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  • Music History Overview

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    Ryan Gross
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    The document outlines the major musical periods from Medieval to Baroque, including characteristic styles and genres. The Medieval period featured monophonic Gregorian chant and early polyphonic styles like organum. In the Renaissance, polyphonic vocal genres like the motet and mass flourished, along with the development of the madrigal. The Baroque period saw a shift to tonality and greater emphasis on instrumental music, exemplified in genres such as the concerto and prelude/tocatta. Key composers mentioned include Perotin, Dunstable, Josquin des Prez, Palestrina, Marenzio, Gesualdo, Monteverdi, Buxtehude and Vivaldi.

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    The document outlines the major musical periods from Medieval to Baroque, including characteristic styles and genres. The Medieval period featured monophonic Gregorian chant and early polyphonic styles like organum. In the Renaissance, polyphonic vocal genres like the motet and mass flourished, along with the development of the madrigal. The Baroque period saw a shift to tonality and greater emphasis on instrumental music, exemplified in genres such as the concerto and prelude/tocatta. Key composers mentioned include Perotin, Dunstable, Josquin des Prez, Palestrina, Marenzio, Gesualdo, Monteverdi, Buxtehude and Vivaldi.

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    20 views2 pages

    Music History Overview

    Uploaded by

    Ryan Gross
    The document outlines the major musical periods from Medieval to Baroque, including characteristic styles and genres. The Medieval period featured monophonic Gregorian chant and early polyphonic styles like organum. In the Renaissance, polyphonic vocal genres like the motet and mass flourished, along with the development of the madrigal. The Baroque period saw a shift to tonality and greater emphasis on instrumental music, exemplified in genres such as the concerto and prelude/tocatta. Key composers mentioned include Perotin, Dunstable, Josquin des Prez, Palestrina, Marenzio, Gesualdo, Monteverdi, Buxtehude and Vivaldi.

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    MEDIEVAL (1150-1400): Modal, contrapuntal, unequal voices (dominant tenor) Gregorian Chant Monophonic Purely vocal Organum Polyphonic

    nic Purely vocal Voices moving at different speeds Perotin

    Clausula (1160-1250, Ars Antiqua) Newly composed polyphonic discant voices over cantus firmus Cadences Opportunity for experimentation Conductus Discant Motet Strophic (repetition of a single section) RENAISSANCE (1400-1600): Modal to tonal, contrapuntal, equal voices Motet Dunstable Usually 3 voices Isorhythmic (repeated rhythmic patterns in all voices) Cantus firmus upon which it is written Opportunity for experimentation Josquin des Prez

    Chanson Polyphonic Vocal-driven Mass Sacred & vocal Resolutions at cadences

    Palestrina

    1st Madrigal (1520-50) Verdelot 4 voices Through-composed (new music for each line/ no repetition) Homophonic Easy to sing 2nd Madrigal (1550-80) Marenzio, Gesualdo

    5-10 voices Monteverdi

    3rd Madrigal (1580-1620) Chromaticism Virtuosity

    BAROQUE (1600-1750): Tonal, harmonic (basso continuo providing harmonic structure in the bass), virtuosic, more instrumental Praeludium/Toccatta Improv alternating with fugue (imitative style) Concerto Multiple instruments with one featured Buxtehude Vivaldi

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