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)
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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
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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
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Genre and Forms
- Service
- 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
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Theorists, Treatises and Collections
- Johann
Joachim Quantz (1697-1773) Essay on instruction for playing
the transverse flute (1752)
- Jean-Jacques
Rousseau (1712-1778) Dictionaire de Musique (1767)
- Christoph Willibald Gluck
(1714-1787) Preface to Alceste (1769)
- Carl
Philipp Emanuel Bach (1714-1788) Essay on the True Art of
Playing Keyboard Instruments (I. 1753, II. 1762)
- Leopald Mozart (1719-1787) Essay on grounding of Violin School
(1756)
- Sir John Hawkins (1719-1789) General History of the Science and
Practice of Music (1776)
-
Charles
Burney (1726-1814) General History of Music (1776)
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Composers and Major Works
- Christoph
Willibald Gluck (1714-1787)
- Don Juan (1761( ballet
- Orfeo (1762) opera
- Alceste (1767) opera
- Johann Stamitz (1714-1788)
- Carl Philipp Emanuel Bach (1715-1757) Württemberg
sonatas
-
Franze
Joseph Haydn (1733-1809)
- 108 Symphonies
- 68 string quartets
- 47 piano sonatas
- 26 operas
- London Symphonies (1791)
- Paukenmesse (1796)
- The Seven Last Words (1796)
- Lord Nelson Mass (1798)
- The Creation (1798) oratorio
- Creation Mass (1801)
- The Seasons (1801) secular oratorio
- Harmoniemesse (1802)
- Johann Christian Bach (1735-1782)
-
Wolfgang
Amadeus Mozart (1756-1791)
- 41 Symphonie
- Coronation Mass (1779)
- Piano Concertos No. 20, 21 (1785)
- The Marriage of Figaro (Le nozze di Figaro -1786) opera buffa
- Symphony No. 38 in D, The Prague Symphony (1787)
- Don Giovanni (1787) opera
- Symphony No. 40 (1788)
- Symphony No. 41 in C, Jupiter Symphony (1788)
- Die Zauberflöte (1791) German opera
- Clarinet concerto (1791)
- Requiem Mass (completed by Franz X. Sussmayr)
- Muzio
Clementi (1752-1832) Gradus ad Parnassum (1817)
- Maria Luigi Cherubini (1760-1842)
- Samuel
Wesley (1766-1837) Eight Lessons for Harpsichord
- Ludwig
van Beethoven (1770-1827)
- 9 Symphonies
- 32 piano sonatas
- 21 sets of variations for piano
- Pathétique Piano Sonata (1798)
- Piano Concerto No. 5 Emperor (1809)
- Christ on the Mount of Olives (1803) oratorio
- Fidelio (1804-1805) opera
- Symphony No. 3, "Eröica" (1805) transition into
romanticism
- Symphony No. 5 (1807) returns to a more classical style
- Symphony No. 6, "Pastoral" (1808) programmatic work
- Diabelli Variations (1819; 1823) 33 variations
- Symphony No. 9, "Choral" (1824)
- Missa solemnis in D (1824)
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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)
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