In the years 1170 to 1250 began Ars antiqua in Notre Dame School of polyphony. This was the period in which rhythmic notation first appeared in western music known as rhythmic modes. Almost all composers of the ars antiqua are anonymous. Musicians during that period were Trouvères and troubadours, their monophonic melodies of the traveling musicians, which might have been added improvised accompaniments and were often rhythmically lively. The majority of these songs are love, in all combinations of joy and pain.
With his command of large-scale musical form, as well as his attention to secular text-setting, Du Fay set the stage for the next generations of Renaissance composers. By about 1500, European art music was dominated by Franco-Flemish composers, the most prominent of whom was Josquin des Prez (ca. 1450–1521). Like many leading composers of his era, Josquin traveled widely throughout Europe, working for patrons in Aix-en-Provence, Paris, Milan, Rome, Ferrara, and Condé-sur-L'Escaut. The exchange of musical ideas among the Low Countries, France, and Italy led to what could be
Music SA #3 The Baroque period saw many changes in music elements, styles, instrument craftsmanship, composer’s roles in societies and it saw the rise in opera. Opera is a dramatic production sung throughout. Opera changed the musical scene, as people knew it. Before this period performance music was mostly used in religious settings or for the very rich or noble classes. The composers of opera were trying to reproduce what they thought was classical Greek theater.
Music in the late 16th century was slowly evolving to what we now know as the Common Era. Much of our tonal function harmonic system was derived from this important era of musical development. Keyboard music played a large role in the early 17th century musical scene, and was a large avenue in which musicians and composers could explore music, continue to develop conventions, and express themselves. Composers Jean-Henri D’Anglebert and Johann Jakob Froberger both have arrangements of a lute piece originally composed Ennemond Gaultier. The two arrangements are important in that it is a glimpse into the early developments of Baroque keyboard music.
Almost all composers of the succeeding generations absorbed some elements of his style. Dufay wrote in most of the common forms of the day, including masses, motets, Magnificats, hymns, simple chant settings in fauxbourdon,and antiphons within the area of sacred music, and rondeaux, ballades,virelais and a few other chanson types within the realm of secular music. None of his surviving music is specifically instrumental, although instruments were certainly used for some of his secular music, especially for the lower parts; all of his sacred music is vocal. Instruments may have been used to reinforce the voices in actual performance for almost any portion of his output. In his lifetime, Dufay wrote seven complete masses, 28 individual Mass movements, 15 settings of chant used in Mass Propers, three Magnificats, two
Time Piece Analysis Brianne Rodgers Time ticks on forever, however many creative outlets take ideas and characteristics from previous eras. This can be seen especially in music and when deconstructing the 20th century work Time Piece by Paul Patterson. The elements of music throughout this piece have been manipulated in ways similar to music of the medieval, renaissance, baroque, classical and romantic eras. The manipulation of particular elements relates often not to just one era of music but may overlap with other eras as works from other eras have taken some musical ideas through to their own. The specific musical elements discussed can be seen in the annotated scores in the appendix.
I will be drawing from historical facts and also my own conclusions in this essay. The first thing I shall consider is composers- the twentieth century gave birth to many new ideas and so composers of that era also utilized new techniques and styles. Composers of the past, such as baroque composers (like Bach and Handel) would have been commissioned by nobles to compose music for a certain occasion, all the while keeping within the style of the time and what the client wanted. These restrictive attitudes were continued throughout the 18th and 19th centuries, making the musical periods of these times very easy to generalise. Music did evolve and change, but boundaries were never pushed to the point of where it invoked powerful emotions in the audiences it was played to.
Annie Vincenti Music in Western Civilizations Lombardi December 12, 2011 Secular Music in The Middle Ages Popular music, usually in the form of secular songs, existed during the Middle Ages. This music was not bound by the traditions of the Church, nor was it even written down for the first time until sometime after the tenth century. For this reason it often presents many challenges in study of early secular music. Having said this, hundreds of these songs were created and performed by bands of musicians that went across Europe during the 12th and 13th centuries, the most famous of which were the French trouvères and troubadours. The monophonic melodies of these musicians, to which may have been added improvised accompaniments, were often rhythmically lively.
This movement shows itself in the painting and sculpture of Michelangelo, the plays of Shakespeare, and in both the sacred and secular dance and vocal music of the greatest composers of the era. During this period, people in the world when their own lives and their music reflected the exciting discoveries. Beginning of this period;the renessiance mostly used for religious purposes but at the end of this period,the renessiance was more mundane purposes,has become an entertainment tool. I think that The Renaissance,is the most lyrics periods in the history of western and artists of all kinds in Western Europe became more aware of the classical past and the world beyond the narrow confines of medieval theology.In this
The art form known as Opera had originated in Italy in the early sixteenth and seventeenth centuries, even though it put the squeeze on older traditions of medieval and Renaissance courtly entertainment. The word opera, meaning "work" in Italian, was first used in the modern musical and theatrical sense in 1639 and soon spread to the other European languages. The earliest operas were unassertive productions compared to other Renaissance forms of sung drama, but they soon became more extravagant and took on the remarkable staging of the earlier genre known as intermedio. The earliest operas, including Claudio Monteveredi’s Orpheus were performed in private theatres at the courts of nobility and royals. The first public opera house opened in Venice, Italy in 1637, and by the eighteenth century public doors began charging the public for admission into these opera houses.