History of Music in Western Culture

689 Pages·2013·31.42 MB·English

by  Mark Evan Bonds

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
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To Dorothea, Peter, Andrew
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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
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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