Today is a quick but hopefully pointed discussion of the Baroque Period. We discussed the two types of Sonatas, the parts of a suite, the trio sonata, the passacaglia and chaconne, the toccata, the cantata, and of course opera. Composers we mentioned are Corelli, Vivaldi, Rameau, Frescobaldi, Purcell, and J.S. Bach. Theoretical concepts include the anatomy of a fugue, da capo aria, non-harmonic tones, homophony, text painting, the doctrine of affections, and the establishment of major and minor keys.
Johann Fux's text on counterpoint and Rameau's text on harmony are both very important treatises as are the writings on music by Michael Praetorius.
The anatomy of a fugue includes the subject, countersubject, answers--both real and tonal, development, the use of stretto, contrary motion, sequence, augmentation, diminution, pedal point, and motivic application. We listened to several examples of fugues from the Well-tempered Clavier http://www2.nau.edu/tas3/wtc.html. As we listened, we pointed out the different kinds of answers and the various techniques used by Bach for his fugues.
Continuing study on the fugue and Baroque theory, we discussed counterpoint, harmony, and found ourselves in the land of the Doctrine of Affections. Connected to this was a brief listen to the music of Rameau and his influence on music history. His identification of the application of the harmonic series, his recognition of the sounds of nature, and his use of the the doctrine of affections for particular emotional response, were all established as significant.
Finally we get to the master himself, Johann Sebastian Bach whose music ranges from concertos to masses, cantatas, chorales, organ works, instrumental pieces, small forms, and large forms. His music is characterized by beauty of line, adherence to structure, complex counterpoint, harmonic invention, rhythmic drive, and richness of texture. All these things within the established Baroque harmonic framework! I encouraged everyone to study the Well-tempered Clavier as a way to understand the parts of a fugue as well as the harmony supporting the fugue.
Next week it is back to the 20th century with more discussion of primitivism, folk influence, and finally 12-tone music.
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Was Rameau the one that studied the sounds of birds and composed a piece based on that? I thought so, but couldn't find it because I didn't know the name of it. If so, I think it's brilliant. I love sitting and listening to nature and while I think many of us have acknowledged the idea that all the sounds around us are musical, I think he did a brilliant job in capturing it and putting it on paper. I absolutely love his piano composition, Le rappel des oiseaux. I'm not sure what he was picturing in his head when he composed it, but it worked. Bravo.
ReplyDelete~Kandice