-making, and interior design are all physical

activities that have a purpose.

Other uses of art may be to promote culture, history, and religion,

among other things. Music is an artistic creation that may be utilized for

a variety of objectives, including cultural, historical, and religious

gatherings. Its unique duties are carried out via the use of sculpture,

poetry, spoken poetry, cinema, and other forms of art.

ART FROM THE PERSPECTIVE OF PHILOSOPHY

Art as a kind of emulation

Plato's The Republic portrays artists as mimics, and art as nothing more

than a collection of imitations. He believes that the things that exist in

this world are simply copies of the original, the eternal, and that

authentic beings can only be discovered in the World of Forms,

according to his metaphysics or perspective of reality.

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Art is nothing more than a copy of another's work. In the World of

Forms, a painting is just a copy of nature, which in turn is an imitation of

reality in the actual world.

Art as a means of communication

In agreement with Plato, Aristotle, on the other hand, saw art as a tool to

help philosophy in the pursuit of the truth.

Art is a representation of a version of reality. Arestotelian philosophy

holds that art has two distinct purposes: it allows for the enjoyment of

pleasure and it has the power to be instructional, teaching its audience

valuable lessons about life and its surroundings.

Art as a kind of unbiased evaluation

Kant's Critique of Judgment asserted that the judgment of beauty, which

he regarded to be the foundation of art, was something universal,

despite the fact that it was susceptible to subjectivity. In his

understanding of beauty, he acknowledged that it is subjective.

Art as a means of conveying emotional content

Tolstoy believed that art has a significant function in communicating

feelings that the creator has previously experienced to an audience via

communication. Emotions are communicated via art.

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LESSON 3 : ARTS AND ARTISANS

Painting, sculpture, dance, music, and poetry are examples of art practitioners

who use their imagination to produce or develop indirectly utilitarian arts with

aesthetic value. Artists include those who paint, sculpt, dance, and write.

A craftsman, such as a carpenter, a carver, a plumber, a blacksmith, a

weaver, an embroider, and so on, who creates directly utilitarian and/or

ornamental arts is known as an artisan.

FAMOUS PERSONALTIES OF ART AND THEIR WORKS

1. LEONARDO DA VINCI

• Born: 04-15-1452, Vinci, Italy

• Profile: Painter, Architect, Sculptor, Inventor, Military Engineer and

Draftsman.

• Died: 05-2- 1519 ,Amboise, France

• Quotes: “He who thinks little, errs much” Brian S. Cunal

2. Famous Works The Last Supper Mona Lisa Vitruvian Man Brian S.

Cunal Brian S. Cunal

3. VINCENT VAN GOGH

• Born: 03-30-1853 Zundert, Italy

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• Profile: Painter

• Died: 07-29-1890 Amboise, France

• Quotes: “I dream of painting and then I paint my dream.” Brian S. Cunal

4. Famous Works The Starry Night Sunflowers Irises Brian S. Cunal

5. MICHAELANGELO

• Born: 4-6-1475, Michaelangelo, Italy

• Profile: Painter, Architect, Poet

• Died: 2-18-1564, Rome, Italy

• Quotes: “Genius is eternal patience.”

6. Famous Works David Creation of Adam St. Peter’s Basilica

6. CLAUDE MONET

• Born: 11-14-1840, Paris, France

• Profile: Painter, Philosopher

• Died: 12-5-1926, Giverny, France

• Quotes: “The richness I achieve comes from Nature, the source of my

inspiration.”

8. Famous Works Water Lilies Impresion,Sunrise Rouen Cathedral Series

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9. FRIDA KAHLO

• Born: 07-06-1907, Mexico City, Mexico

• Profile: Painter

• Died: 07-13-1954, Mexico City. Mexico

• Quotes:” I never paint dreams or nightmares. I paint my own reality.”

10. Famous Works The Two Fridas SELF-PORTRAIT WITH THORN

NECKLACE AND HUMMINGBIRD The Broken Column

11. GEORGIA O’KEEFFE

• Born: 11-15-1887, Wisconsin, USA

• Profile: Painter

• Died: 03-06-1986, New Mexico , USA

• Quotes: “The days you work are the best days.”

12. Famous Works Black Irises III Cow’s Skull: Red, White and Blue

Radiator Building Night- New York

12. EDGAR DEGAS

• Born: 7-19-1834, Paris, France

• Profile: Painter, Sculptor

• Died: 9-27-1917, Paris, France

• Quotes: “Art is not what you see, but what you make others see.”
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14. Famous Works The Absinthe Drinker The Dance Class The Bellelli Family

15. EDVARD MUNCH

• Born: 12-12-1863, Adalsbruk, Norway

• Profile: Painter

• Died: 1-23-1944, Oslo, Norway

• Quotes: “From my rotting body, flowers shall grow and I am in them

and that is eternity. “

16. Famous Works The Scream The Day After The Dance of Life

17. JACKSON POLLOCK

• Born: 1-28-1912, Wyoming, USA

• Profile: Painter

• Died: 8-11-1956, NY, USA

• Quotes: “T he painting has a life of its own. I try to let it come through.”

18. Famous Works The Number 5 The Number 11 The Number 31

19. PABLO PICASSO

• Born: 10-26-1881, Malaga, Spain

• Profile: Painter, Sculptor,

• Ceramicist, Stage Designer, Poet and a Playwright.

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• Died: 4-8-1973, Mougins, France

• Quotes: “Every child is an artist. The problem is how to remain an

artist once he grows up.”

20. Famous Works Guernica The Young Ladies of Avignon The Weeping

Woman

21. GUSTAV KLIMT

• Born: 7-14-1862, Baumgarten, Austria

• Profile: Painter

• Died: 2-6-1918, Vienna, Austria

• Quotes: “Truth is like fire; to tell the truth

means to glow and burn.”

22. Famous Works The Kiss Portrait of Adele Bloch-Bauer I The Virgin

23. HENRY MOORE

• Born: 7-30-1898, Castleford, Unite Kingdom

• Profile: Sculptor

• Died: 8-31-1986

• Quotes: “One never knows what each day is going to bring. The

important thing is to be open and ready for it.”

24. Famous Works Reclining Figures King and Queen Bird Basket
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25. SALVADOR DALI

• Born: 5-11-1904, Figueras, Spain

• Profile: Painter,

Draftsman

• Died: 1-23-1989,Figuerras, Spain

• Quotes: “Intelligence without

ambition is a bird without wings.”

26. Famous Works The Persistence of Memory Swans Reflecting

Elephants Premonition of Civil War

27. PAUL CEZANNE

• Born: 1-19-1839, Aix-en, France

• Profile: Painter

• Died: 10- 22-1906, Aix-en, France

• Quotes: “We live in a rainbow of chaos.”

28. Famous Works The Bathers The Card Player Series Jug, Curtain and

Fruit Bowl

29. DIEGO RIVERA

• Born: 12-8-1886, Guanajuato, Mexico

• Profile: Painter
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• Died: 11-24-1957, Mexico city, Mexico

• Quotes: “I've never believed in God, but I believe in Picasso. “

30. Famous Works The Man at the Crossroad The Card Player Series

The History of Mexico

Techniques as well as the medium

The style of expression by which a notion, idea, or message is

communicated is referred to as the medium. These are the materials that

an artist use in order to express his or her sentiments or ideas.

Technique refers to the way in which an artist manipulates his medium

in order to get the intended result. It has something to do with the way

he manipulates his media in order to communicate his ideas.

Visual arts are those forms of expression that can be seen and that take

up physical space. To find out more about visual art, visit the following

website: https://www.unboundvisualarts.org/what is visual art/.

Paintings, drawings, photography, and sculpture are all examples of

visual arts, as are other forms of expression.

Curation
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A museum, foundation, or art gallery curator is responsible for the

management of collections of works of art on behalf of the institution.

To learn more about the duties of an art curator, visit the following

website: https://iesa.edu/paris/news-events/art-curator.

LESSON 4: ART ELEMENTS AND PRINCIPLES

THERE ARE SIX INTEGRAL COMPONENTS IN THE CREATION OF A

DESIGN: LINES, COLORS, TEXTURE, AND SHAPE

Verticality is associated with dignity, formality, stability, and strength.

Horizontal axis represents quiet, tranquility, and relaxation. Vertical axis

represents activity.

Action, activity, enthusiasm, and movement are represented by the diagonal.

It has the look of softness and generates a relaxing sensation or atmosphere.

It represents freedom, the natural world, and the ability to be creative.

Color

Color has an immediate and significant impact on the design of a piece

of artwork. Colors have the ability to influence how individuals feel and

behave. • Colors that are warm: reds, oranges, and yellows

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• Cool Colors

• Blues, purples, and greens are popular choices.

Form/Shape

Whatever something is in terms of its form, outline, or arrangement.

• Squares, circles, ellipses, ovals, rectangles, and triangles are all

possible shapes.

Space

It has the ability to either increase or decrease visual space.

• Open, uncluttered environments are preferred.Crammed and overburdened

Texture

The appearance or feel of an object's surface.

• Reflects more light than a rough surface, making the color more

vibrant as a result of the reflection.

• Rough surface

• Absorbs more light, giving the appearance of being darker.

Value

• Tone (the degree to which a color is bright or dark)

• Shade (the degree to which a color is light or dark)

• Tint (A pale or faint variation of a color)

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THERE ARE FIVE FUNDAMENTAL PRINCIPLES THAT UNDERPIN AN

ENGAGING DESIGN

Balance

Parts of the design are evenly placed across the space to generate a feeling

of solidity. It's possible to have both bodily and visual equilibrium.

Rhythm

Using line, form, color, texture or pattern repeatedly is what patterning is.

Emphasis

The most personal component of a design is the way it is highlighted.

This is the aspect that draws in viewers. It may be created by the use of

several elements like as size, positioning, color, and line use.

Proportion and scale are important considerations.

It is the comparative connections between components in a design that

are measured in terms of their size and proportion.

Unity is the use of uniform usage of lines, color, and texture across a

design project.

LESSON 5: THE HISTORY OF ART (ASIAN, WESTERN, PHILIPPINES)

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THE ART AND HISTORY OF ASIAN ART

As a result of thousands of years and dozens of nations' contributions,

Asian art is varied and rich. In addition to ritual bronzes, beautiful ceramic

sculptures, jades, textiles, poetic painted landscapes, garden design,

elaborate goldwork, extraordinary temples, shrines, pagodas, and stupas,

woodblock prints, shadow puppets, and calligraphy, which is considered

the highest art form in East Asian art, it is also known for its calligraphy. A

few examples of works that have endured through the ages are Fan Kuan's

Travelers amid Mountains and Stream, Katsushika Hokusai's series of 36

views of Mt Fuji, and Basawan's Akbar Restraining the Enraged Elephant

Hawa'i (Akbar Restraining the Enraged Elephant Hawaii). Asia has had a

significant effect on modern art in recent years. In recent years, Asian

contemporary art has experienced exponential growth, thanks to a

proliferation of regional biennials and triennials, the establishment of new

contemporary art museums, and the international recognition of artists such

as Cai Guo-Qiang (born in China), Miwa Yanagi (born in Japan), Suh DoHo

(from Korea), and Rirkrit Tiravanija (from Thailand), among others.

You may learn more about Asian art by visiting this website:

https://www.oxfordartonline.com/page/asian-art

THE DEVELOPMENT OF WESTERN ART

In the history of Western art, successive periods and or movements are

distinguished, such as the Classical, Medieval, Byzantine, Romanesque

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(including Baroque and Rococo), Renaissance (including Baroque and

Rococo), Neolassicism (including Neoclassicism), Romanticism (including

Realism), Impressionism (including Impressionism), Modernism (including

Modernism and Postmodernism), and Postmodernism (including

Postmodernism). For further readings and photographs related to this topic,

please explore the following website:

https://www.invaluable.com/bog/art-history-timeline/ Art Timeline:

Western Art Movements and Their Impact

PHILIPPINE ARTS AND CRAFTS: A CHRONOLOGY

According to the Philippine Art Period Timeline, the history of Philippine

art is described in detail.

 Pre-colonial art was created before the arrival of the Spanish explorers.

 Period of Spanish colonial art

 American colonial art

 Post-colonial art period

 Contemporary Art period

PRE-COLONIAL ART WAS CREATED BEFORE THE ARRIVAL OF THE

SPANISH EXPLORERS.

Early Horticulture/Neolithic Period (6185–4400 BC) Metal Age (3190–190 BC)

Iron Age (200BC–1000BC) Local communities are being established, and art
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is progressing beyond plain craft, such as stone weapons and jewelry, to

include ornamental components, symbolic significance and historical context.

It has either the influence of the local area (animistic) or is founded on Islamic

principles. Pre-colonial traditional art includes religious symbols, daily

activities such as fishing, farming, and other activities, or a distinctive

ornamental art pattern to the society. The interchange of artistic aesthetics and

artistic processes occurs with the Chinese and other Asian nations that trade

with our indigenous tribes on a regular basis. Pottery, weaving, tattooing,

jewelry, carving, and metal craft are examples of other pre-colonial art forms.

THE ART OF THE SPANISH COLONIAL PERIOD (1521-1898)

It was the Byzantine period that inspired the Byzantine, Gothic, Baroque

and Rococo art styles. It was the Catholic period that inspired the

majority of the art pieces in the collection.

The legacy of Spanish colonization may be seen in the "vintage"

furniture and carving patterns seen in the Philippines.

A more "academic" and "western" approach has been developed in the

establishment of an elite Filipino class, the illustrado, which paves the

door for wealthy locals to study in other lands.

The formation of the Filipino Classicism, which draws inspiration from

the Neo-Classicism, Romanticism, and even a trace of Impressionism.

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American Colonial Art is a period of art that began in the United States

during the colonial period (1898-1946)

Educational opportunities and value formation were brought in by the

Americans, with both following the "American way of life" (Allice

Guillermo,Sining Biswal,1994,p.4)

Art illustration, advertising, and commercial design have gained popularity

and have been incorporated into Fine arts. Painting themes are still

primarily favored genre paintings, landscapes, and still life; portraits are

reserved for high ranking officials and are approached with a more

academic approach to make the subject more formal. Painting themes are

still largely favored genre paintings, landscapes, and still life.

POST-COLONIAL ART IS A PERIOD OF ART THAT BEGAN AFTER THE

COLONIZATION OF THE AMERICAS (1946-1986)

Arts and Crafts after World War II: The Developing and Expanding

Philippine Art

Modern Art in the Philippines (1946 to 1970)

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Philippine Post Modern Art (1970-1980s) During the postmodern era of

Philippine art, Pop Art, Installation Art, and Performance Art were the dominant

styles. Pop Art, Installation Art, and Performance Art were the dominant styles.

Contemporary Art in the Philippines (1980s to Present)

The quick emergence of personal computers and new technology, which

began in the 1980s, ushered in a new artistic medium for the arts and

human expression. However, there were a plethora of old-style revivals that

were carried out. This marked the beginning of a new path for the art.

LESSON 6: SOUL-MAKING

Soul-making is a nontraditional method of getting to know oneself and

delving into the depths and true significance of what we do in our daily

lives. It encourages the development of our inner artist while also

assisting us in communicating with others, understanding culture, and

embodying tolerance and peace. It opens the door to a plethora of

different intelligences and expressions.

SOUL-MAKING is the process of creating and deriving meaning through

art. In order for a person to make sense of language and draw meaning

from words, it is necessary to take into consideration semantic and

grammatical principles.
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In order for people to make meaning of the work, it is necessary for

them to comprehend the visual aspects on which art was founded,

particularly the idea of design.

It is important to note that the audience for the aforementioned artwork

must have a certain amount of familiarity with the style, artwork, form,

and substance of the aforementioned work.

The content of an artwork encompasses not only the form of the artwork

but also its subject matter and underlying meanings or themes. Form is

the whole of the artwork, which includes the textures, colors, and forms

employed by the artist.

Improvisation is the act of doing something without having planned it

beforehand.

There is a choice to take action in response to something that may or

may not have been planned.

It has been said that it is a response against the rigidity that characterized

artistic expression over most of the twentieth century, since it blurs the

barrier between reality and the source of that imagination. Infusing

spontaneity and improvisation into a work of art contributes to the overall

quality of the piece. It also enables the artist to investigate and consider

how the audience might become a part of the work itself.

Appropriation is the technique of using previously existing items and

images into a work of art without modifying the originals in any way.
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It was because of this belief that appropriation artists emerged, who seem

to promote the concept that authorship is dependent on the observer.

Tradition has it that forgery may be divided into two categories: blatant

copies of previous works and pastiches, which are works that combine

components from one work and infuse them into a new work.

The motives of the appropriation artist are sometimes questioned since

concerns of plagiarism or forgery may occasionally occur; nevertheless,

others would claim that the rationale for this is because they want the

audience to identify the pictures that they borrowed from the original source.

LESSON 7: PERIOD OF THE MEDIEVAL AGE

The Medieval Period of music encompasses the years c.500 to 1400, and

is defined as follows: With 900 years under its belt, it is the longest

"period" of music in history, spanning around 900 years from the end of

the Western Roman Empire to the beginning of the Renaissance. Here is

a brief review of many characteristics of Medieval music that you need

be familiar with in order to appreciate it.

MUSICAL MONOPHONICITY

It is important to note that the great bulk of medieval music was monophonic,

which means that there was only one melodic line. (The term "mono-phonic"

literally translates as "one sound"). Towards the conclusion of the period, the

emergence of polyphonic music (music in which more than one melody line is

performed at the same time; the term "polyphonic" refers to "many sounds")
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marked a significant transition that provided the groundwork for

Renaissance musical forms.

GREGORIAN CHANT (GREGORIAN CHANT)

This kind of medieval music, which consisted of one line of vocal melody

unaccompanied and in free rhythm, was one of the most popular types of

music throughout the Middle Ages. Given the significance of the Catholic

church throughout this time period, this is not unexpected at all. The Mass

(a memorial and celebration of Jesus Christ's Last Supper) was (and

continues to be) a ceremonial event that includes predetermined words

(liturgy), which were both spoken and sung throughout the service. Here's

an example of Gregorian Chant that you should listen to:

Play Procedamus in Pace by Paterm (Own work) [CC BY-SA 3.0 through

Wikimedia Commons] [CC BY-SA 3.0 via Wikimedia Commons] As with

all medieval music, the chants were built on a system of modes that was

unique to the time period in question.

On a piano, there were eight church modes (each of which may be

played by beginning on a different white note on the keyboard and

playing a "scale" of eight notes using just the white notes). The "Dorian

Mode," for example, is achieved by beginning on a D and playing all of

the white notes up to the following D one octave higher.

MUSICAL POLYPHONIC DEVELOPMENT

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As the Medieval Period proceeded, composers started to experiment

with new techniques, and polyphonic genres emerged as a result of this.

ORGANUM

Organum was a critical early approach that allowed for the exploration

of polyphonic texture. It was composed of two lines of voices with a

variety of heterophonic textures to choose from. The three major kinds

of organum are as follows:

Parallel organum (also known as "strict organum") is a kind of organum

that exists in parallel with another organum.

The melody is sung by one voice, while the other sings at a

predetermined interval — this creates the illusion of parallel motion

between the two voices. Play this synthesised example of a parallel

organum for a better understanding.

An audio demonstration of the Parallel Organum

Organum liberum

The two voices travel in both parallel and opposite directions at the same time.

View this free organum sample and listen to the track at the beginning being

played on a synthesised choir sound to get an idea of what I'm talking about:

Organum audio sample provided for free

Organum melismaticum (melismatic organ)

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While one portion of the accompaniment remains on a single note, the

other element of the accompaniment wanders around above it. Take a listen

to this synthesised example – notice how the 2nd voice remains on the

same note while the 1st voice "sings" the melody – and how the 2nd voice

stays on the same note while the 1st voice "sings" the melody –

An audio sample of the Melismatic Organum

Another set of recorded organum instances that are well worth hearing

are the following ones:

In the Medieval Period, sheet music was popular.

A goal of the Catholic Church was to standardize the music that was

sung in churches across the Western world.

A system of music notation was established as a consequence, enabling

things to progress from the formerly "aural" tradition (songs handed

down "by ear" and not written down) to the present day.

NUEMES These were symbols inscribed above chants that indicated the

direction in which the pitch was shifting.

Flutes are a kind of instrument that is used to play music (made of wood)

Because they featured openings for fingers rather than keys, medieval

flutes were more like to the contemporary recorder in appearance.

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Dulcimer

The dulcimers of the Middle Ages were initially plucked, but as

technology progressed, they were struck with hammers.

Lyra

The lyra is often regarded as one of the first known bowed instruments,

dating back to antiquity.

The recorder and the lute were two more medieval instruments to be

found. Troubadours and trouvères, who were traveling singers and

entertainers, were also prevalent during this time period.

MEDIEVAL MUSIC HAS ITS OWN UNIQUE STYLES

It was in the 14th century that Ars Nova (Latin for "new art") emerged as

a new type of music that originated in France and Italy.

The term derives from a book authored by Philippe de Vitry in 1320,

which was published in France.

In part writing, the style was distinguished by a greater range of rhythms, the

use of double time, and an enhanced degree of autonomy and independence.

Some of the foundations for subsequent musical growth throughout the

Renaissance era were formed by these experimental endeavors. The chanson

was the most popular secular genre during the time of Art Nova.
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In France, examples of Art Nova composers include Machaut, whereas

in Italy, examples include G. Da Cascia, J. Da Bologna, and Landini.

LESSON 8: THE PERIOD OF THE BAROQUE

BAROQUE MUSIC'S ORIGINS AND DEVELOPMENT THROUGHOUT

HISTORY

Teatro Argentina (Panini, 1747, Musée du Louvre) is a baroque theatre in

the Czech town of esk Krumlov.

MUSIC OF THE BAROQUE

From around 1600 to 1750, baroque music was a type of Western art music that

was created in the Western world. This period came after the Renaissance, and

it was followed by the Classical age, which came after that. The term "baroque"

derives from the Portuguese word barroco, which literally translates as

"misshapen pearl," and was used to describe the elaborate and lavishly

decorated music of this time in a negative way. Later, the term started to be

used to refer to the architecture of the same time period as well.

Baroque music is a significant percentage of the "classical music" canon, and

it is frequently studied, played, and listened to today as a result. Johann

Sebastian Bach, George Frideric Handel, Alessandro Scarlatti, Domenico

Scarlatti, Antonio Vivaldi, Henry Purcell, Georg Philipp Telemann,

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Jean-Baptiste Lully, Arcangelo Corelli, Tomaso Albinoni, François Couperin,

Denis Gaultier, Claudio Monteverdi, Heinrich Schütz, Jean-Philippe Rameau,

Jan Dismas Zelenka, and Johann Pachelbel are among the

Tonality was first introduced during the Baroque era. Over the course of the

time, composers and performers used increasingly intricate musical

ornamentation, made improvements to musical notation, and pioneered the

development of new instrumental playing methods. The Baroque period saw

the expansion of the scale, range, and complexity of instrumental

performance, as well as the establishment of musical genres such as opera,

cantata, oratorio, concerto, and sonata. The usage of a number of musical

words and notions from this period is still prevalent today.

ETYMOLOGY

Periods of Western classical music

AD/CE

Early

Medieval

c. 500–1400

Renaissance

c. 1400–1600

Common practice

Baroque
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c. 1600–1760

Classical

c. 1730–1820

Romantic

c. 1815–1910

Modern and contemporary

Modern

c. 1890–1930

20th century

1901–2000

Contemporary

c. 1975–present

21st century

2001–present

THE HISTORY OF ART MUSIC IN EUROPE

A diverse variety of genres from a large geographic area, mostly in

Europe, were created during a period of around 150 years, and the name

"Baroque" is typically used by music historians to represent this time.

In fact, although it has long been assumed that the term was first used in

reference to architecture, it actually appears in reference to music much earlier,

in an anonymous, satirical review of Rameau's Hippolyte and Aricie, which

premiered in October 1733 and was published in the Mercure de France in

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May 1734, before it was applied to architecture. Despite the fact that the

music lacked cohesive melody, was riddled with persistent

dissonances, continuously changed key and meter, and quickly raced

through every creative method, the reviewer indicated that the novelty in

this opera was "du barocque."

The systematic use of the word "baroque" to music from this time by music

historians is a relatively new development in the field. Curt Sachs made

history in 1919 by being the first person to apply the five qualities of

Heinrich Wölfflin's theory of the Baroque to music in a systematic manner.

Nevertheless, critics questioned the attempt to apply Wölfflin's categories

to music, and in the second quarter of the twentieth century, independent

attempts were made by Manfred Bukofzer (in Germany and, after his

immigration to the United States, in the United Kingdom) and Suzanne

Clercx-Lejeune (in Belgium) to use autonomous, technical analysis rather

than comparative abstractions in order to avoid the adaptation of theories

based on the visual arts and literature to music. Due to the combined

efforts of everyone involved, there was a significant amount of controversy

regarding the temporal bounds of the era, particularly when it started. Only

in the 1940s, in the works of Bukofzer and Paul Henry Lang, did the phrase

become widely accepted in the English language.

At the time, there was great debate in scholarly circles, notably in France and

Britain, over whether it was appropriate to group together music as disparate

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as that of Jacopo Peri, Domenico Scarlatti, and J.S. Bach under a single

banner, and this debate continued until 1960. In spite of this, the phrase

has evolved to be generally recognized and used to refer to a wide

variety of musical styles. Identifying the Baroque era in musical history

in relation to both the previous (Renaissance) and subsequent

(Classical) periods of musical history may be beneficial.

HISTORY

The Baroque era may be split into three primary phases: the early, the

middle, and the late periods of the period. Despite the fact that they

span a period of time, they are traditionally dated from 1580 to 1630,

from 1630 to 1680, and from 1680 to 1730, respectively.

EARLY BAROQUE MUSIC (1580–1630) is music from the period between

1580 and 1630.

Claudio Monteverdi composed his first piece in 1640.

It was under the sponsorship of Count Giovanni de' Bardi that the Florentine

Camerata, a society of humanists, singers, poets, and philosophers assembled

in late Renaissance Florence to debate and lead trends in the arts, particularly

music and theatre. The Classical (particularly ancient Greek) musical theater,

in which speech and oration were highly prized, served as the inspiration for

their musical ideals in relation to music. The use of polyphony and

instrumental music by their contemporaries was condemned, and they

analyzed old Greek musical methods such as monody, which consisted of a

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solo singing with a kithara accompaniment. The first realizations of

these concepts, such as Jacopo Peri's Dafne and L'Euridice, heralded

the birth of opera, which in turn served as a stimulant for the

development of Baroque music in the following centuries.

The increasing popularity of figured bass (sometimes referred to as thorough

bass) in music theory reflects the growing significance of harmony as the linear

basis of polyphony, as seen by the increasing usage of this instrument. Harmony

is the ultimate result of counterpoint, and figured bass is a visual depiction of the

harmonies that are widely used in musical performance on the instrument. To

begin with, composers were concerned with harmonic progressions, and they also

used the tritone, which was considered as an unstable interval, to produce

discord. Certain Renaissance composers, most notably Carlo Gesualdo, had a

strong interest in harmony; nonetheless, the use of harmony that is oriented

toward tonality rather than modality marks the transition from the Renaissance to

the Baroque era. This resulted in the notion that chords, rather than notes, may be

used to create a feeling of closure, which became one of the key concepts that

came to be known as tonality. With the incorporation of these new characteristics

of composition, Claudio Monteverdi assisted in the shift from the Renaissance

style of music to the Baroque style of music throughout the 17th century. The

legacy of Renaissance polyphony (prima pratica) and the new basso continuo

technique of the Baroque were the inspirations for two distinct genres of

composition that he created (seconda pratica). Monteverdi, via the composition of

operas such
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as L'Orfeo and L'incoronazione di Poppea, among other works, helped

to draw widespread attention to the emerging genre of opera.

MIDDLE BAROQUE MUSIC (1630–1680) MIDDLE BAROQUE MUSIC

It is commonly referred to as the "Age of Absolutism" because of the

establishment of the centralized court system, which was symbolized by Louis

XIV of France and characterized by economic and political growth. The

architectural design of his palace, as well as the court system of manners and

arts that he established, became models for the rest of Europe. Rising church

and state sponsorship fueled the desire for structured public music, just as

more instruments were available to musicians, boosting the demand for

chamber music as well. Jean-Baptiste Lully was a French novelist and poet.

The bel-canto style, which first appeared in cantatas, oratorios, and operas in

the 1630s, defines the middle Baroque period in Italy, which begins in the

1630s. One of the most significant contributions made to the development of

the Baroque as well as the later Classical styles was the development of a new

concept of melody and harmony that elevated the status of the music to that of

equal importance with the words, which had previously been regarded as

preeminent. After the early Baroque period, the florid, coloratura monody of

the period gave place to a simpler, more refined melodic form, which was

frequently in a ternary rhythm. Each of these tunes was constructed from a

series of brief, cadentially defined ideas that were often based on stylized

dancing rhythms like the sarabande or thecourante. The harmonies were also

simpler than they were in the beginning.

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A more integrated relationship between the baroque monody and the

accompanying bass lines resulted, resulting in a contrapuntal

equivalency of the parts that eventually led to the invention of the device

of an initial bass anticipation of the aria melody. This harmonic

reduction also resulted in the development of a new formal device, the

distinction between recitative and aria.

The Roman composers Luigi Rossi and Giacomo Carissimi, who were

largely known for their cantatas and oratorios, respectively, and the

Venetian composer Francesco Cavalli, who was primarily known for his

operas, were the most significant creators of this form. Antonio Cesti,

Giovanni Legrenzi, and Alessandro Stradella are some of the most notable

practitioners of this form in the modern era. Johann Fux's theoretical work,

which systematized the rigid counterpoint typical of previous eras in his

Gradus ad Paranassum, had virtually no consequence on the middle

Baroque period and had no influence whatsoever on it (1725).

Jean-Baptiste Lully is regarded as the preeminent example of a court

style composer. He obtained patents from the monarchy in order to be

the exclusive composer of operas for the king and to prohibit other

composers from having their works performed. Achille et Polyxène was

the only one of his lyric tragedies that he did not complete.
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The string-dominated orchestral norm, which had been inherited from the

Italian opera, and the characteristically French five-part disposition (violins,

violas in hautes-contres, tailles, and quintes sizes), which had been used in

the ballet since the time of Louis XIII, were not established by him

musically. He did, however, pioneer the use of this ensemble in the lyric

theater, with the upper parts often doubled by recorders, flutes, and oboes,

and the bass parts frequently doubled by bassoons. When there were

heroic situations, trumpets and kettledrums were commonly used.

ARCANGELO CORELLI is a fictional character created by Italian author

Arcangelo Corelli.

While Arcangelo Corelli is best known for his accomplishments on the other

side of musical technique—in his role as a violinist who organized violin

technique and education—he is also remembered for his contributions to

purely instrumental music, particularly for his advocacy and development of

the concerto grosso. While Lully was content to remain at court, Corelli was

one of the first composers to publish extensively and have his music played all

throughout Europe, while Lully was content to remain at court. It is similar to

Lully's operatic stylization and organization in that it is based on dramatic

contrasts — passages alternate between those performed by the whole

orchestra and those played by a smaller ensemble. The dynamics were

"terraced," that is, there was a dramatic change from loud to mild and back

again between the two tracks. Portions that were fast and sections that were

sluggish were placed against one another. Antonio Vivaldi was one of Corelli's
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pupils, and he went on to produce hundreds of pieces based on the

concepts he learned from his teacher's trio sonatas and concerti. Instead of

being a creature of the court, Dieterich Buxtehude served as an organist

and Werkmeister at the Marienkirche in Lübeck, where he lived at the time

of his compositions. His responsibilities as Werkmeister included serving

as the church's secretary, treasurer, and business manager, while his

responsibilities as organist included playing for all of the church's main

services, sometimes in collaboration with other instrumentalists or

vocalists who were also paid by the church, as well as for special services.

He organized and conducted a concert series known as theAbendmusiken,

which included performances of holy theatrical compositions, which were

considered by his contemporaries as the equivalent of operas. This was

entirely apart from his formal church responsibilities.

MUSIC OF THE LATE BAROQUE (1680–1730)

George Frideric Handel's "Handel's Messiah"

Johann Sebastian Bach was born in 1748.

Johann Fux's work laid the groundwork for the study of composition by

establishing the Renaissance style of polyphony as the starting point. Handel

was a tireless worker who borrowed from others and recycled his own

materials on a regular basis. He was particularly well-known for revising

compositions such as the renowned Messiah, which was first performed in

1742, to accommodate the availability of vocalists and instrumentalists.

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Hurdy-gurdy, harpsichord, bass viola, lute, violin, and guitar are

examples of baroque instruments. Other examples include the lute.

STRINGS

 Violino piccolo

 Violin

 Viol

 Viola

 Viola d’amore

 Viola pomposa

 Tenor violin

 Cello

 Contrabass

 Lute

 Theorbo

 Archlute

 Angélique

 Mandolin

 Guitar

 Harp

 Hurdy gurdy

Woodwinds
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 Baroque flute

 Chalumeau

 Cortol (also known as Cortholt, Curtall, Oboe family)

 Dulcian

 Musette de cour

 Baroque oboe

 Rackett

 Recorder

 Bassoon

 Clarinet

Brasses

 Cornett

 Natural horn

 Baroque trumpet

 Tromba da tirarsi (also called tromba spezzata)

 Flatt trumpet

 Serpent

 Sackbut (16th- and early 17th-century English name for FR: saquebute,

saqueboute; ES: sacabuche; IT: trombone; MHG: busaun, busîne,

busune / DE (since the early 17th century) Posaune)

 Trombone (English name for the same instrument, from the early

18th century)
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Keyboards

 Clavichord

 Tangent piano

 Fortepiano – early version of piano

 Harpsichord

 OrganPercussion

 Baroque timpani

 Wood snare drum

 Tenor drum

 Tambourine

 Castanets

STYLES AND FORMULATIONS

The suite in the Baroque style

The movements of a Baroque suite are often divided into the following

categories:

 After a French overture ("Ouverture"), the Baroque suite would often

include a series of dances of various genres, with the most common

being those listed below:

 In many instrumental suites, the allemande was the first dance performed.

It was a highly popular dance that had its beginnings in the German
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Renaissance period, when it was known as the almain, and it was

performed by a large number of musicians.

 [a reference is required] In the allemande, the music was performed

at a moderate speed and might begin on any beat in the bar.

 Courante - The second dance is the courante, which is a lively

French dance in triple meter performed in triple time. The corrente is

the name given to the Italian version.

 Sarabande - The sarabande, a Spanish dance, is the third of the four

fundamental dances and one of the slowest of the baroque dances. It is

performed in a slow motion and is accompanied by a violin. Likewise in

triple time, it may begin on any beat in the bar, with an emphasis on the

second beat, which results in a characteristic 'halting', or iambic

rhythm, that is typical of the sarabande. It is also in triple time.


 This energetic and lively baroque dance in compound meter is often the

last movement of an orchestral suite and the fourth of its main dance

types. It is also known as a gigue in French. The gigue may begin on any

beat in the bar and is readily distinguished by the rhythmic sense it

imparts to the music. The gigue is said to have originated in the British

Isles. Thejig is the jig's equivalent in traditional folk music. In the 17th

century, the majority of suites were made up of four dance types

(allemande, courant, sarabande, and gigue); later suites interpolated one

or more more dances between the sarabande and the gigue, such as:

 The gavotte can be distinguished by a number of characteristics, including

the fact that it is in 4/4 time and that it always begins on the third beat of
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the bar, despite the fact that this may sound like the first beat in

some cases because the first and third beats are the strong beats in

quadruple time. The gavotte is often performed at a moderate speed,

while it may sometimes be performed at a higher tempo.

 This dance is quite similar to the gavotte since it is performed in 2/2

time. However, it begins on the second half of the final beat of the bar,

giving it a completely distinct feel from the other dances. The bourrée is

often performed at a moderate speed, while it may be performed at a

significantly quicker tempo for select composers, such as Handel.


 The minuet is one of the most well-known of the baroque dances in

triple meter, and it is also the shortest. It may begin on any of the bar's

sixteen beats. In certain suites, there may be a Minuet I and a Minuet II

that are performed in sequence, with the Minuet I being played again.

 Passepied - The passepied is a rapid dance with binary form and

triple meter that started as a court dance in Brittany and is still

performed there today. Later suites, such as those by Bach and

Handel, include examples of this technique.

 In double meter, the Rigaudon is a lively French dance similar to the

Bourrée but with a simpler beat. It originated in France and is now

popular across the world. Its origins may be traced back to a group

of closely similar southern-French folk dances that have historically

been linked with the provinces of Vavarais, Languedoc, Dauphiné,

and Provence, among others.

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In addition, there are several more characteristics.

 In music, the term "basso continuo" refers to a kind of continuous

accompaniment that is notated using a new music notation system, figured

bass, and is generally performed by a bass instrument and a keyboard

instrument. The concerto and concerto grosso are two types of concertos.

 A monody is a musical composition that develops from a song.

 Homophony is a kind of music in which one melodic voice is

accompanied by a rhythmically comparable accompaniment (this and

monody are contrasted with the typical Renaissance texture,polyphony)


 Opera, dramma per musica, and other dramatic musical genres are

examples of dramatic musical forms.

 Forms that combine instrumental and vocal elements, such as the

oratorio and the cantata

 New instrumental techniques, like as tremolo and pizzicato, have

been developed.

 The da capo aria "exuded a sense of assurance."


 The ritornello aria is a series of small musical interludes that

interrupt vocal parts repeatedly.

 Extensive ornamentation in the concertato style, which emphasizes

the difference in sound between groups of instruments.

LESSON 9: CLASSICAL MUSIC IS A MUST-HEAR!

CLASSICAL MUSIC IS MUSIC THAT HAS A LONG HISTORY (1750-1810)

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Classical with a capital 'C' refers to something that is of the highest

caliber, and it is especially associated with the ancient Greeks and

Romans. It is denoted by the letter 'C' and refers to a certain style of

composer. Traditional music is wrongly referred to be classical when

referring to any music that is not contemporary. The proper word for

this kind of music is really "art music." Composers from the time frame

The composers who have been recognized with an asterisk are the most

significant to remember and appreciate.

Galant is a fashion brand. Galant is a French word that means "galant"

or "galant-like." This is an early classical style that is also highly courtly

in appearance. It was intended to pleasure the listener rather than to

make the listener think about anything. The most famous composers

who worked in this style were C.P.E. Bach and Johann Christian Bach.

STYLE AFTER THE CLASSICAL ERA

The importance of balance and control, as well as the elegance and

beauty of melody, increased in this style, while the importance of form

or design increased.

TEXTURE

Classical music is primarily homophonic in structure. (Baroque music

was characterized by its polyphony.)

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THE ORCHESTRA IS COMING

The Orchestra's size started to increase. The harpsichord continuo was

progressively phased out of the repertoire. Wind instruments, particularly horns,

were more crucial in helping to tie the texture together. Despite this, strings

remained the primary instrument, to which two horns, one or two flutes, or a pair

of oboes may be added. Gradually, composers began to include one or two

bassoons, as well as a pair of trumpets or a pair of kettle drums, as needed. It was

near the close of the 18th Century when clarinets were first introduced. Mozart is

credited with popularizing the clarinet as a result of his compositions. The

woodwind section was transformed into a stand-alone part:

 One or two flutes


 Two oboes

 Two clarinets

 Two bassoons

 Two horns

 Two trumpets

 Two kettledrums

 Strings

MUSIC FOR PIANO

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Invented as early as 1698, by Cristofori in Italy. This instrument allows soft and

loud notes to be played. The strings were hit by hammers, as opposed to being

plucked. More expression could be played (e.g. Legato, staccato, cantabile.)

The Alberti Bass is simple broken chords, repeated in the left hand, which

keeps the music going, and outlines the harmony. C.P.E. Bach was one of

the first piano composers, and started composing around 1750. J.C. Bach

gave the first piano performance in London. A lot of music was printed for

harpsichord or piano, but the harpsichord gradually faded out of use.

SONATA

A Sonata is a work, in several movements, for one or two instruments. With three

instruments it is a trio, with four it is a quartet, and with five it is a quintet.

THE SYMPHONY

Symphony means a sonata for orchestra. It grew from the Italian Overture,

but the Symphony has three movements, instead of three sections. Later

on, a fourth movement was added (commonly a minuet in trio). Stamitz was

the frost famous symphony composer, and the father of this style, Haydn

and Mozart perfected the Symphony in the second half of the 18th Century.

The Symphony can be broken down into:

First movement: Usually fast, and in sonata form.

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Second movement.. Usually slower and more song-like. It could be in

sonata form or ternary form, and perhaps with variations.

Third movement: Haydn and Mozart wrote a minute in trio at this point.

Beethoven later turned this into a Scherzo (A direct translation is joke.)

Fourth movement: Fast, often light hearted, perhaps in Rondo form, or sonata

form, or with variations. Haydn wrote numerous sonatas, including the

Surprise Symphony, the Drum Roll Symphony and the London Symphony.

Trios and quartets were also in four movements. Sonatas might have three or

four movements. The Classical Concerto did not include the minuet, so only

had three movements.Sonata Form Sonata form is a way of building up an

individual movement, not a piece. It consists of three sections:

1. The Exposition: The composer exposes his musical ideas. The main

ideas are called subjects. The first subject is in the tonic, which

modulates (changes key) near the end to a bridge (transition) passage,

which leads to the second subject. The second subject is in a new, but

related, key, often the dominant (Sta) or relative major (If the first subject

is m a minor key). The second subject is usually more tuneful.

2. Development: Here the ideas are developed. It creates a feeling of

tension and conflict. The climax may be in this section.

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3. Recapitulation: The music is repeated from the beginning, but the

second subject is now in the tonic. Finally, the music may have a coda

(A direct translation is tail), which rounds off the music.

THE CONCERTO

It contains a solo instrument and an orchestra. There are three movements

(slow, fast, slow). The first movement has a double-exposition. The first is for

the orchestra alone, followed by the soloist. The second, with the second

subject group in the related key. Then comes the development and the

recapitulation, for both the orchestra and the soloist. Towards the end, the

orchestra pauses, and the soloist plays a cadenza (a short passage,'based on

themes heard earlier, which displays the brilliance of the player.) When the

soloist finishes, the soloist ends with a trill, which signifies the orchestra

should come in and finish off the piece. The orchestra plays the coda to end.

OPERA

Classical composers wrote much vocal music, especially opera. Gluck was

an important opera composer. Orfeo ed Euridice is one of his works. He

made the actions more important in the opera. At the start of the opera, the

overture prepared the audience for what was to come, Mozart wrote operas

including The Marriage of Figaro, The Magic Flute and Don Giovanni. The

Magic Flute is an example of singspiel (an opera in which singing is mixed

up with dialogue). The orchestra mirrors the mood and drama of the action.

Don Giovani is an example of 'opera buffa' (comic opera).

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LUDWIG VAN BEETHOVEN (1770-1827)

Beethoven composed to please himself. He wrote 32 piano sonatas, nine

symphonies. The 9th Symphony is the Choral Symphony. He wrote one

opera, called Fidelio. Towards the end of his life he became deaf. He

could still composer, and hear the sounds in his head, but had great

difficulty in conducting his works.

Beethoven modified Classical music. His music is weightier, and on a larger

scale. There is more emotion in his music, and his last movements are usually

the most important. He uses more discords, more dynamic contrast and more

contrast in pitch. He increased the size of the orchestra, for example, he often

added a 3rd horn and a piccolo, and also added a choir in his 9th symphony.

THE MAIN CHARACTERISTICS OF CLASSICAL MUSIC

1. Less complicated texture than Baroque (more homophonic).

2. Emphasis on beauty, elegance and balance.

3. More variety and contrast within a piece than Baroque (dynamics,

instruments, pitch, tempo, key, mood and timbre).

4. Melodies tend to be shorter than those in baroque, with clear-cut

phrases, and clearly marked cadences.

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5. The orchestra increases in size and range. The harpsichord fails out

of use. The woodwind becomes a self-contained section.

6. The piano takes over, often with Alberti bass accompaniment.

7. Importance was given to instrumental music - sonata, trio, string

quartet, symphony, concerto.

8. Sonata form was the most important design.

CLASSICAL MUSIC (1750-1810)

Classical with a 'c' means anything that is top class, and particularly

refers to the ancient Greeks and Romans. With a 'C' it means a specific

style of composers. The term classical is commonly and incorrectly

applied to any music which is not modern. The correct term for this is

actually art music.Composers of the Period

The composers marked with an asterisk are the most important to remember.

STYLE GALANT

This is an early classical style, and a very courtly style. It was meant to

please the listener, as opposed to making the listener think. C.P.E. Bach

and J.C. Bach were the main composers who made use of this style.
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LATER CLASSICAL STYLE

This style made more of balance and control, grace and beauty of

melody, and the form or design became important.

TEXTURE

Classical music is basically homophonic. (Baroque music was polyphonic.)

THE ORCHESTRA

The Orchestra began to grow. The harpsichord continuo gradually fell out

of use. Wind instruments became more important, especially the horns to

bind the texture. Strings were still the main instrument to which were added

two horns, one or two flutes, or a pair of oboes. Gradually, composers

added one or two bassoons, and occasionally a pair of trumpets, or a pair

of kettle drums. Clarinets were introduced towards the end of the 18th

Century. Mozart was the composer responsible for popularising the

clarinet. The woodwind section became a self-contained section:

 One or two flutes


 Two oboes

 Two clarinets

 Two bassoons

 Two horns

 Two trumpets
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 Two kettledrums

 Strings

MUSIC FOR PIANO

Invented as early as 1698, by Cristofori in Italy. This instrument allows soft and

loud notes to be played. The strings were hit by hammers, as opposed to being

plucked. More expression could be played (e.g. Legato, staccato, cantabile.)

The Alberti Bass is simple broken chords, repeated in the left hand, which

keeps the music going, and outlines the harmony. C.P.E. Bach was one of

the first piano composers, and started composing around 1750. J.C. Bach

gave the first piano performance in London. A lot of music was printed for

harpsichord or piano, but the harpsichord gradually faded out of use.

SONATA

A Sonata is a work, in several movements, for one or two instruments. With three

instruments it is a trio, with four it is a quartet, and with five it is a quintet.

THE SYMPHONY

Symphony means a sonata for orchestra. It grew from the Italian

Overture, but the Symphony has three movements, instead of three

sections. Later on, a fourth movement was added (commonly a minuet

in trio). Stamitz was the frost famous symphony composer, and the

father of this style, Haydn and Mozart perfected the Symphony in the

second half of the 18th Century. The Symphony can be broken down
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into:

First movement: Usually fast, and in sonata form.

Second movement.. Usually slower and more song-like. It could be in

sonata form or ternary form, and perhaps with variations.

Third movement: Haydn and Mozart wrote a minute in trio at this point.

Beethoven later turned this into a Scherzo (A direct translation is joke.)

Fourth movement: Fast, often light hearted, perhaps in Rondo form, or

sonata form, or with variations.

Haydn wrote numerous sonatas, including the Surprise Symphony, the Drum

Roll Symphony and the London Symphony. Trios and quartets were also in

four movements. Sonatas might have three or four movements. The Classical

Concerto did not include the minuet, so only had three movements.

SONATA FORM

Sonata form is a way of building up an individual movement, not a piece.

It consists of three sections:

1. The Exposition: The composer exposes his musical ideas. The main ideas

are called subjects. The first subject is in the tonic, which modulates (changes
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key) near the end to a bridge (transition) passage, which leads to the

second subject.

The second subject is in a new, but related, key, often the dominant

(Sta) or relative major (If the first subject is m a minor key). The second

subject is usually more tuneful.

2. Development: Here the ideas are developed. It creates a feeling of

tension and conflict. The climax may be in this section.

3. Recapitulation: The music is repeated from the beginning, but the

second subject is now in the tonic. Finally, the music may have a coda

(A direct translation is tail), which rounds off the music.

THE CONCERTO

It contains a solo instrument and an orchestra. There are three movements

(slow, fast, slow). The first movement has a double-exposition. The first is for

the orchestra alone, followed by the soloist. The second, with the second

subject group in the related key. Then comes the development and the

recapitulation, for both the orchestra and the soloist. Towards the end, the

orchestra pauses, and the soloist plays a cadenza (a short passage,'based on

themes heard earlier, which displays the brilliance of the player.) When the

soloist finishes, the soloist ends with a trill, which signifies the orchestra

should come in and finish off the piece. The orchestra plays the coda to end.
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OPERA

Classical composers wrote much vocal music, especially opera. Gluck was

an important opera composer. Orfeo ed Euridice is one of his works. He

made the actions more important in the opera. At the start of the opera, the

overture prepared the audience for what was to come, Mozart wrote operas

including The Marriage of Figaro, The Magic Flute and Don Giovanni. The

Magic Flute is an example of singspiel (an opera in which singing is mixed

up with dialogue). The orchestra mirrors the mood and drama of the action.

Don Giovani is an example of 'opera buffa' (comic opera).

LUDWIG VAN BEETHOVEN (1770-1827)

Beethoven composed to please himself. He wrote 32 piano sonatas, nine

symphonies. The 9th Symphony is the Choral Symphony. He wrote one

opera, called Fidelio. Towards the end of his life he became deaf. He

could still composer, and hear the sounds in his head, but had great

difficulty in conducting his works.Beethoven modified Classical music.

His music is weightier, and on a larger scale. There is more emotion in

his music, and his last movements are usually the most important. He

uses more discords, more dynamic contrast and more contrast in pitch.

He increased the size of the orchestra, for example, he often added a 3rd

horn and a piccolo, and also added a choir in his 9th symphony.
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THE MAIN CHARACTERISTICS OF CLASSICAL MUSIC

1. Less complicated texture than Baroque (more homophonic).

2. Emphasis on beauty, elegance and balance.

3. More variety and contrast within a piece than Baroque (dynamics,

instruments, pitch, tempo, key, mood and timbre).

4. Melodies tend to be shorter than those in baroque, with clear-cut

phrases, and clearly marked cadences.

5. The orchestra increases in size and range. The harpsichord fails out

of use.The woodwind becomes a self-contained section.

6. The piano takes over, often with Alberti bass accompaniment.

7. Importance was given to instrumental music - sonata, trio, string

quartet, symphony, concerto.

8. Sonata form was the most important design.