Chapter 2: The Classical Tradition What is “art” music? Example: Juan de Araujo: Ut queant...
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Transcript of Chapter 2: The Classical Tradition What is “art” music? Example: Juan de Araujo: Ut queant...
Chapter 2: The Classical Tradition
What is “art” music?
Example: Juan de Araujo: Ut queant laxis
Spanish Viceroyalties
• New Spain• New Granada• Peru• La Plata
Portuguese ViceroyaltyViceroyalty of Brazil
GuyanaFive sections governed by French, British, Portuguese, Dutch, Spanish
• Spanish Church Music becomes the most important vehicle for new music in the Americas
• Also an important tool for controland “conversion” of natives
• Cathedrals became important musical centers
THE COLONIAL PERIOD
Valladolid, Mexico
Santiago de CubaSucre, Bolivia
Colonial Church Music
Two types: plainchant (Gregorian chant) and Renaissance Polyphony
• Plainchant– Foundation of all church music in Europe from Middle Ages on– Thousands of chants in Catholic liturgy– Qualifies
• Non, or quasi-pulsatile• Monophonic• Often call and response• Narrow range, mostly stepwise melodic motion• Example “Alleluia vidimus stellam”
Renaissance Polyphony• Mostly performed in church, but secular styles
emerged• Vocal music predominates—later with
accompaniment• Multiple “voices” – two, three, four• Smooth lines• Complex interplay between voices• Religious purpose of foremost importance• Polychoral works emerge in larger churches
The Golden Age of Spanish Music
• 1525-1600• art supported by strong economic growth• Influenced by Venice, especially multiple choirs• Composers emigrated to New world, became
chapelmasters • Later, criollo musician write in this style
– Juan de Herrera– Francisco Lopez Capilla
“Salve Regina”: a hymn to the Virgin Maryby Hernando Franco
Hail queen, mother of mercy:our life, our sweetness, and our hope, hail.To thee we cry, the exiled sons of Eve.To thee we sigh, groaning and weeping in this vale of tears.Come then, our advocate,turn those pitying eyes towards us.And show us, after this exile, Jesus,the blessed fruit of thy womb.O clement, O holy, O sweet ever-virgin Mary.
Continuing Renaissance polyphonyPolychorality popular in Americas—continues Italian style
In Old World, Renaissance ended in 1600 with the introduction of opera and a new style of composition
In New World, Renaissance polyphony could continue for around 150 years,• Often surpassed composition techniques of SpanishImportant composer: Juan Gutierrez de Padilla
The mass ordinary: Kyrie, Gloria, Credo, Sanctus, Agnus Die
Example: Renaissance Mass• Missa Ego flos campi: Agnus Dei by Juan Gutiérrez
de Padilla (“Mexico” ca. 1590 – 1664)• Last movement of larger musical portion of the Mass• Two choirs, antiphonal response• Imatative polyphony, Taken from Gregorian chant
Agnus DeiQui tollis peccata mundiMiseerere nobisDona nobis pacem
Lamb of GodWho takes away the sins of the world,Have mercy upon us,Grant us peace
Instrumental Music
• Increasing use of instruments in religious music paralleled Europe’s timeline
• By early 18th century, full instrumental accompaniment expected in church performance
Musical syncretismMissionaries immerse themselves in indigenous cultures, learn of importance of religious music to Natives.Indigenous composers emerge: • Example: Hymn in Nahuatl: "Sancta maria in
ilhuicac cihuapille" by Hernando Franco• Indigenous composer Juan Mathias: "Quien sal
aqueste dia mathias", villancico for eight voices• Anonymous Hymn in Quechua: "Hanacpachap
cussicuinin"
Hanacpachap cussicuininVillancico in Quechua
Quechua textI Hanaq pachap kusikuynin Waranqakta much'asqayki Yupay ruru puquq mallki Runakunap suyakuynin Kallpannaqpa q'imikuynin Waqyasqayta.II Uyariway much'asqayta Diospa rampan Diospa maman Yuraq tuqtu hamanq'ayman Yupasqalla, qullpasqayta Wawaykiman suyusqayta Rikuchillay.
English translationI Heaven's joy! a thousand times shall we praise you. O tree bearing thrice-blessed fruit, O hope of humankind, helper of the weak. hear our prayer!II Attend to our pleas, O column of ivory, Mother of God! Beautiful iris, yellow and white, receive this song we offer you; come to our assistance, show us the Fruit of your womb!
The villancico• .Villancico: non liturgical, but played during religious
service; not Latin--in vernacular
• Songs of faith• Can be composed in many styles• Parodied African, Indigenous language, dances and music
• Later developed codified forms that were divorced from original parodies• “Guinea” etc.
“Tururu farara con son” Guinea villancico by Gaspar Fernandez, a Portuguese chapelmaster in Guatemala
• Accompanied on baroque guitar• Vocals parody (imitate) African singing• Imitates African musical elements
• Syncopation• Polyrhythm
• Polyphonic imitation
Tururu fara con son para san pura vira mia Si parida san Maria san ispañol su coraçon
Tururu farara with music for my pure, holy life Saint Mary, the Spanish saint of our heart
Sor Juana Ines de la Cruz (1651-1695)
• One of the few places a woman could excel in the Old and New worlds was in convent settings
• Poet, Historian, theologian, musician, composer
American BaroqueCharacteristics of European Baroque• Increasing instrumental music–even in church• Opera• Concertato style–sharing a melody, in alternation, between opposing
groups of instruments or voices• More homophony (related to opera, desire to hear, understand words)
Sluggishness of Americans to adopt European baroque
Criticisms of American style• .“Behind the times”–shallow criticism• Music as signifier of identity: music produced at that time was reflection of
identity
American music did adopt Baroque styles, but would be infused with the Worldview, aesthetics of Americans
Colonial Opera• Zarzuela—Spanish “light” opera
• Conventions of opera• New genre in 1600• Evolved into a scheme of recitative, aria, plus
instrumental, sometimes dance section.• First two operas in New World• La Purpura de la Rosa:Tomas de Torrejon• La Partenope
Manuel de Zumaya (1678-1755)Musical revolutionary• Celebren Publiquen (text in Brill)
• Polychoral villancico
• Compare to “Unto Us a Child is Born” from Messiah, G.F. Handel (1741)
• Baroque aesthetic• Concertato orchestral accompaniment• Lively tempo• Basso continuo• Humanistic outlook
Nineteenth Century Romanticism• Ignacio Cervantes: Cuban, 1847-1905
• Danzas Cubanas• Afro-cuban, Guajiro elements
• Tresillo, habanera, tango
• Manuel Ponce: Mexican• Romantic song: Estrellita (Lyrics in textbook)• Voice and orchestral accompaniment—homophonic• A B vocal structure, with instrumental repeat of melody• a b bc poetic structure—not quite classic copla (not octosyllabic)
Romantic Opera
Italia Romantic operas often explore exoticism
Antonio Carlos Gomez: Brazilian composer• Studied at conservatory in Rio de Janeiro • Traveled to Italy to study opera• Il Guaranay– primiered at La Scala in Italy, 1870
• Love story of Native chief and daughter of Portuguese explorer• at once exotic and nationalistic
The Twentieth Century: Nationalism in America
• Nationalism mirrored movements in Europe• Early ethnomusicologists collecting folk musics around the
world• Composers doing their own research• Every country creates nationalistic music• Merges folk and popular styles into “art” music
• modern aesthetic–harmonic language, instruments, forms with Native elements
• Afro-centric in countries where there was slave population
The Aztec Renaissance–Mexico• 1910 mexican Revolution spawns nationalistic pride• Reaction against European styles, esp Italian opera• Indianism, primitivism• Carlos Chavez: Looking for the “true soul” of the
indigenous Mexican• Certain intervals–minor thirds, perfect fifths• Imitation of conch shell trumpet• Example: Sinfonia India music of Yaqui, Seri tribes
• rattles, percussion• uneven rhythms• pentatonic scales, western harmony–bitonal
Brazil
Composers had been using popular songs for decades• Modinhas, choros, samba, maxixe—becomes basis for some
nationalist composers
Heitor Villa Lobos 1887-1959.Trained in European style by father but…
Became very interested in folk, indigenous music
Like Chavez and European composers, traveled to remote areas studying and collecting folk music
Traveled to Paris 1923-1930 (intermittently), trained in current practices
Villa Lobos, contImportant works: 9 Bachianas Brasileiras
• Loosely based on some aspects of Bach and baroque music, but mostly a very personal style
• Multi-movement • Different instrumentation: No. 5–eight cellos, soprano who hums part of
melody
• Example: Bachianas Brasileiras No. 2. • “O trenzinho do Caipira”–little train of Caipira• Western chamber group with brazilian instruments: reco-reco, ganza,
Chocalho
Programmatic: describes a trip VL took in 1931–steam engine picking up agricultural workers
Brazilian instruments• Ganza
Chocalho
Argentina• Nationalistic movement in early 20th
century• Draws from diverse cultures, areas of this
large country• Folk life, music• Legends of indigenous people• no large African population• indigenous population also small–killed off in
large numbers• vast plains made cattle ranching one of the
staples of rural life on the pampas
• Alberto Ginastera most important composer
Estancia Suite 1941: MalamboDepicts various activities of ranch life• Main characters: country girl who despises man from the city until he can
prove himself as hard-working as a country workman.• gaucho: horseman from plains
• 4 movements, Final dance Malambo: male competitive dance• •AA’B form, Malambo last part • •sesquialtera
Example: Gustavo Dudamel and Simon Bolivar Youth Orchestra• Venezuela: “El sistema”