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The father doesn't know what to do b/c he's not sure if the son is really seeing the Erlking or if he is hallucinating from a high temperature. However, when the father gets home, he is carrying his dead child in his arms. Different singers for each part (the father, the son, and the Erlking) make the different characters distinct. There is a very dissonant harmony and minor tonality and it is a through-comosed song. The text combines fantasy and reality, and shows is an example of Nationalism as well as the supernatural. This piece is also an example of Sturm und Drang, which is an intentional emotionalism intended to shock the audience with its intense emotion. This term comes from Goethe. This work is Schubert's most famous song. 2. Nationalism is the reflction of one's own country in artistic terms. In the romantic period, there was a rise of personal freedom and the middle class is now the main advance of the time. There was much individuality in the identity in music and song from each nation, which promised nationalism in music. 3. The troubadors were known as any poet musicians from Provencal in Southern France during the 12th - 13th centuries. Guilham IX included not only nobility, but also commoners in this movement when he began it. In the mid-12th century, this movement spread to the Northern France, where the trouveres developed, and Germany, where the minnesingers developed. It was an act of annihilation (war) that made the troubadors dissapear with the art form moving to the truoveres. Bernart de Ventadorn who had Can vei la lauzeta mover was a troubador. The trouveres were 12th-13th century poet-musicians in Northern France who imitated the troubadors from Southern France. However, the through-composed stanzas, which occur in many songs of the troubadors, are not common at all in the trouvere works. There form of initial repeat was like the ballade of the 14th century. Robins m'aime from the play The play of Robin and Marion by Adam de la Halle is an example of a trouvere work. The minnesinger were German poet-musicians, having flourished between the 12th-14th century. They were not inspired by the trouveres, but were influenced by the troubadors. They became the leading representatives in the Middle Ages of German music. The marriage of Frederick Barbarossa and Beatrix of Burgundy in 1156 is usually thought of a the start of this style. Oswald von Wolkenstein (c.1377-1445) who wrote Durch Barbarei, Arabia was a famous Minnesinger. 4. Two traits common to the frottola are 1) they were strophic, homophonic, and homorythmic and 2) they were treble dominated (top line dominated). An example of a frottola would be El grillo by Josquin Desprez. Two traits common to the early french chanson are 1) they were monophonic songs of the troubadours and trouveres and 2) they are songs about courtly love, a type of writing where women are put on a pedestal as an unattainable being. Women are idolized in these works. An example of a french chanson would be Mille regretz by Josquin Desprez. Two traits common to the english ballett are 1) they are strophic, homophonic, and syllabic and 2) they are treble dominated (top line dominated like the frottola). An example of an english ballett would be Sing We and Chant by Thomas Morley. 5. Stephen Foster was from Pittsburgh and lived between 1826-1864. During this time, minstrel shows were very popular. They started in the 1840s, were very popular for about 50 years, and the last remnants were seen in the first years of the 20th century. There were many, many dozens of minstrel troops in the US and England. By the turn of the century, they were in the South US, especially New Orleans. Stephen Foster made many of these minstrel shows. These shows had whites dressed with black faces, making a parody of blacks and their culture, which was an inadequete documentation of the tradition. A while into this tradition of minstrel shows, blacks began to act in them, as well as acting in broadway plays. 6. In previous centuries, society went to many performances and bought many instruments and took many music lessons in order to make music a large part of their lives. The inventions of the 20th century, including compact disc players, C. D. Rom, Laser discs, tape recorders, stereos, television, and readi, all allowed society to now make their homes their new concert halls. This also allows music to be a part of a larger audiences life b/c many of the performances in earlier times were only available to people of the court and their private guests. This also meant that there began to be more work for performers and compposers to produce more works. Technology was a major factor in the lives of the audiences. Composers are also now able to record their works and their interpretations (phrasing, dynamics, tempo, for example), which are now used as permanent records in history. 1. In the Middle Ages, the Aristocracy degenerated into powerful land owners, who lacked much education and culture. The clergy were the only educated people of the time, and they were not all that well educated. Also in this time, Charlemagne developed social holdings with music, art and other things. The society switched to feudalism when the Roman Empire fell. The education of the nobility did not take place until the Rennaisance. During his reign, however, Charlemagne encouraged learning and there was a great interest in music and the arts. However, the church had ultimate control over everyone. People believed that the Pope had the control over their fate. Therefore, during this time, music was mainly secular and was written for the church. Chant was the mainstay of music in the Catholic churches. polyphony also developed in this time, at the turning point into the Rennaisance. In 100 AD pitch notation was developed. The first use of rhythm was about 1170-1200. The School of Notre Dame became a very important focal point in church music. It created the addition of 3rd and 4th voice parts to the church music. There was also the first use of rhythm in church music. This use of rhythm started to impact secular music. In the 1200's a preist wrote a scheme for writing rhythm called Staff notation. The early Rennaisance music was more harmonic and the bass register was introduced. Isorhythm, taking the chant and putting it into a rhythmic pattern, was also used. In 1945, the beginning of the Rennaisance brought about more light-hearted music for entertainment. During this period, known as the rebirth, people were saying it was " the best of times." 2. My least favorite style of music studied in class was the caccia, a form of 14th century Italian poetry and music. The caccia is a hunt or chase song. The text includes hunting or pastoral imagery. The musical part of the caccia is strictly canon (imitative) where one voice "chases" the other. The imitation is at the exact same pitch as level. There are two voices singing along with an instrumental line. The singers, sing the hunting calls about the hunt throughout much of the songThere is the singing that sounds much like the hunting horn. In hunting, this was done by the French horn and was used as a signal. It had a curled shape so it could easily be carried in the hunt. Tosto che l'alba by Ghirardello da Firenze is an example of a caccia. In this song, you can see the use of the singing of hunting calls. You can also see the use of pastoral or hunting images in the lines, such as, "Carbona la prese in bocha la tene" or "Carbon has seized her and holds her in [his] mouth." This style of music came during a time called trecento. It was a time that spontaneoiusly appeared in Italy in the 14th century. Much polyphonic, secular music suddenly appears during this time. this may have been a result of oral tradition and what came before this may have been destroyed. I can't really figure out why I didn't particularly enjoy this style of music. What I do know is that when I listened to this atyle, for some reason, I couldn't concentrate on the music itself. It didn't capture my attention the way that the majority of the other styles of music we studied did. 4. In 8th century BC, poets called sections of their poems "cantos" and they had in their text references to music. For example, Homer's Odyssey. Opera, initially a play set to music, attempted to re-create Greek and Roman dramas. In Medievel France, there was secular music and medievel monophony. The performers were traveling minstrels and jongleurs and were at the bottom eschalon of society. they sang the known song repetoire of the day. They were very popular in France. Four specific types of songs from the Troubador and Trouvere tradition were: Chanson, alba, dansa, and chanson de geote. The chanson were monophonic songs and they are songs about courtly love, a type of writing where women are put on a pedestal as an unattainable being. The alba were morning, or dawn, songs where, in the lyrics, lover's must leave each other the morning after they have been together so that no one can find them out. The dansa is a dance song which is highly rhythmic and mentions spring or spring festival. Finally, the chanson de geote, from specifically the trouveres only, were songs of heroic deeds or exploits. They were about chivalry. The German Palestinalied songs were associated with the Crusades and were about traveling to Palestine to reclaim the Holy Lands. The Italian monophony was associated with religion, but in Italian, rather than Latin. The Lauda was a song of praise and they also had many strophic songs. In the Ars Nova, any rhythm was possible. They also made use of secular polyphony. Isorhythm, in the early Rennaisance music, took chant and put it into a rhythmic pattern that didn't line up with anything and was used for a fundamental basis for the rest of the piece. During the Trecento in Italy, three styles of song came about: The madrigale, the caccia, and the ballatta. The caccia was a hunting or chasing song that had imitation in the music, one voice "chasing" the other and pastoral or hunting images in the text. the ballatta was a fixed form poetry with the same pattern as the Virelai (AbbaA). Two types of secular music making came toItaly: The frottola and the madrigal. The frottola was a syllabic, homophonic, and strophic style of music that was "fun sounding" and entertaining. It was usually written in 4 parts. An example of a frottola would be El grillo by Josquin. The madrigal was similar to the frottola with France-Flemish influences. It was almost always about love and was more dramatic than the frottola. It was also through-composed. However, late madrigals were more dissonant and there was more word painting involved in them. They were also more complex. The English Ballat was associated with dance. it was similar to the frottola in that it was treble dominated, syllabic, and homophonic and strophic, except it enede with soemthing, such as, "fa la la la". Musique Mesuree was measured music in Ancient style. It was based on the speech patterns of the Ancient Greek and Latin. They included long note values for accented syllables and short note values for non-accented syllables. It created and sounded like a mixed meter. the texts included a refrain, which had 5 voices. The first verse would start off with 2 voices and through each verse a voice would be added. The Spanish Villancico took a homophonic, strophic approach, just like the frottola. One Villancico composer was Jaunde Encino. The consort song leads to popular music. It is a type of writing where you have solo voice with consort accompaniment. There are two kinds of consorts: broken consort and whole consort. Broken consort is a mixture of instruments and Whole consort is some kind of instruments. Bibliography: Word Count: 2094
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