{"id":235,"date":"2022-10-24T21:32:49","date_gmt":"2022-10-24T21:32:49","guid":{"rendered":"https:\/\/pressbooks.ccconline.org\/ppschum1023moderncivilizations\/chapter\/__unknown__-16\/"},"modified":"2023-03-21T21:19:39","modified_gmt":"2023-03-21T21:19:39","slug":"__unknown__-16","status":"publish","type":"chapter","link":"https:\/\/pressbooks.ccconline.org\/ppschum1023moderncivilizations\/chapter\/__unknown__-16\/","title":{"raw":"2.4 MUSIC","rendered":"2.4 MUSIC"},"content":{"raw":"
\r\n\r\n[caption id=\"\" align=\"aligncenter\" width=\"800\"]\"Joseph 2.36 Joseph Haydn, Symphony \u201cA\u201d Hoboken 107, 1760.1<\/a>[\/caption]\r\n

Assigning specific dates to a musical period is not accurate by any sense of the word. The Classical era is usually assigned the years 1750-1809. The year 1750 is the year of the death of Johan Sebastian Bach, and is considered the end of the Baroque musical era. The actual beginning of the Classical era can be seen in the pre-Classical works written between 1740 and 1770. Two of Bach\u2019s sons, Carl Phillip Emmanuel Bach and Johann Christian Bach were trend setters in this period. The year 1809 is arbitrarily chosen as the end of the Classical era because it marks the death of Franz Joseph Haydn. The term Classical can be confusing in itself. It its general use the term classical can be used to refer to any music that is serious as opposed to popular. When we speak of the Colorado Springs Philharmonic symphony, we often speak of their classical music. Any music played in a concert hall might be labeled classic, no matter when it was written. We also refer to popular music that has a lasting appeal as \u201cclassic rock.\u201d The technical term, as we will use it in this discussion will refer to music written between 1750 and 1809.<\/p>\r\n

The Classical period falls between the Baroque and the Romantic periods. The best-known composers from this period are Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven, and Franz Schubert; other notable names include Luigi Boccherini, Muzio Clementi, Antonio Soler, Antonio Salieri, Fran\u00e7ois Joseph Gossec, Johann Stamitz, Carl Friedrich Abel, Carl Philipp Emanuel Bach, and Christoph Willibald Gluck. Ludwig van Beethoven is also regarded either as a Romantic composer or a composer who was part of the transition to the Romantic.2<\/a> <\/sup>This music developed at a time when painters, architects, and sculptors were turning to the works of the ancient Greeks and Romans for inspiration. It is probably not a coincidence that the work is named classical. This musical style follows many of the tenants of the ancient Greek culture: balance, emotional restraint, symmetry, clarity, and intellectual strength. While still tightly linked to court culture and absolutism, with its formality and emphasis on order and hierarchy, the new style was also \u201ccleaner\u201d. It favored clearer divisions between parts, brighter contrasts and colors, and simplicity rather than complexity. In addition, the typical size of orchestras began to increase.<\/p>\r\n

The remarkable development of ideas in \u201cnatural philosophy\u201d had already established itself in the public consciousness. In particular, Newton\u2019s physics was taken as a paradigm: structures should be well-founded in axioms and be both well-articulated and orderly. This taste for structural clarity began to affect music, which moved away from the layered polyphony of the Baroque period toward a style known as homophony, in which the melody is played over a subordinate harmony. This move meant that chords became a much more prevalent feature of music, even if they interrupted the melodic smoothness of a single part. As a result, the tonal structure of a piece of music became more audible.3<\/a><\/sup><\/p>\r\n

The new style was also encouraged by changes in the economic order and social structure. As the 18th century progressed, the nobility became the primary patrons of instrumental music, while public taste increasingly preferred comic opera. This led to changes in the way music was performed, the most crucial of which was the move to standard instrumental groups and the reduction in the importance of the continuo\u2014the rhythmic and harmonic ground of a piece of music, typically played by a keyboard (harpsichord or organ) and potentially by several other instruments.4<\/a><\/sup><\/p>\r\n

Economic changes also had the effect of altering the balance of availability and quality of musicians. While in the late Baroque a major composer would have the entire musical resources of a town to draw on, the forces available at a hunting lodge were smaller and more fixed in their level of ability. This was a spur to having primarily simple parts to play, and in the case of a resident virtuoso group, a spur to writing spectacular, idiomatic parts for certain instruments, as in the case of the Mannheim orchestra. In addition, the appetite for a continual supply of new music, carried over from the Baroque, meant that works had to be performable with, at best, one rehearsal. Indeed, even after 1790 Mozart writes about \u201cthe rehearsal\u201d, with the implication that his concerts would have only one.5<\/a><\/sup><\/p>\r\n\r\n

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The basic musical elements:<\/p>\r\n\r\n<\/header>\r\n

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Meter<\/strong>: a pattern of regularly recurring strong and weak beats. For instance, in the simplest meter a strong beat alternates with a weak beat. The meter shown here is duple meter and is most frequently found as two-four time (2\/4).<\/p>\r\n

Twinkle \u00a0 \u00a0 \u00a0 \u00a0twinkle \u00a0 \u00a0 \u00a0 \u00a0 \u00a0little \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 star----<\/p>\r\n

ONE-two \u00a0 \u00a0 ONE-two \u00a0 \u00a0 \u00a0ONE-two \u00a0 \u00a0 ONE-two<\/p>\r\n

Melody<\/strong>: a succession of tones of different pitch organized to guide the listener\u2019s ear through a composition.<\/p>\r\n

Classical melody<\/strong>: The classical melody is prominent and easy to grasp. It is often broken into small sections or pieces. This is called a theme or a motive. It can be as short as two or three notes. Contrasting melodies within a single piece provided variety; while small fragments, the motives, were used in the process we call development, used to expand a work through a combination of unity and variety.<\/p>\r\n

Rhythm<\/strong>: the duration of a tone, the pattern by which tones are arranged within the metric structure.<\/p>\r\n

Classical rhythm<\/strong>: The basso continuo of the Baroque era is gone. The tempo is steady and less complex to complement the melody. Variety was achieved through rhythmic diversity. The pattern may follow the meter closely as it does in the above example, or it may work against the meter by placing the strong beats where the meter places the weak beats.<\/p>\r\n

Tempo: <\/strong>The speed with which the metric pattern is sounded. Tempo indications range from grave (very, very slow) to presto (very fast).<\/p>\r\n

Dynamic Level: <\/strong>(musical volume) is the relative loudness (intensity) or softness of a sound or series of sounds.<\/p>\r\n

Classical dynamics<\/strong>: Dynamic markings were used more often. They often used the gradual markings of crescendo and diminuendo. Melodic, rhythmic and harmonic changes were often highlighted with dynamic contrasts.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n \r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n
<\/td>\r\nMusical Tempos<\/strong><\/td>\r\n<\/td>\r\n<\/td>\r\n<\/tr>\r\n
<\/td>\r\n<\/td>\r\n<\/td>\r\n<\/td>\r\n<\/tr>\r\n
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English<\/strong><\/p>\r\n<\/td>\r\n

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Italian<\/strong><\/p>\r\n<\/td>\r\n

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English<\/strong><\/p>\r\n<\/td>\r\n

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Italian<\/strong><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Solemn \u2013very, very very slow<\/p>\r\n<\/td>\r\n

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Grave<\/p>\r\n<\/td>\r\n

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Moderate<\/p>\r\n<\/td>\r\n

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Moderato<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Broad \u2013 very slow<\/p>\r\n<\/td>\r\n

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Largo<\/p>\r\n<\/td>\r\n

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Moderately fast<\/p>\r\n<\/td>\r\n

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Allegretto<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Quite slow<\/p>\r\n<\/td>\r\n

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Adagio<\/p>\r\n<\/td>\r\n

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Fast (cheerful)<\/p>\r\n<\/td>\r\n

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Allegro<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Slow<\/p>\r\n<\/td>\r\n

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Lento<\/p>\r\n<\/td>\r\n

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Lively<\/p>\r\n<\/td>\r\n

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Vivace<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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A walking pace<\/p>\r\n<\/td>\r\n

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Andantino<\/p>\r\n<\/td>\r\n

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Very, very fast<\/p>\r\n<\/td>\r\n

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Presto<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Somewhat faster than andante<\/p>\r\n<\/td>\r\n

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Andantino<\/p>\r\n<\/td>\r\n

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Very fast<\/p>\r\n<\/td>\r\n

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Prestissimo<\/p>\r\n<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\n

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Terms indicating change in tempo:<\/strong><\/p>\r\n

Getting faster: accelerando<\/p>\r\n

Holding back: Ritardando<\/p>\r\n

In time: a tempo<\/p>\r\n\r\n<\/div>\r\n \r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n
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Dynamics<\/strong><\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Very soft<\/p>\r\n<\/td>\r\n

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Pianissimo (pp)<\/p>\r\n<\/td>\r\n

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Soft<\/p>\r\n<\/td>\r\n

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Piano (p)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Moderately soft<\/p>\r\n<\/td>\r\n

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Mezzo piano (mp)<\/p>\r\n<\/td>\r\n

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Moderately loud<\/p>\r\n<\/td>\r\n

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Mezzo forte (mf)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Loud<\/p>\r\n<\/td>\r\n

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Forte (f)<\/p>\r\n<\/td>\r\n

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Very Loud<\/p>\r\n<\/td>\r\n

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Fortissimo (ff)<\/p>\r\n<\/td>\r\n<\/tr>\r\n

<\/td>\r\n<\/td>\r\n<\/td>\r\n<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\n
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Term indicating a change in dynamics:<\/strong><\/p>\r\n

Growing louder: crescendo<\/p>\r\n

Growing softer: decrescendo or diminuendo<\/p>\r\n

Sudden stress: sforzando (sf)<\/p>\r\n\r\n<\/div>\r\n \r\n

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Texture<\/strong>: The relationship of a melody to other melodies of harmony is called texture. Just as different kinds of threads can be woven together to create various textures in fabric, melody and harmony can be combined in different ways to create a variety of textures. The four kinds of musical texture are monophony, polyphony, homophony, and non-melodic.<\/p>\r\n

Classical texture<\/strong>: During the Classical period homophonic texture was favored. An especially popular form of homophonic texture was \u201cAlberti Bass\u201d in which the chords in the lower accompaniment were separated into individual rhythmic patterns.<\/p>\r\n

Harmony<\/strong>: This is the simultaneous sounding of more than one voice. These voices may be concordant (sound well together) or discordant (sound harsh or conflicting). In western music harmony is based on the use of scales, do-re-me-fa-sol-la-ti-do, which begin on any of the twelve tomes in our system. The note on which the scale begins, for example G, is called the tonic of that scale, and music written with G as its tonic is said to be written in the key of G. The key of a piece of music may change once or more during its progress, from G to D, for example. Movement from one key to another is called modulation.<\/p>\r\n

Block Harmony<\/strong> \u2013 two tones sounded simultaneously<\/p>\r\n

Counterpoint<\/strong>- two or more melodic lines sounded simultaneously whose tones move independently of each other.<\/p>\r\n

Monophony<\/strong>- music with a single melodic line<\/p>\r\n

Polyphony<\/strong>- music with more than one melodic line sounded simultaneously<\/p>\r\n

Homophony<\/strong>- music in which a single melodic line is supported by chords or other subordinate material. A single voice takes over the melodic interest while the accompanying voices surrender their individuality and become blocks of harmony the chords that support, color, and enhance the principal part.<\/p>\r\n

Classical harmonies<\/strong> were comparatively simple. They move more slowly than those of the Baroque. Modulations were used to distinguish sections.<\/p>\r\n

Form<\/strong>- the basic pattern in which the elements of a work of music are set. The basic law of structure is repetition and contrast or unity and variety. Some basic forms are:<\/p>\r\n

Theme and variations<\/strong>: one theme (melody) is stated and then repeated in altered form a number of times<\/p>\r\n

S<\/strong>ong form<\/strong>: a melody is stated, repeated, a contrasting melody is stated, and the first melody is repeated again (AABA is a common shorthand for this form)<\/p>\r\n

Sonata form<\/strong>: employs the song form as the basis for an extended composition<\/p>\r\n

Symphony form<\/strong>: a major form usually including at least one movement in sonata form<\/p>\r\n

Rondo<\/strong> : a form of medieval French music usually used as the third movement of sonatas, replacing the minuet. Although it was characterized by rapid movement in triple meter, as in the minuet, the scherzo is more dynamic and faster in tempo. It was used by Beethoven in the third movement of his symphonies.<\/p>\r\n

Minuet<\/strong>: (French dance in triple meter at a moderate tempo) embodied the grace of the aristocratic age in the Baroque dances; it was used as the third movement of a sonata in \u00be time during the 18th<\/sup> century. The minuet ranges from stateliness to lively pace and whimsical character.<\/p>\r\n

<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n \r\n

Classical composers used form<\/strong> to create balance and symmetry. Multi movement structures became standard ways to create large works. Works became increasingly complex using contrasting themes and motive development. Balance in Classical music was created by the placement of the climax in the middle followed by long sections of resolution to relieve tension. In Baroque music the climax is at the end with an increase of motion to the final cadence.<\/span><\/p>\r\n \r\n\r\n[caption id=\"\" align=\"aligncenter\" width=\"643\"]\"The 2.37 The Classical Orchestra6<\/a>[\/caption]\r\n

Timbre (Orchestration):<\/strong> This is the selection of one instrument or group of instruments, including the human voice.<\/p>\r\n

Classical timbre<\/strong>: The choice of instruments was not left up to the performers. Composers conceived of specific timbres and wrote for those unique characteristics. The small Classical Orchestra was established. Unlike the Baroque orchestra which could vary from piece to piece, it was standardized into four sections:<\/p>\r\n \r\n

Strings: 1st<\/sup> violins, 2nd<\/sup> violins, violas, cellos, and double basses<\/p>\r\n

Woodwinds: flutes, oboes, clarinets, bassoons<\/p>\r\n

Brass: French horns, trumpets<\/p>\r\n

Percussion: timpani<\/p>\r\n

The number of musicians in the orchestra varied according to the piece and the composer. Unlike Baroque composers, Classical composers did not treat one instrument like another. For instance, an oboe would not play a violin melody for the entire piece. Each section of the orchestra had a special role. The first violins usually took the melody, the lower strings took the accompaniment, horns and trumpets brought power and harmony, but did not usually play the melody. The percussion was for bite and emphasis. The piano replaced the harpsichord because it had a greater flexibility in dynamics and therefore greater expressive capability.<\/p>\r\n

Classical expressiveness<\/strong>: Baroque concept of expression limited each work or movement to a single emotion. Classical composers deliberately and frequently changed affects and emotions to create interesting contrasts.<\/p>\r\n

Sonata and Sonata-allegro form<\/strong><\/p>\r\n

The term \u201csonata form\u201d refers to the form of a single movement. It should not be confused with the term \u201csonata\u201d which is used for a whole composition made up of several movements. Usually the opening fast movement of a classical symphony, sonata, or string quartet is in \u201csonata form.\u201d In other words sonata form is also called first-movement form or sonata-allegro form and it usually refers to the first movement of larger works.<\/p>\r\n

The three basic elements of \u201csonata form\u201d are the exposition, the development, and the recapitulation.<\/p>\r\n\r\n

First Movement<\/strong><\/h3>\r\n

Exposition<\/strong><\/h4>\r\n