Ideas and styles in the Western musical tradition / Douglass Seaton.
| Author/creator | Seaton, Douglass |
| Format | Book |
| Publication Info | Mountain View, CA : Mayfield Publishing Company, 1991. |
| Description | xxvi, 431 pages : illustrations (some color), map ; 25 cm |
| Subjects |
| Contents | Music in classical antiquity. Music in the life and philosophy of Ancient Greece. Music and the doctrine of ethos ; Characteristics of music -- Greek music theory ; Music in Ancient Rome -- The early Christian period. The growth of the Christian church and its music ; The Jewish heritage ; The diversification of practice. The Eastern influence ; Local European practices -- The chant of the Medieval church. The establishment of a Catholic tradition ; The Roman liturgy. Settings for worship -- Aesthetic considerations regarding the chant ; The musical style of the chant ; The music theory of the chant ; Later developments in the liturgical chant. The trope ; Liturgical drama -- Medieval secular song and instrumental music. Secular music in the early Middle Ages ; Latin songs ; Epics and minstrels ; Troubadours and Trouvères ; German court music ; Monophonic songs in other nations. Italy ; Spain and Portugal ; Britain -- Medieval instruments. String instruments ; Wind instruments ; Percussion instruments ; Organs -- The use of instruments in medieval music -- The development of polyphony. The significance of polyphony ; Carolingian polyphony ; Romanesque developments. Free organum ; Rhythmic independence ; Harmonic freedom -- Gothic thinking and style ; Notre Dame polyphony. Rhythmic order in organum: Leonin ; Perotin ; Cadences -- The medieval motet -- Late thirteenth-century developments. New developments in rhythmic notation ; Hocket -- Symbolic values in medieval polyphony -- Music in the late Middle Ages. The increasing secularization of culture ; Ars Nova ; Isorhythm ; The Roman de Fauvel ; Form in secular song ; Cadence patterns in the fourteenth century ; Guillaume de Machaut ; Mannerism: the Ars Subtilior ; The Italian trecento ; English polyphony. Gymel and English discant ; Secular music: Rota -- The rise of the Renaissance. Renaissance humanism ; The Hundred Years' War and English music on the continent. John Dunstable -- The new style on the continent. Guillaume Dufay ; Gilles Binchois ; Polyphonic cadences -- The high Renaissance. The growth of the Renaissance musical style in the North. Johannes Ockeghem ; Jacob Obrecht ; Josquin des Prez and the Ars Perfecta -- The ascendancy of the Northern style ; Music for social use in the high Renaissance ; Regional variations of the cosmopolitan style in secular music. The French chanson ; English music ; German music ; The Italian frottola and madrigal -- The poetic model for musical expression -- Instrumental music in the Renaissance. The place of instruments in Renaissance music ; Renaissance instruments. Consorts ; Broken consorts ; Plucked instruments ; Keyboard instruments -- Tablature ; Instruments and vocal music. Instrumental adaptations of vocal music and genres -- Instrumental genres. Dances ; Variations ; Instrumental pieces in the style of improvisations -- The Reformation. The background of the Reformation ; The music of the Lutheran Reformation ; The Calvinist Reformation ; The Reformation in England ; The Counter-Reformation. Palestrina ; Tomas Luis de Victoria and Roland de Lassus -- Faith, music, and the power of words -- The waning of the Renaissance. Italian music at the end of the sixteenth century ; Late Renaissance mannerism ; The Italian style in England ; France ; The Venetian style ; The significance of late Renaissance styles -- The arrival of the Baroque. Rationalism ; Aesthetic considerations. The doctrine of affections -- The Florentine Camerata ; Monody and the basso continuo ; Concertato ; Seconda prattica -- Expression of new ideas in new styles -- The early Baroque. Three styles ; The creation of opera. First experiments in opera ; Orfeo -- Developments in Italian opera. Stylistic trends -- Vocal chamber music. Texture and form -- Sacred music. The sacred concerto ; Oratorio -- Seventeenth-century instrumental music. The ricercar ; The sonata ; Sets of variations ; Dance music ; Improvisatory instrumental music -- The high Baroque. French opera in the seventeenth century. The background ; The beginnings of French opera ; Musical styles in French Baroque opera -- English music in the seventeenth century. The first Stuarts ; The Commonwealth ; The Restoration -- Italian opera ; The cantata and other vocal chamber music ; German musical genres. Keyboard music ; Musical drama -- The development of instrumental forms and idioms. Style developments in instrumental music ; Fugue ; The suite ; The mature Baroque sonata ; Concerto -- The end of the Baroque era. The character of the late Baroque era ; Opera seria, Handel and others ; The intermezzo ; Opera in France ; Handel and the oratorio ; Germany ; Johann Sebastian Bach. Bach's early career ; The Court of Weimar ; The Court of Cöthen ; The city of Leipzig ; Bach's culmination of Baroque styles -- |
| Contents | New currents in the early eighteenth century. Departure from the Baroque ; The development of the tonal system ; The Galant style. In France ; Outside of France -- French and Italian operatic comedy. La Guerre des Bouffons -- The empfindsamer Stil. Carl Philipp Emanuel Bach ; Keyboard instruments ; Song -- Structure in early eighteenth-century instrumental music ; Developments in instrumental music -- The early Classic period. The Enlightenment ; The Classic outlook ; The situation of the musician ; Contrasting careers for classical musicians: Haydn and Mozart. Franz Joseph Haydn ; Wolfgang Amadeus Mozart -- Comic opera in the early Classic period ; Opera seria and opera reform ; Instrumental genres and the sonata plan. The symphony ; The string quartet ; The keyboard sonata ; The concerto ; The divertimento -- The sonata form and its variants. Harmonic plan ; Thematic plan ; Outline of sonata form ; Application of the form ; Adaptations of the form -- Expression and function -- The high Classic period. The position of Haydn and Mozart ; Chamber music ; Symphony ; Concerto ; Mozart's mature operas. Opera seria ; Singspiel ; Collaboration with Da Ponte ; Die Zauberflöte -- A new model for expression ; The Classic Beethoven. Beethoven's early years in Bonn ; Beethoven's first decade in Vienna ; The music of Beethoven's first Vienna period -- Colonial and Revolutionary America -- The rise of the Romantic movement. Philosophical roots of Romantic thought. Politics and social revolution ; The concept of organic unity -- Romantic art. Themes in Romantic art ; Techniques of Romantic art -- The Romantic movement in the history of musical style ; Beethoven from 1802. Beethoven and the artist as hero ; Beethoven's heroic style ; Beethoven's sketchbooks ; Beethoven's personal life in his middle period -- Beethoven's last period ; Beethoven's influence on nineteenth-century music ; The Romantic Lied. Franz Schubert -- Early nineteenth-century Italian opera. Rossini -- Opera in France ; German Romantic opera ; The social context for music in the nineteenth century -- The mature Romantic period. The context for mature Romanticism. Composers' lifestyles ; Composers' literary and artistic activities -- Romantic lyricism in Italian opera. Style ; Performance practice ; Giuseppe Verdi -- French grand opera ; The cult of virtuosity ; Lyricism and virtuosity, Chopin ; Salons and drawing rooms ; Instrumental genres in Romantic music. Piano music ; Orchestral music -- Romantic musical style. Expansion of sound vocabulary ; Romantic harmony -- Form in Romantic music ; Recognition of the musical heritage ; The midpoint of the nineteenth century -- The twilight of Romanticism. The new German School ; The artwork of the future. Wagner's music dramas ; Wagner's librettos ; Wagner's musical style -- Late Romanticism. Austria ; France ; Italy -- The second generation of the new German style. Wolf and Mahler ; Richard Strauss ; Alexander Scriabin -- Realism in late nineteenth-century opera. Giacomo Puccini -- Exoticism ; Late nineteenth-century nationalism. Bohemia ; Russia -- Nationalism in other countries ; The situation at the end of the nineteenth century -- The arrival of the twentieth century. A crisis in artistic ideas and styles ; Impressionism. Claude Debussy ; Diffusion and limits of impression -- The aesthetics of ugliness ; Primitivism ; Expressionism. Arnold Schoenberg ; Alban Berg ; Advantages and problems in atonal expressionism -- An American original: Charles Ives -- Between the World Wars. A period of readjustment ; The twelve-tone method of composition. Schoenberg after 1920 ; Adaptations of the twelve-tone method -- Serialism ; Artistic objectivity ; Neoclassicism. France ; Stravinsky's neoclassic music and thought ; Germany -- New tonal theory ; The influence of regional musics ; The music of socialist realism in the Soviet Union ; The United States. Jazz ; Incorporating jazz into traditional genres -- The avant-garde -- In the second half of the twentieth century. History and contemporary music ; Total control ; The exploration of new timbres: extended techniques ; Electronic music. Computers ; The performer -- Indeterminacy. Indeterminacy, performers, and computers -- Minimalism ; Mixed-media and performance-oriented music ; Jazz and pop music ; Composers in late-twentieth-century society. Women and minority composers -- The situation at the dawn of the twenty-first century -- Appendix A. Research and writing in music history ; Appendix B. Pronouncing church Latin: a quick reference. |
| Abstract | At the heart of this book is the premise that we study music history in order to become better musicians--whether performers who wish to play or sing more sensitively, composers looking for inspiration in the musical experience of earlier composers, or listeners hoping to learn more. We become better musicians by confronting and exploring the musical thinking of other musicians. Our performances are better when we understand what and how musicians in the past have intended to communicate with their audiences. Our compositions can be more interesting and better crafted when we know how other composers have set themselves artistic problems and solved them. Our listening can be more perceptive and fulfilling when we know all these things and are aware of the cultural contexts in which music has been conceived and performed. The history of music presented here takes a balanced approach between consideration of external influences on music and internal changes within the art itself. The text emphasizes that musicians inevitably operate in particular historical contexts and that those contexts just as inevitably affect their music and musical experience. |
| Local note | Little-300593--305131006355W |
| General note | Instructor's complimentary examination copy. |
| Bibliography note | Includes bibliographical references and index. |
| LCCN | 90006669 |
| ISBN | 087484956X (cloth) |
| ISBN | 9780874849561 (cloth) |
Availability
| Library | Location | Call Number | Status | Item Actions |
|---|---|---|---|---|
| Music | Music Stacks | ML160 .S407 1991 | ✔ Available | Place Hold |