UNIT 1 MUSIC 9 RENAISSANCE L2.ppt MUSIC 9

MUSIC

1. MUSIC OF THE MEDIEVAL, RENAISSANCE, AND BAROQUE PERIOD

2. MUSIC of the Renaissance Period

3. ACTIVITY: Filipino Madrigal RUBRIC: CATEGORY 10 % 0utstanding 7 Good 5 Singing 6% The group demonstrate knowledge of the song and sung it very well. The group demonstrate knowledge of the song but some members have few mistakes. Pitch and tone 2% Virtually no errors. Pitch and tone is accurate. An occasional isolated error. Time and effort 2% Total: class time was used wisely. Class time have wasted

4. HE CREATED AND SANG SONGS WITH SUBJECTS ABOUT COMEDY, WIT, AND INFATUATION. COMPOSER, ORGANIST, AND THEORIST “THE FATHER OF MADRIGAL” HE RECEIVED A BACHELOR OF MUSIC DEGREE FROM OXFORD AND BECAME THE PARISH ORGANIST OF SEVERAL BIG PARISHES. THOMAS MORLEY 1557 – 1602 NORWICH, ENGLAND

5. RENAISSANCE MUSIC RENAISSANCE COMES FROM THE WORD________ THE RENAISSANCE PERIOD SOMETIMES CALLED: ________________________________ “REBIRTH”. THE GOLDEN AGE OF A CAPPELLA

6. MUSIC FORMS _________________ _____________________________________ MASS HAS TWO MAIN KINDS: ORDINARY MASS PROPER MASS THE MASS (SACRED) MADRIGAL (SECULAR)

7. RENAISSANCE COMPOSERS The greatest master of Roman Catholic Church music during the Renaissance period. _____________________ GIOVANNI DA PALESTRINA

8. BAROQUE MUSIC DERIVED FROM THE PORTUGUESE TERM “ BAROCCO” WHICH MEANS “ ODDLY SHAPED PEARL ” IT IS A PERIOD OF STYLE OF WESTERN MUSIC AROUND 1600 – 1750 IT AIMED TO EVOKE EMOTION IN THE AUDIENCE BY CONTRASTING DYNAMICS AND TEMPO . EXPLORED THE RANGE OF EMOTIONS THAT PEOPLE COULD FEEL THROUGH WORDS IN SONGS TERRACED DYNAMICS – A SUDDEN CHANGE FROM ONE DYNAMIC LEVEL TO ANOTHER, OR PLAYING AROUND WITH A NOTE INSTEAD OF SIMPLY PLAYING THE NOTE.

9. MUSIC FORMS CONCERTO GROSSO THE TERM CONCERTO GROSSO, THE ITALIAN WORDS FOR “BIG CONCERT” – UTILIZES AN ENSEMBLE OF A GROUP OF SOLOIST (CONCERTINO) AND A FULL ORCHESTRA (RIPIENO). FUGUE IT IS SIMILAR TO A ROUND SONG. IT IS A MUSICAL PIECE THAT USES INTERWOVEN MELODIES BASED ON A SINGLE MUSICAL IDEA. IT DEVELOPED FROM AN EARLIER IDEA FROM THE RENAISSANCE PERIOD CALLED IMITATIVE POLYPHONY – WHERE MULTIPLE SINGERS WOULD SING THE SAME MELODY AT DIFFERENT POINTS IN TIME.

10. ORATORIO IT IS A LARGE RELIGIOUS –THEMED COMPOSITIONAL WORK FOR SOLOISTS, CHOIR, AND ORCHESTRA. ITS SIGNIFICANT TO BAROQUE CHURCH OPERA DEALS WITH HISTORY, MYTHOLOGY, ROMANCE, DECEPTION, OR MURDER ORATORIO DEALS WITH SACRED TOPICS FOR PERFORMANCE INSIDE CHURCHES, THOUGH SOMETIMES IN HALLS AND COURTS. VOCAL FORMS AND STYLES

11. EXAMPLE OF ORATORIO

12. RECITATIVE A TECHNIQUE FIRST DONE IN BAROQUE OPERAS A RECITATIVE USUALLY GOES AROUND IN 1-3 PITCHES A LITTLE RAPIDLY. IT USED TO ADD TEXT FOR THE AUDIENCE AND IS USUALLY THE PART THAT MOST PEOPLE ENJOY EHARING.

13. EXAMPLE OF RECITATIVE

14. CHORALE IT STARTED 300 YEARS AGO IT IS A MELODY IN WHICH A HYMN IS SUNG BY A CONGREGATION IN A PROTESTANT CHURCH SERVICE IN GERMANY. IT USUALLY HAS A FOUR-PART SETTING WHERE THE SOPRANOS AND CONGREGATION SING THE MELODY TOGETHER WITH THREE LOWER VOICES: ALTO, TENOR, AND BASS

15. EXAMPLE OF CHORALE

16. GREATEST BAROQUE COMPOSERS FOR THE BACH, MUSIC WAS THE FAMILY BUSINESS STRETCHING SEVERAL GENERATIONS BACK. BACH’S GREAT-GRANDFATHER WAS A PIPE PERFORMER; HIS GRANDFATHER WAS A COURT MUSICIAN; HIS FATHER WAS A VIOLINIST, ORGANIST, TRUMPETER, AND DRUMMER. HIS UNCLES WERE COMPOSERS, HIS BROTHERS WERE ALSO MUSICIANS. BACH WAS AN ORPHAN BY THE AGE OF 10 . DURING HIS PUBERTY AGE HE FOCUS TO PLAYING VIOLIN AND HARPSICHORD . JOHANN SEBASTIAN BACH (1685 – 1750) EISENACH, GERMANY

17. HANDEL’S FATHER DID NOT SUPPORT HIS SON’S MUSICAL DREAMS . HE INITIALLY AGREED TO STUDY LAW BUT DID NOT REMAIN ENROLLED FOR LONG. HANDEL WAS NICKNAMED “THE GREAT BEAR” BECAUSE OF HIS SIZE, NATURE, AND WAY OF WALKING. HANDEL WROTE 16 ORGAN CONCERTI, 29 ORATORIOS, 42 OPERAS, 120 CANTATAS HE DIED A WEALTHY MAN IN 1759, AGED 74 , IN LONDON. GEORGE FRIDERIC HANDEL (1685 - 1759) HALLE, GERMANY