A Brief Outline of the History of Western Classical Music
By Michael Kovitz
Though there is only speculation as to what this
music sounded like, we know from theoretical treatises that music was
considered to be an aspect of a larger and totally connected view of the
universe which was philosophical, mathematical, astrological, scientific, and
psychological.
The music was modal[2]
and the main instruments were the lyre and kithara—strung,
harp-like instruments, and the aulos—a flute-like instrument.[3]
Greek civilization gave way to Roman rule, the
birth of Jesus Christ, and the earliest formation of the Christian Church.
These monumental events created huge changes in musical thinking and expression
and ushered in the next great musical period.
Medieval Music (800 - 1400 A. D.)
The most familiar music of this period is called Plainsong,
later renamed Gregorian chant. It is monophonic because it is
composed of only one line of music sung in unison by two or more voices.
The music is sacred and is composed in the form
of the Mass. It uses the same modes described by the Greeks,
though renamed, or, more accurately, misnamed by medieval theorists.
Polyphony begins to develop in
the later part of the Middle Ages as represented by the music of Guillaume de
Machaut, Perotin, and Guilaume Dufay.
Renaissance Music (1400 – 1600 A.D.)
The Renaissance further develops the
practice of polyphony utilizing multi-part textures in which individual
lines show equality and independence. With the use of the technique of imitation,
counterpoint is established in polyphonic music.
As in the Middle Ages, the most important music
is sacred and the principal compositional form is the Mass, but the form
of the motet is also developed as well as the more secular madrigal.
Though the music is still primarily vocal, early
keyboard instruments and the lute begin to gain popularity and
importance.
A few important composers of this period are,
Giovanni Palestrina, Johannes Ockeghen, William Byrd, and the lutenist
composers, John Dowland and William Lawes.
Baroque Music (1600 – 1750)
The earlier part of this period marks the beginning of the
transition from modal to diatonic music. Though the music becomes
increasingly homophonic, polyphonic compositions like canons and fugues
remain very popular, and some composers, like Johan Sebastian Bach, acquire
great mastery over these forms. The instrumental suite is developed, its
evolution carrying it further away from the traditional treatment of dance
forms that make up its individual movements.
The period is also marked by the development of
the basso continuo with its figured bass, opera, and the
use of the orchestra.
The music emphasizes contrasts of volume,
texture, tempi and rhythm. Serious compositions include both secular and sacred
music.
Some of the prominent composers of this period are, J.S.
Bach, George F. Handel, Archangelo Correlli, Claudio Monteverdi, Jean Phillipe
Rameau, and Antonio Vivaldi.
Classical – Romantic Period (1750
– 1900)
In his History of Western Music, Donald
J. Grout suggests that the classical and romantic periods should be considered
to be one period because of the continuity of the music and its sequential
development through the tradition of common practice diatonic music.[4]
The classical part of the period is marked by
further development of homophonic compositions. The Rococo style marks
the transition from the Baroque to a lighter and less embellished style of
writing. The Alberti bass gains popularity—as well as the acceptance and
use of the dominant seventh chord.[5]
The Romantic part of the period is marked by an
increased use of chromaticism, dissonance, and emphasis on the
element of virtuosity in compositional and performance practices.
The long list of important composers includes,
Mozart, Haydn, Beethoven, Chopin, Tchaikovsky, Mendelssohn, Liszt, and Wagner.
Modern Music – The music of the twentieth century
The music of Claude Debussy marks the transition from the extreme
chromatic romanticism of Wagner to a period that is characteristically defiant
of the tradition of common practice diatonic music. Composers seek new answers
to old questions regarding tonality, consonance and dissonance, and the entire
hierarchy of tonic-dominant relationships generated by the use of major and
minor scales.
It is a period of search and experimentation
that led individual composers down some very unique and individual paths
influenced by philosophy, mathematics, jazz, Oriental and Eastern European
scales, and trends in the world of politics and art. Some important composers
of this period include, Debussy, Stravinsky, Bartok, Schoenberg, Ives, Hindemith
and Gershwin.[6]
[1] These
dates approximate the beginning of the Hellenistic Period until the beginning
of Roman rule. The Greek civilization dates back to at least 1,000 B.C.
[2] Because
of the brevity of this document many terms (in bold type) are not defined and should be looked- up by the reader
if they are unfamiliar. These terms can be “googled” or looked-up in a music
dictionary.
[3] For more background on this
period read, A History of Western
Music by D. J. Grout, and the philosophical works of Pythagoras,
Aristotle, and Plato.
[4] For a complete orientation
to and description of diatonic common practice music read Harmony by
Walter Piston.
[5] The Alberti bass utilizes
arpeggiated or broken chords to form a harmonic bass and support to the musical
composition.
[6] To learn more about 20th
Century Music read Music in the 20th Century by William W.
Austin.
© Copyright 2002 Michael Kovitz
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