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History of Music in Western Culture PDF

689 Pages·2013·31.42 MB·English
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FOURTH EDITION A H i s t o r y o f M U S I C i n We s t e r n C u l t u r e Mark Evan Bonds Department of Music University of North Carolina at Chapel Hill Boston Columbus Indianapolis New York San Francisco Upper Saddle River Amsterdam Cape Town Dubai London Madrid Milan Munich Paris Montreal Toronto Delhi Mexico City Sao Paulo Sydney Hong Kong Seoul Singapore Taipei Tokyo To Dorothea, Peter, Andrew President: Yolanda de Rooy Photo Research and Permissions: Ben Ferrini Editorial Director: Craig Campanella Senior Operations Specialist: Diane Peirano Editor-in-Chief: Sarah Touborg Creative Director: Pat Smythe Senior Publisher: Roth Wilkofsky Interior Design: Delgado and Company Editorial Project Manager: Nesin Osman Cover Design: Delgado and Company Editorial Assistant: Christopher Fegan Cover Image: Thomas Rowlandson, “John Bull at the Director of Marketing: Brandy Dawson Italian Opera”. © Newberry Library/SuperStock Executive Marketing Manager: Kate Mitchell Senior Digital Media Editor: David Alick Marketing Assistant: Paige Patunas Digital Media Project Manager: Rich Barnes Managing Editor: Melissa Feimer Composition: GEX Publishing Services Production Liaison: Joe Scordato Printer/Binder: R. R. Donnelley & Sons Full-Service Management: GEX Publishing Services C over Printer: Lehigh-Phoenix Color Corp. Production Editor: GEX Publishing Services Credits and acknowledgments borrowed from other sources and reproduced, with permission, in this textbook appear on the appropriate page within text. Copyright © 2013, 2010 and 2006 by Pearson Education, Inc. All rights reserved. Manufactured in the United States of America. This publication is protected by Copyright, and permission should be obtained from the publisher prior to any prohibited reproduction, storage in a retrieval system, or transmission in any form or by any means, electronic, mechanical, photocopying, recording, or likewise. To obtain permission(s) to use material from this work, please submit a written request to Pearson Education, Inc., Permissions Department, One Lake Street, Upper Saddle River, New Jersey 07458, or you may fax your request to 201-236-3290. Many of the designations by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designations appear in this book, and the publisher was aware of a trademark claim, the designations have been printed in initial caps or all caps. Library of Congress Cataloging-in-Publication Data Bonds, Mark Evan. A history of music in Western culture / Mark Evan Bonds. — 4th ed. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-205-86722-6 ISBN-10: 0-205-86722-7 I. Title. ML160.B75 2012 780.9—dc23 2012039346 Student Edition ISBN 10: 0-205-86722-7 ISBN 13: 978-0-205-86722-6 10 9 8 7 6 5 4 3 2 1 Instructor’s Resource Copy ISBN 10: 0-205-93233-9 ISBN-13: 978-0-205-93233-7 BRIEF CONTENTS Preface ix Prologue: Antiquity 2 O F Part ne Part ive THE MEDIEVAL ERA 16 THE 19TH CENTURY 356 Prelude to Part One 1 7 Prelude to Part Five 357 CHAPTER 1 Plainchant and Secular Monophony 25 CHAPTER 14 The Age of the Tone Poet 367 CHAPTER 2 Polyphony to 1300 57 CHAPTER 15 Orchestral Music, 1800–1850 383 CHAPTER 3 Music in the 14th Century 73 CHAPTER 16 Piano Music, Chamber Music, Song 408 CHAPTER 17 Dramatic and Choral Music 435 T CHAPTER 18 Orchestral Music, 1850–1900 464 Part wo THE RENAISSANCE 92 Major Composers of the 19th Century 485 Prelude to Part Two 93 CHAPTER 4 The Emergence of Renaissance Style 106 S Part ix THE 20TH CENTURY 488 CHAPTER 5 The Genres of Renaissance Music, 1420–1520 122 Prelude to Part Six 489 CHAPTER 6 Music in the 16th Century 153 CHAPTER 19 The Growth of Pluralism 499 CHAPTER 20 The Search for New Sounds, T 1890–1945 515 Part hree THE BAROQUE ERA 184 CHAPTER 21 Beyond Tonality 5 39 Prelude to Part Three 185 CHAPTER 22 The Tonal Tradition 560 CHAPTER 7 The New Practice 193 CHAPTER 23 New Currents after 1945 5 77 CHAPTER 8 Vocal Music, 1600–1650 207 CHAPTER 24 Popular Music 602 CHAPTER 9 Vocal Music, 1650–1750 224 Major Composers of the 20th Century 631 CHAPTER 10 Instrumental Music, 1600–1750 258 Epilogue: Music in the New Millennium 639 Appendices 644 F Glossary 653 Part our THE CLASSICAL ERA 288 Source Notes 663 Prelude to Part Four 289 Index 667 CHAPTER 11 The Art of the Natural 298 CHAPTER 12 Instrumental Music in the Classical Era 314 CHAPTER 13 Vocal Music in the Classical Era 336 Major Composers of the Classical Era 354 iii This page intentionally left blank Contents Preface i x Motet 65 Conductus 68 Prologue: Antiquity 2 Mensural Notation 69 Music in The Biblical World 3 Franconian Notation 70 Ancient Greece 4 Petronian Notation 71 Music in Ancient Greek Society 5 Summary 72 Greek Musical Theory 6 Music in The Roman Empire 9 CHAPTER 3 MUSIC IN THE 14TH C ENTURY 73 The Musical Legacies of Antiquity 1 1 France: The A RS NOVA 73 Music and the Cosmos 12 The Roman de Fauvel 74 Music and the Soul 12 Polyphonic Settings of the Mass Ordinary 77 Music and the State 14 Secular Song 81 Theory versus Practice 14 The Ars subtilior at the End of the Vocal versus Instrumental Music 15 14th  Century 82 Summary 15 Italy: The Trecento 8 4 England 87 Instrumental Music 87 O Part ne Summary 91 THE MEDIEVAL ERA 1 6 Prelude to Part One 17 T CHAPTER 1 PLAINCHANT AND SECULAR Part wo THE RENAISSANCE 92 MONOPHONY 2 5 Prelude to Part Two 93 The Emergence of Plainchant 2 5 The Elements of Plainchant 31 Renaissance Humanism 96 Liturgical Function 32 The Protestant Reformation 100 Relationship of Words and Music 34 Renaissance Painting and Mode 38 Sculpture 101 Melodic Structure 39 Music in the Renaissance 103 Rhythm 41 CHAPTER 4 THE EMERGENCE OF The Expansion of Plainchant 4 2 RENAISSANCE STYLE 1 06 Secular Monophony 5 1 Consonance and Dissonance: Trusting Songs in Latin 51 The Ear 106 France 52 The Iberian Peninsula 54 Sonority: The C ONTENANCE Germany 54 ANGLOISE 1 08 Summary 56 Fauxbourdon and Faburden 109 New Sonority, Old Structure: Du Fay’s N uper CHAPTER 2 POLYPHONY TO 1300 5 7 rosarum fl ores 110 Organum 5 7 Josquin’s A VE MARIA … VIRGO SERENA and Innovations in Organum 58 The Style of The Renaissance 113 Notre Dame Organum 61 Treatment of Text 115 Clausula 63 Texture 115 v vi CONTENTS Cadential Structure 116 CHAPTER 7 THE NEW PRACTICE 193 Mode 117 Searching for The Secrets of Ancient Melody 117 Greek Music 193 Rhythm 117 The Florentine Camerata 195 Harmony 120 White Notation 121 The SECONDA PRATTICA 197 Summary 121 Music in The Baroque Era: A Stylistic Overview 2 02 CHAPTER 5 THE GENRES OF RENAISSANCE Summary 206 MUSIC, 1420–1520 122 CHAPTER 8 VOCAL MUSIC, 1600–1650 2 07 Sacred Vocal Music 122 The Mass: Du Fay and Ockeghem 122 Secular Song 207 The Mass: Josquin des Prez and His Italy: The Madrigal 207 Contemporaries 129 France: The Air de cour 213 The Motet 133 Opera 215 Secular Vocal Music 138 Sacred Music 222 Chanson 138 Summary 223 Frottola 141 Instrumental Music 144 CHAPTER 9 VOCAL MUSIC, 1650–1750 224 Renaissance Instruments 145 Opera 224 Keyboard Music 150 France: Comédie-ballet and Tragédie Dance Music 151 en  musique 225 Summary 152 Italy: Opera seria 228 England: Masque, Semi-Opera, Opera, and Ballad CHAPTER 6 MUSIC IN THE Opera 239 16TH  CENTURY 153 Sacred Music 244 Secular Vocal Music 153 Music in Convents 244 The Parisian Chanson 153 Oratorio 245 The Italian Madrigal 154 Motet and Mass 247 Secular Song in Germany, Spain, and Cantata 248 England 161 Conceptions Of The Compositional Sacred Vocal Music 166 Process 255 Music of the Reformation 166 Summary 257 Music of the Counter-Reformation 168 Instrumental Music 174 CHAPTER 10 INSTRUMENTAL MUSIC, 1600–1750 258 Intabulations 176 Variations 176 Instruments of The Baroque Era 258 Freely Composed Works 176 The Violin 258 Dance Music 179 Winds, Brass, and Percussion 259 Summary 183 Keyboard Instruments 261 The Orchestra 262 The Public Concert 263 T Part hree Instrumental Genres of THE BAROQUE ERA 1 84 The Baroque Era 263 Prelude to Part Three 185 Sonata 264 Concerto 266 War, Revolution, and Colonial Suite 271 Expansion 186 Other Keyboard Genres 275 The Scientific Revolution 188 Summary 287 The Musical Baroque 189 COPNRTEEFNATCSE vviiii F Reaction, Reform, and Revolution 361 Part our THE CLASSICAL ERA 288 The Musical World of the 19th Prelude to Part Four 289 Century 363 CHAPTER 14 THE AGE OF THE TONE The Age of Enlightenment 289 POET 367 War and Revolution 292 Romanticism and The New Prestige of The Industrial Revolution 294 Instrumental Music 367 Music in Enlightenment Society 295 The Composer As High Priest 368 CHAPTER 11 THE ART OF THE N ATURAL 298 Originality and Historical Self- Music and The Idea of Nature 298 Consciousness 371 Music in The Classical Era: A Stylistic The New Dichotomy Between Absolute Overview 300 and Program Music 373 The Elements of Classical Style 302 Nationalism 376 The Illusion of Order 303 The Growing Division Between Art and Style and Form in The Mid-18th Popular Music 376 Century 305 Music in The 19th Century: A Stylistic Sonata Form 306 Overview 379 The Fantasia 312 Summary 313 Summary 381 CHAPTER 15 ORCHESTRAL MUSIC, CHAPTER 12 INSTRUMENTAL MUSIC IN THE 1800–1850 383 CLASSICAL ERA 314 Bigger Halls, Bigger Audiences, and The Language of Instrumental Music 314 Louder Instruments 383 Form and Genre in Instrumental The Symphony 384 Music 316 Beethoven’s Symphonies 385 Sonata 318 The Symphony after Beethoven 388 String Quartet 319 Symphony 323 The Concert Overture 400 Concerto 329 The Concerto 403 Summary 335 Summary 407 CHAPTER 13 VOCAL MUSIC IN THE CHAPTER 16 PIANO MUSIC, CHAMBER CLASSICAL ERA 336 MUSIC, SONG 408 The Rise of Opera Buffa 336 Beethoven’s Piano Sonatas and String Opera Wars 337 Quartets 408 Gluck and The Reform of Opera 339 Song 409 Mozart and The Synthesis of Operatic The Character Piece 417 Styles 343 The Virtuoso Showpiece 428 Sacred Music 347 Summary 434 Song 352 CHAPTER 17 DRAMATIC AND CHORAL Summary 354 MUSIC 435 Major Composers of the Classical Era 354 Opera 4 35 Italy in the Early 19th Century: Rossini 435 Italy at Midcentury: Verdi 436 F Part ive THE 19TH CENTURY 356 Opera and Politics 443 France: Grand Opéra and Opéra Comique 446 Prelude to Part Five 357 Germany: Weber to Wagner 447 Progress and Dislocation 357 The Elements of Wagnerian Music Drama 448 Ideas and Ideologies 360 viii CONTENTS Operetta 460 CHAPTER 21 BEYOND TONALITY 539 Choral Music 461 Atonality 539 Summary 463 Serial Composition 551 Summary 559 CHAPTER 18 ORCHESTRAL MUSIC, 1850–1900 464 CHAPTER 22 THE TONAL TRADITION 560 Music For Dancing And Marching 464 Neoclassicism and The The Ballet 467 “New  Objectivity” 560 The Symphonic Poem 470 Orchestral Music 563 The Symphony 471 Film Music 565 The Challenge of the Past: Brahms 472 Ballet 567 Nationalism: Dvorˇák 476 Chamber Music 570 The Collision of High and Low: Mahler 481 Summary 484 Opera and Musical Theater 572 Summary 576 Major Composers of the 19th  Century 485 CHAPTER 23 NEW CURRENTS AFTER 1945 577 S Part ix New Sounds from Old Instruments 577 THE 20TH CENTURY 488 Combinatoriality 578 Prelude to Part Six 489 Integral Serialism 5 79 The Impact of Recorded Sound 493 Aleatory Music 581 Modernism: The Shock of the New 495 Electronic Music 584 CHAPTER 19 THE GROWTH OF Minimalism 591 PLURALISM 499 Postmodernism 596 From Homogeneity to Diversity 499 Summary 601 The Past Confronts The Present 502 CHAPTER 24 POPULAR MUSIC 602 Recorded Versus Live Music 504 Hymnody and its Legacy 6 02 Authenticity 506 Ragtime and Blues 604 Music in 20th-Century Society 507 Ragtime 604 Music and the State 507 Blues 607 Music and Race 509 Music and Protest 511 Popular Song 609 Music Therapy 511 Jazz: To 1945 612 Ambient Music 512 Jazz: After 1945 614 Music in The 20th Century: A Stylistic Country Music 619 Overview 512 The Folk Revival 623 Summary 514 Rhythm & Blues, Rock, and Rap 625 CHAPTER 20 THE SEARCH FOR NEW Summary 630 SOUNDS, 1890–1945 515 Major Composers of the 20th  Century 631 Impressionism 515 Epilogue: Music in the New Millennium 639 Challenges to Tonality 518 Appendices 644 Radical Primitivism 5 25 Glossary 653 Nationalism 531 New Timbres 535 Source Notes 663 Summary 538 Index 667 Preface ndergraduates studying music h istory may Following a prologue on the music of antiquity, U or may not be passionate about h istory, but the text is divided into six parts, each corresponding to they are always passionate about music. For a major era in music history: Medieval, Renaissance, this reason, I have structured A  H istory of Baroque, Classical, 19th century, and 20th century. Music in Western Culture around a carefully The text concludes with a brief epilogue on music selected repertory of music that refl ects the develop- today. Each part begins with a prelude —with one ment of the art from antiquity to the p resent. My goal or more m aps —that summarizes the historical and has been to help students gain a broad u nderstanding social background of each era, and the fi rst chapter in of the nature of music, its role in society, and the ways each part provides an overview of the major stylistic in which these have changed over time. Students characteristics and theoretical concerns of the music who b ecome familiar with the repertory of works in of the era. the accompanying A nthology of Scores and the corre- The text also offers a variety of features and peda- sponding set of recordings will be well equipped to gogical tools: understand this history: the requisite names, dates, • A n o utline at the beginning of each chapter and terms will be far more memorable when asso- gives students an overview of the content of the ciated with specifi c works of music. Perhaps even chapter. more importantly, s tudents will have a sound basis from which to explore m usical works and repertories • T he opening pages of each prelude include a beyond those covered in the present book, including comparative timeline that lists major m usical the musics of other cultures. events side-by-side with other signifi cant A History of Music in Western Culture seeks to chal- historical events. lenge students to think critically about the nature of • A graphic s ummary of style differences in music and its past. Music history is too often presented each part highlights the principal differences (and learned) as one long series of indisputable facts. in musical style between each era and the one I have tried to integrate into this text enough pri- immediately preceding (Renaissance versus mary source documents—excerpts from composers’ Medieval, Baroque versus Renaissance, etc.). letters, contemporary reviews, theoretical treatises, and the like—to demonstrate the ways in which the • K ey terms are highlighted in each chapter and raw m aterials of history can be open to confl icting defi ned in a g lossary at the end of the book. interpretations. Indeed, the most interesting historical • S ignifi cant composers are featured in extended issues tend to be precisely those about which experts Composer Profi les that include key biographi- disagree. cal information and a survey of principal works. • P rimary Evidence boxes contain excerpts from FEATURES OF THE TEXT relevant contemporary documents, expos- ing students to some of the raw materials of A History of Music in Western Culture builds its narra- music history. A brief introduction places each tive around the two-volume A nthology of Scores and a set selection in its context and challenges students of accompanying sound recordings, which are available to think about the interpretation of historical both as compact discs and as streaming audio available evidence. through the M ySearchLab , an online learning environ- • F ocus boxes highlight important information ment designed specifi cally for this text. Every work in that expands on aspects of the core narrative. the Anthology gets a discussion in the text, called out with an icon in the margin cross-referenced to both the • P erformance Practice boxes examine in detail scores and recordings. an alternative performance of the same work. ix

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Learn the History of Music, through Music.   A History of Music in Western Culture, 4/e is based on the premise that the best way to convey the history of Western music is to focus on specific works of music.  The text is structured around a carefully selected repertory of music that reflects the
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