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Part II History of Japheth Music |
A detailed study of the music of Japheth is an absolutely fascinating study - especially for a musician who has been taught this stuff in a general fashion in their music appreciation classes - or in their own studies as they listen and/or perform music from Japheth / European, etc.
However, this is only a very generalized outline from the audio sermon - I would encourage you to listen to the audio to get the 'preaching' behind this overview! If you are one with little or no knowledge or understanding of music, may I encourage you to consider the warning in Ephesians 4:17-21 and make an effort to study music. Who is it you would rather please, Satan, yourself or God Himself?
The key here is to know that God promised to ENLARGE Japheth, and
that He did - even in the music realm.
Let's see how God did it!
Musical Characteristics in the days of Antiquity... ? - A.D. 200 from a 'secular' music website.
Contributions of Greek Music:
The Development of Japheth
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These dates coincide with a fascinating history of art and Bible, as well. But we will stick to music. And even though, there are many details here, we only mention a few of them in the audio - and only in a manner to help us see and understand that as there was a need for development, it did take place, small portion at a time.
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(called Middle Ages these days)
A Few World Events:
325 - Constantine declares "Christianity" the official religion
of the Roman Empire
480 - ca547 - Benedict, founder of Benedictine monasticism
560-604 - Pope Gregory
633 - Council of Toledo
912-973 - Otto the Great crowned first Emperor of the Holy Romand
Empire in 962
1305-1378 - Babylonian Captivity
1337-1453 - 100 Years War
1348-1350 - Black Plague of Europe
Musical Characteristics:
Early Medieval - A.D. 500-850
Plainsong
Monophonic
Modal (based on the church modes)
Normally a cappella
Non-metric
Used free and flexible prose rhythms
Conjunct
Limited range
Sung in Latin
Uses a special neumatic notation
Monophonic
Metrical (mostly in triple meter)
Stronger, more regular rhythm than plainsong
Used short recurrent rhythmic patterns
Clear phrase and sectional structure with repeated sections and
refrains
Modal (favored Aeolian and Ionian)
Syllabic
In the Vernacular
Wider range of subjects than plainsong
Found mostly in France and Germany
Gospel Recitation Passion (300-1100)
Byzantine Chant (330)
Ambrosian Chant (360)
Gallican Chant (500)
Mozarabic Chant (600)
Gregorian Chant (600)
Plainsong Mass (ca 600-1100)
Virtually all historical records of music during this time concerns sacred music, which would mean Catholic. There are no major composers or works of a secular nature from this period.
Romanesque Style - A.D. 850-1175
Continuation of many characteristics from Early Medieval
Era
Invention of musical notation Neumatic notation
Staff-notation devised for Plainsong
Composition replaced improvisation
2-part music common
4-line staff used
modern methods of solmization were employed
Plainsong
Plainsong Mass
Passion
Sequence/Trope
Organum Parallel/Strict
Gothic Era - A.D. 1100-1430
Vocal music organized according to text
Considerable use of contrary motion and elaborate melismaticism
Vocal characteristics present in instrumental music
Rhythmic modes utilized to solve rhythm problems
Harmony was a result of polyphonic texture, not chords
Texture was vastly polyphonic (3- and 4-part)
Instruments were used to double vocal parts
Mensural notation remained in use until around 1600
Troubadors appear in Germany and call themselves minnesingers
Ars Antiqua (1175-1315)
Tempus Perfectum common
Mainly 3-part
Use of hocket
Rota
Choir book
Rapid transitions in music notation and theory
Rhythmic modes
Franconian Notation
Ars Nova (1315-1430)
Musical leadership shared by France and Italy
Tempus Imperfectum is most common
Rhythmic modes abandoned for more complex, diversified rhythms
More secular than sacred
Cantus firmus was less often used
Landini Cadence
5-line staff is common
Thirds and sixths treated as dissonances
Mannered notation used
Italian style differed in that: It did not employ cantus
firmus
Was less rhythmically complex
Employed simpler textures
Introduced a characteristic florid vocal style
Plainsong
Plainsong Mass
Plainsong Passion
Sequence/Trope (Dies Irae)
Organum Parallel/Strict
Free
Melismatic
Notre Dame/Measured
Liturgical Drama
Monophonic Conductus
Minnelied
Leise
Clausula
Rota
Laude
Laudi Spirituali
Carol
estampie, danse royale, istanpitta
Polyphonic Conductus
Cantiga
Motet (isorhythmic)
Hocket
Rondeau
Virelai
Ballade
Madrigal
Caccia
Ballata
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People:
Machiavelli
Shakespeare
Bacon
Donatello
da Vinci
Botticelli
Raphael
Michelangelo
Copernicus
Galileo
Columbus
Amerigo
Sir Francis Drake
Cortez
Magellan
Balboa
Musical Characteristics
3-part polyphony
Melodic and rhythmic interest in top voice
Solo songs with textless instrumental parts below
Melodic progression characterized by numerous thirds
Use of triple meter
Homophonic polyphony (chordal or familiar style)
Fauxbourdon (Burgundian) and English Descant
Landini cadence still common
Imitation used infrequently
Cantus firmi used less frequently than Franco-Flemish music
Secular continued with polytextuality
Franco-Flemish (or Netherlands) style spread throughout Europe
in the 15th and 16th centuries
Exemplified, dignified and sophisticated musical techniques
4-part writing (added part below the tenor, melody on top, created
conventional parts: superius
altus
tenor
bassus
Use of complete triads
Balanced polyphony - stylistic equality among parts
Development of contrapuntal techniques Imitation
Augmentation
Diminution
Retrograde
Inversion
Imitation important
New types of canon
Pairing of voices (duet style)
Use of combined styles within the same piece (alteration of chordal
and contrapuntal passages)
Fauxbourdon and Landini cadences disappeared
Authentic and plagal cadences most common
musica reservata initiated by composers
Continued spread of Franco-Flemish style throughout Europe
Development of other national schools
Vocal polyphony attained the highest level of perfection
Highest development of a cappella for church music
Vocal style was dominant, but independent instrumental styles
were beginning to emerge
Religious music was still the dominate over secular music, but
this was decreasing
Religious music still dominated by the Roman Catholic Church,
but protestant music began to increase in Germany, France and England
Secular music increased in importance under the patronage system
of the nobility
Major/minor tonality gaining in importance, but modality still
influenced both sacred and secular music
Development of music printing
Triad is the basic unit of composition
Dissonances were prepared and resolved
Generally balanced polyphony with equality of parts
Use of both homophonic and contrapuntal textures in same piece
Use of cori spezzati
Secular Music
Gaining in importance because of: Growing spirit of secularization
Patronage System of the nobility
Flourishing of poetry
Intended as entertainment for amateur performers
Composed and performed as chamber music for small ensembles
Italian secular music influenced the French, German and English
secular schools
1565 - the use of castrati emerged as a way to preserve the sound
of a women's voice in Italian music since St. Paul's dictum prohibited
women from performing on stage or in churches
1588 - the English Madrigal School is firmly established, led
by Thomas Morley, and produces some of the most delightful secular music
concerning love and/or grief
1590-1604 - The camerata was established by Count Giovanni de
Bardi
Roman Catholic Music
Equality of parts
5-part texture most common, but ranged from 3- to 8-parts or
more
Triad is basic unit of composition
Use of both homophonic and contrapuntal textures in same piece
Treatment of dissonant intervals was strict and limited to a few devices
passing tones
neighboring tones
anticipations
suspensions
cambiatas
Music was written a cappella, although instruments were most likely
used in performance
mostly diatonic, but chromaticism began to appear
Continued use of Latin, but some places outside Italy began to
use the vernacular
1562 - Pope Pius IV's Counter-Reformation
1574 - use of castrati became common and were used in the Sistine
Chapel choir
Plainsong
Liturgical Drama
Mass Prolation
Cantus Firmus
Motto
Parody/Imitation
Sine nomine
Freely composed
Lauda
Carol
Motet isorhythmic
panisorhythmic
Flemish
Declamatory (England)
Choral melodic
Venetian
Concerti Ecclesiastici
Rondeau
Virelai
Ballade
Caccia
Ballata
Polyphonic chanson
Lied
Canon
Quodlibet
Meistergesang
Canzone frottola
villanella
Prelude
Canzona/Fugue
Suite pavan
galliard
Toccata
Variation
Madrigal
Chorale
Service
Anthem
Protestant Music
Germany The chorale was the most important new musical
contribution of the Lutheran Reformation
Chorales at first were monophonic, then set in simple 4-part
harmony with chorale melody in the uppermost voice
France Biblical psalms were translated into French verse
Unison congregational singing
England The Anglican Church adapted many of the styles of
the Roman Catholic Church
The Anglican Service took the place of the Catholic Mass
Anglican chant was largely based on Catholic plainsong
English text was used in place of Latin
Metrical organization was given to the melodies
Composers and Major Works
Gilles Binchois (1400-1460)
Guillaum Dufay (1400-1474) Mass Se la face ay pale (1460)
Johannes Ockeghem (ca 1410-1496) Requiem Mass
Josquin Des Prez (1440-1521) often called the Prince of Music
L'Omme armé - Mass
Sine nomine - Mass
Faysans regres - Mass
Absalon, fili mi - motet
Heinrich Finck (1445-1527)
Jacob Obrecht (1450-1505)
Adrian Willaert (1490-1562)
Christopher Tye (1497-1573) The Acts of the Apostles
Jacob Arcadelt (1505-1568)
Thomas Tallis (1505-1585) Spem in alium non habui song
of 40 parts for 5-part choirs
Lamentations of Jeremiah
Andrea Gabrieli (1510-1586)
Phillip de Monte (1521-1603)
Giovanni Pierluigi da Palestrina (1525-1594) Pope Marcellus
Mass - written within the rigid requirements of Pope Pius IV's Counter-Reformation
and is credited for saving polyphony
First Book of Masses (1554)
Settings of the song of Solomon (1584)
Harmonized versions of the Latin Hymnal (1589)
Orlando Lassus (1532-1594)
Giulo Caccini (ca 1546-1618) Euridice (1600) opera
Le nouve musiche
Tomás Luis de Victoria (1548-1611)
Giovanni Gabrieli (1557-1612) Symphoniae sacre
Carlo Gesualdo (1560-1613)
John Bull (1562-1628)
Orlando Gibbons (1583-1625)
Hymnology
John Hus (1373-1415) Led a Pre-Reformation movement; resulted
in banishment of polyphonic music and instruments in church music until
mid-16th c.
Martin Luther (1483-1546) Formula missae (1523) Luther's
first liturgy
EIN FESTE BURG - chorale tune
Ulrich Zwingli (1484-1531)
Thomas Cranmar (1489-1556) First Book of Common Prayer (1549)
Hans Sachs (1494-1576)
Johann Walter (1496-1570) Gesangbüchlein (1524)
Clément Marot (1497-1544)
Claude Goudimel (ca 1505-1572)
John Calvin (1509-1564)
Louis Bourgeois (ca 1510 - ca 1561) OLD 100TH OLD 134TH
PSALM 42
John Marbeck (ca 1510 - ca 1585) The Booke of Common Praier Noted
(1549)
Paul Eber (1511-1569)
Anabaptist and Moravian movements begin
Myles Coverdale (ca 16th c.) Goostly Psalmes and Spirituall Songes
(1539)
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A Few World Events
Reign of James I (1603-1625)
1607 - Jamestown Colony founded
Thirty Years War (1618-1648)
1620 - Pilgrims arrive at Cape Cod (Mayflower Compact)
Reign of Charles I (1625-1649) executed in 1649
1626 - Purchase of Manhattan Island
Reign of Louis XIV (1645-1715)
English commonwealth (1649-1660)
1660 - English Restoration
Reign of Charles II (1660-1685)
1666 - Great fire of London
1670 - Pietism began
1692 - Salem witchcraft trials
1712 - Toleration Act in England
Great Awakening (1720-1740s)
People:
Milton
Swift
Pope
Molière
Rembrandt
Van Dyck
El Greco
Newton
Galileo
Kepler
Franklin
Locke
Descartes
Musical Characteristics
Vast increase in importance of secular art music
Use of absolute music
Basso continuo is one of the characteristic sounds
Homophonic styles (greatly responsible for vertical analysis)
Concept of major/minor tonalities emerges
Polyphonic texture is prominent and common
Tendency to monothematic compositions
Melodic phrases often not clearly defined - tendency toward continuous
motion, employing weakened cadences through which the melodic line moves
with little or no hesitation
Elaborate decoration of melodies (ornaments) is prevalent
Sequence becomes common and is used considerably
Functional harmony develops
Authentic cadences replaced modal cadences
Chromaticism played a more prominent role
Systematic modulation became commonplace
Chord structure and progressions important Counterpoint
Doctrine of Affections
Free use of dissonance
Melodic and harmonic sequences
Basic triads and inversions are most common, but 7th chords also
used (9th, 11th and 13th chords are virtually nonexistent)
Metric beats are usually very strict in tempo with a minimum
variance except for some cadential ritard, rallentando and occasional accelerando
Emphasis on continuity of flow, repetition of rhythmic patterns
and prominence of the metric pulse
Ensemble size is usually quite small (choirs of 12-25 not uncommon)
Increase in importance of instrumental music
Instrumental groups also abbreviated in number
Inclination to contrast large sounds against small sounds (concerto
grosso)
Dynamics used to create contrasts
Terraced dynamics are an integral part and vital to interpretation
Improvisation played a very important role in performances
A revolt against Renaissance polyphony by the Camerata which
instigated monody, recitative and opera
1631 - professional female singers appear for the first time
on the English stage in the production of Chloridia, a court masque produced
by Ben Johnson and indigo Jones
Rococo (1690-1760)
French style (also called style galant)
Light texture
Elaborate, ornamented melody
Periodic phrasing with frequent cadences
Simple harmony
Free treatment of dissonances
Kept some Baroque traits
Motivic play
Linear bass lines
Used a reduced scale performance
Chamber ensembles
Lute
Harpsichord
Opéra-ballet works
Pre-Classical (1740-1770)
Transition period from Baroque to Classical
No clear distinctions can be drawn between Baroque, Pre-Classical
and early Classical music
Some composers often wrote in all three styles
Many musicologists now prefer to use the term early Classical
when referring to this time period
Plain-chant Musical
Anthem
Chorale Prelude
Fugue
Suite
Toccata
Cantata
Variation
Motet
Chorale
Lied
Mass
Aria
Passion Oratorio
Chorale
Comic Opera (first appeared in 1639)
opera-masque
Masque (mask)
Monody
Oratorio
Baroque Sonata
Baroque Concerto
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People
Voltaire
Rousseau
Goya
David
Kant
Diderot
Scientific Achievements
Discoveries oxygen
hydrogen
electromagnetic induction
ultraviolet rays
Development of the first vaccine
Inventions
Steam engine
Spinning jenny
Cotton gin
1821 - electric motor and generator invented by Faraday
Generators
Musical Characteristics
Codification of patent formal procedures (e.g. Sonata, Sonata
Allegro)
Modified use of contrapuntal techniques
Sequence use continues and is expanded
Polythematic compositions
Homophonic/Choral style was used most often
Symmetrical phrase structure
Phrases are apt to be short and composed of melodic formulas
of a few notes that reach frequent caesuras and cadences which are more
defined melodically
Emphasis on melody
Ornamentation continues but it is not an integral part of the
style
basso continuo is virtually abandoned
Major/minor tonalities continue with little change
"Functional harmony" continues
Tends to be simple with considerable emphasis on progressions
of I-IV-V or I-ii-V
Slow harmonic rhythm
Piano becomes most important instrument
Orchestra further developed and codified with standard scoring
Use of Alberti Bass
Variety of dynamics and greater indications in scores
Rhythmic changes are limited (rarely tempo rubato )
Repeated notes
Reiteration of and emphasis on metric pulse is varied and somewhat
lessened
Occasional pauses and rhythmic rest-points are common
Metric pulse is more likely to be lightly and quietly present
(but not emphasized)
Classical Church Music
Decline in Italy
Preaching became more important
Viennese composers writing Catholic music
No true Lutheran composers - they had no uniform worship practices
Enlightenment affected it
Tends to be conservative
Certain Baroque style aspects were held over figured bass
fugal endings
stile antico
Aspects Affecting Classical Music
Cosmopolitan Age - sought one international style
Humanitarian Age social reforms
longing for a universal brotherhood (e.g. Beethoven's Symphony
No. 9 and Mozart's Magic Flute
Popularization Age rise of public concerts
amateur works
beginnings of music journalism and periodicals
first music histories written
Prosaic Age
clarity
good taste
proportion and elegance
music was to be an image of reality easy to understand
listener should not be forced to think
Plain-chant Musical
Anthem
Prelude
Fugue
Symphony
Modern Concerto
Sonata Form
String Quartet
Chamber Music
Variation
Rondo
Oratorio
Lied
Modern Sonata
Mass
Aria
Passion
Opera Comic
Reformed
Composers and Major Works
Christoph Willibald Gluck (1714-1787)
Orfeo (1762)
Alceste (1767)
Johann Stamitz (1714-1788)
Carl Philipp Emanuel Bach (1715-1757)
Franze Joseph Haydn (1733-1809)
Johann Christian Bach (1735-1782)
Wolfgang Amadeus Mozart (1756-1791)
Muzio Clementi (1752-1832)
Maria Luigi Cherubini (1760-1842)
Samuel Wesley (1766-1837)
Ludwig van Beethoven (1770-1827)
George F Handel (1685-1759)
Hymnology
John Newton (1725-1807)
William Cowper (1731-1800) Olney Hymns (1799)
Martin Madan (1726-1790) A Collection of Psalms and Hymns
(1760)
A Collection of Psalms and Hymn Tunes (1769)
Augustus Toplady (1740-1778) Psalms and Hymns for Public
and Private Worship (1776)
"Rock of Ages"
William Billings (1746-1800) The New England Psalm Singer
(1770) canonic fuging pieces
The Singer Master's Assistant (1778)
The Psalm Singer's Amusement (1781)
The Suffolk Harmony (1786)
The Continental Harmony (1794)
John Rippon (1751-1836) A Selection of Hymns (1787)
Selection of Psalms and Hymn Tunes (1791)
1756 - Psalmondia Germanica (Lutheran)
Fuging Contributions Urania (James Lyon, 1761)
American Harmony (Daniel Bayley, 1769)
Oliver Holden (1765-1844) CORONATION
Union Harmony (1793)
Folk Hymnody Divine Hymns or Spiritual Songs (Joshua Smith,
1784)
Christian Harmony (Jeremiah Ingalls, 1805) "I Love Thee, I Love
Thee"
Bishop Reginald Heber (1783-1826)
1795 - A Hymn and Prayer Book (Kunze, American Lutheran in English)
Shaped Note Books The Easy Instructor (William Smith and
William Little, 1802)
Musical Primer (Law, 1803)
Repository of Sacred Music (John Wyeth, 1813)
Southern Shaped-Note Collections Kentucky Harmony (Ananias
Davisson, 1816)
Missouri Harmony (Allen Carden, 1820)
1803 - Die Kleine Geistliche (American Mennonite)
1813 - The British Province Hymnal (American Moravian in English)
Interesting note:
Handel's Oratorios: Esther; Deborah; Athalia; Alexander; Saul;
Israel in Egypt; Ode for St . Cecilia's Day; L'Allegro II Pensieroso Moderato;
Messiah; Samson; Semele; Joseph and His Brethren; Belshazzar; Judas Maccabaeus;
Alexander Balus; Joshua; Solomon; Theodora; Jeptha; Triumph of Love and
Truth.
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People:
Emerson
Longfellow
Poe
Hawthorne
Mark Twain
Byron
Wordsworth
Scott
Thackeray
Dickens
Hardy
Carlyle
Coleridge
Keats
Lamartine
Musset
Hugo
Flaubert
Schiller
Goethe
Richter
Heine
Novalis
Tieck
E.T.A. Hoffman
Manet
Degas
Monet
Renoir
Pissaro
Rodin
Verlaine
Mallarmé
Rimbaud
Hegel
Schopenhauer
Nietzche
Inventions
1840 - first electric light bulb
1876 - Bell invents the telephone
1877 - Edison invents the phonograph, patented in 1878
1883 - automobile motor patented by Daimler
Musical Characteristics
Simultaneous development of musical extremes
Basso continuo is not used
Expansion of texture and increasing chromaticism
Further development in performers virtuosity
Two camps of compositional style Conservative Mendelssohn,
Brahms - Radical - Wagner, Berlioz, Liszt
Gradual alteration of patent musical forms
More complex harmonies, but same principles as in Classical style
More subjective/emotional than Classical style
Homophonic style still favored to a considerable degree
Polythematic composition continues
Dominated by a lyric melody Wide, angular leaps become
more common than before
Known as the age of sentimentalits
Melodic ornamentation of specific pitches decreases and appears
in the larger context of florid melodic lines, sometimes including cadenza-like
passages notated in smaller grace notes
Increased use of unprepared dissonances
Sequence use is still common (tendency toward modulating or chromatic
sequences)
"Functional" harmony continues but becomes richer, more complex,
dissonant and chromatic ("coloristic" chords)
Tonal progressions by thirds became common
Wide usage of extended tertian chords
Harmonic color assumes a greater importance
Much emphasis on tempo rubato (used more often by solo performers
than by ensembles)
Tempos within a composition are typically more radically varied
than in previous style periods
Orchestras are expanded in all choirs
Increased use of dynamic contrast within the phrase rather than
between (more use of crescendo and decrescendo)
Greater emphasis on text through-composed
portrayed harmonically
emphasis on lyricism-solo song
No more patronage system
Included both nationalistic and individualistic musical styles
The slave trade in the mid-19th century introduced West African
rhythms, work songs, chants and spirituals to America, which strongly influenced
blues and jazz
Principal Influences on Romantic Music
Music of Beethoven
Literature which dealt with the individual and nature and its
grandeur
Extreme emotions (especially of an altruistic or diabolical type)
The visual arts (particularly the early French Romantic composers
and the Spanish painter Goya with emphasis on Chiaroscuro
Romantic Church Music
Return to subjectivity
Rediscovered the music of Bach
Influence of St. Cecilia's Society
Modern Orchestras/Opera Companies/Performance Halls
1839 - The New York Philharmonic is established
1881 - Boston Symphony Orchestra is established
1882 - The Berlin Philharmonic is established
1883 - The Metropolitan Opera House is established
1891 - Carnegie Hall opens in New York
1904 - The London Symphony Orchestra is established
Plain-chant Musical
Anthem
Prelude
Fugue
Symphony
Modern Concerto
Sonata Form
Song Cycle
Chamber Music
Variation
Symphonic (or tone) poem
Oratorio
Lied
Romantic Sonata
Mass
Art Songs
Etudes and Character Pieces
Opera Verismo
Gesamtkunstwerk
Composers and Major Works
Ludwig van Beethoven (1770-1827)
Niccolo Paganini (1782-1840)
Carl Maria von Weber (1786-1826)
Gioacchino Rossini (1792-1868)
Franz Schubert (1797-1828)
Gaetano Donizetti (1797-1848) Anna Bolena (1830) opera
Vincenzo Bellini (1801-1835) Norma (1831) opera
Hector Berlioz (1803-1869)
Mikhail Glinka (1804-1857)
Felix Mendelssohn-Bartholdy (1809-1847)
Otto Nicolai (1810-1849)
Robert Schumann (1810-1856)
Frédéric Chopin (1810-1849)
Richard Wagner (1813-1883)
Alexander Dargomitzhsky (1813-1869)
Charles Gounod (1818-1893) Faust (1859) lyric opera
La Rédemption (1882)
St. Cecilia Mass
Jacques Offenbach (1819-1880)
César Franck (1822-1890)
Anton Bruckner (1824-1896)
Bedrich Smetana (1824-1884)
Johann Strauss Jr. (1825-1899)
Alexander Borodin (1833-1887)
Prince Igor (1869)
Johannes Brahms (1833-1897)
Symphony No. 3 (1883)
Charles Camille Saint-Saëns (1835-1921)
Theodore Dubois (1837-1934)
Mily Balakirev (1837-1910)
Georges Bizet (1838-1875)
John Knowles Paine (1839-1906)
In Spring (1880) first American symphony published in the United
States
Modest Mussorgsky (1839-1881)
Piotr Ilyich Tchaikovsky (1840-1893)
Antonín Dvo?ák (1841-1904)
Emmanuel Chabrier (1841-1894)
Marche française (1888)
Arthur Sullivan (1842-1900)
Edvard Grieg (1843-1907)
Charles Widor (1844-1937)
Nicolai Rimsky-Korsakov (1844-1908)
Charles Hubert Parry (1848-1918)
Vincent d'Indy (1851-1931)
Charles Villiers Stanford (1852-1924)
John Philip Sousa (1854-1932)
Edward Elgar (1857-1934)
Giacomo Puccini (1858-1924)
Isaac Albéniz (1860-1909)
Hugo Wolf (1860-1903)
Gustav Mahler (1860-1911)
Edward MacDowell (1861-1908)
Claude Debussy (1862-1918)
Richard Strauss (1864-1949)
Carl Nielsen (1865-1931)
Paul Dukas (1865-1935)
Jean Sibelius (1865-1957)
Violin Concerto in D Minor (1903)
Belshazzar's Feast (1906)
Erik Satie (1866-1925)
Hymnology
Thomas Hasting (1784-1872)
Franz Gruber (1787-1863) STILLE NACHT
Lowell Mason (1792-1863)
Joseph Mohr (1792-1849)
Benjamin F. White (1800-1879)
William Walker (1809-1875)
Christian Harmony (1866)
William Bradbury (1816-1868)
John Mason Neale (1818-1915)
Fanny Crosby (1820-1915)
1827 - Episcopal Collection (American)
1827 - Christian Year (John Keble)
1832 - Methodist Collection (American)
Caroline Vilhelmina Berg (1832-1903) "Day by Day"
1836 - Collection of Sacred Hymns (Smith, Mormon)
Dwight L. Moody (1837-1899)
Philip Bliss (1838-1876)
Ira Sankey (1840-1908)
1844 - Sacred Harp (White and King)
1846 - A Book of Hymns (Johnson and Longfellow, Unitarian)
1847 - The Baptist Hymnal (Buck, American)
1849 - Seventh-day Adventist Collection (White, America)
1849 - Lyra Catholica (Edward Caswell)
Carl Boberg (1850-1940) "How Great Thou Art"
1855 - Plymouth Collection (Beecher, American Congregationalist)
1855 - Lyra Germanica (Catherine Winkworth)
1866 - Our Own Hymnbook (Spurgeo, English Baptist)
1868 - Hymns Ancient and Modern
1868 - Church Book (American Evangelical Lutherans)
1872 - The Hymnary (Sullivan, Victorian)
1872 - European Psalmist (Samuel S. Wesley, Victorian)
1890 - Moody Bible Institute opens in Chicago
1892 - Dictionary of Hymnology (John Julian)
1898 - The Church Hymnary (Stainer, Victorian)
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No Modern Events
We were alive for most of this stuff, or learned it in school!
No people names, for the same reasons.
Musical Characteristics:
Impressionism
Romantically subjective and programmatic
High degree of refinement, delicacy and vagueness of form
Neomodality
Open chords
Prominence of 9th chords and new chord structures
Parallelism
Whole-tone scale
Free rhythms
Wide spacing and extreme registers
Expressionism
German reaction to French impressionism
Sought to express the subconscious
Emotionally oriented
Harshly dissonant and atonal
Neoclassicism
A return to pre-Romantic ideals of objectivity and clarity of
texture
Includes the revival of contrapuntal textures and forms from
the Renaissance and Baroque, while employing modern harmony, rhythm, tonality,
melody and timbres
Minimalism
Pulse or Tramps music
A desire to have complete control over the music
Composers wrote exactly what should be performed with some latitude
in the number of repeats
A reaction to serialism
Static harmonies
Slow harmonic rhythm
Repeated rhythmic and melodic motifs
Tonal or modal harmonic progressions
Little or no chromaticism
Influenced by African, Eastern and Jazz music
Other Styles found in the Twentieth Century
Gebrauchsmusik
Serialism
Aleatoric Music
Combinatoriality
Musique Concrète
Pointillism
Neo-Romanticism
Eclecticism
Vaudville songs
Modern Jazz (1950s-present)
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Rhythm element dominates sound - appeals to the flesh
Talent over popularity
Hollywood influence
Voice over-takes instruments
Music imitated Ham's music
"Bop" - singing nonsense words
Jazz - combination of Japheth and Ham music
Swing & Dixieland bands
Used as a death note to Japheth's individuality and bridged Americans
to Ham's music.
Personalities
Crosby
Como
Sinatra
Shore
Damone
Martin
Cole
Page
Andrews Sisters
Shaw
Goodman
Eberly
Miller
Dorsey
Krupa
Brown
Clooney
Star
Torme
Gillespie
Kenton
etc.
Website Bibliography for more detailed information:
www.wikipedia.org
www.classicalscore.com
Today, ALL styles of music is available. There is nothing new - neither Japheth, Ham or Shem is coming up with anything new.
Next Sermon - Part III - The Design of Absolute Music