(MAF) The Major Musical Historical Periods and Composers

The Major Musical Historical Periods and Composers

Western Art Music

Periods of Western Classical Music
Early Period
Medieval Period	450-1400
Renaissance Period	1400-1600
Common Practice Period
Baroque Period	1600-1750
Classical Period	1750-1820
Romantic Period	1820-1900
Contemporary Period
20th Century Period	1900-2000
21st Century Period	2000-Present

Medieval Music (Middle Ages)

While musical life was undoubtedly rich in the early Medieval era, as attested by artistic depictions of instruments, writings about music, and other records, the only music which has survived from before 800 to the present day is the plainsong liturgical music of the Roman Catholic Church, the largest part of which is called Gregorian chant. Pope Gregory I helped codify the chant being used during the time of his Papacy and the music known as plainchant or plainsong has come to bear his name.

During the 9th century several important developments took place. First, there was a major effort by the Church to unify the many chant traditions. Second, the earliest polyphonic music (more than one voice) was sung, a form of singing known as organum. Third, and of greatest significance for music history, notation was reinvented after a lapse of about five hundred years, though it would be several more centuries before a system of pitch and rhythm notation evolved having the precision and flexibility that modern musicians take for granted.

Several schools of polyphony flourished in the period after 1100: the St. Martial school of organum, the music of which was often characterized by a swiftly moving part over a single sustained line; the Notre Dame school of polyphony, which included the composers Léonin and Pérotin, and which produced the first music for more than two parts around 1200; the musical melting-pot of Santiago de Compostela in Galicia, a pilgrimage destination and site where musicians from many traditions came together in the late Middle Ages, and the English school. Alongside these schools of sacred music a vibrant tradition of secular (worldly) song developed, as exemplified in the music of the troubadours, and minstrels (travelling musicians) of the time.

Forms of sacred music which developed during the late 13th century included the motet, conductus, and discant. One unusual development was the music of wandering bands of musicians during two periods: the middle of the 13th century (until they were suppressed by the Church); and the period during and immediately following the Black Death (Plague), around 1350, when their activities were vividly recorded and well-documented with notated music. Their music mixed folk song styles with penitential or apocalyptic texts. The 14th century in European music history is dominated by the style of the ars nova, which by convention is grouped with the medieval era in music, even though it had much in common with early Renaissance ideals and aesthetics. Much of the surviving music of the time is secular, and tends to use the formes fixes: the ballade and the rondeau, which correspond to poetic forms of the same names. Most pieces in these forms are for one to three voices, likely with instrumental accompaniment: famous composers of the Medieval Period include Guillaume de Machaut and Francesco Landini.

Renaissance Music

The beginning of the Renaissance in music is not as clearly marked as the beginning of the Renaissance in the other arts. The style of the Burgundian composers, as the first generation of the Franco-Flemish school is known, was at first a reaction against the excessive complexity of the Middle Ages style, and contained clear, singable melody and balanced polyphony in all voices. The most famous composers of the Burgundian school in the mid-15th century are Guillaume Dufay, Gilles Binchois, and Antoine Busnois.

By the middle of the 15th century, composers and singers from the Low Countries and adjacent areas began to spread across Europe, especially into Italy, where they were employed by the papal chapel and the aristocratic patrons of the arts (such as the Medici, the Este, and the Sforza families). They carried their style with them: smooth polyphony which could be adapted for sacred or secular use as appropriate. Principal forms of sacred musical composition at the time were the mass, the motet, and the laude; secular forms included the chanson, the frottola, and later the madrigal.

The invention of printing had an immense influence on the dissemination of musical styles, and along with the movement of the Franco-Flemish musicians, contributed to the establishment of the first truly international style in European music since the unification of Gregorian chant. Composers of the middle generation of the Franco-Flemish school included Johannes Ockeghem, Jacob Obrecht, and Josquin des Prez, probably the most famous composer in Europe before Palestrina, and who during the 16th century was renowned as one of the greatest artists in any form. Music in the generation after Josquin explored increasing complexity of counterpoint (combining melodies); possibly the most extreme expression is in the music of Nicolas Gombert, whose counterpoint complexities influenced early instrumental music, such as the canzona and the ricercar, ultimately culminating in Baroque fugal forms.

By the middle of the 16th century, the international style began to break down, and several highly diverse stylistic trends became evident: a trend towards simplicity in sacred music, as directed by the Counter-Reformation Council of Trent, exemplified in the music of Giovanni Pierluigi da Palestrina; a trend towards complexity and chromaticism (use of half-steps) in the madrigal, which reached its extreme expression in the avant-garde style of the Ferrara School of Luzzaschi and the late century madrigalist Carlo Gesualdo; and the grandiose music of the Venetian school, which used the architecture of the Basilica San Marco di Venezia to create antiphonal (contrasting groups) contrasts. The music of the Venetian school included the development of orchestration, ornamented instrumental parts, and continuo bass parts, all of which occurred within a span of several decades around 1600. Famous composers in Venice included the Gabrielis, Andrea and Giovanni, as well as Claudio Monteverdi, one of the most significant innovators at the end of the era.

Most parts of Europe had active and well-differentiated musical traditions by late in the century. In England, composers such as Thomas Tallis and William Byrd wrote sacred music in a style similar to that written on the continent, while an active group of home-grown madrigalists adapted the Italian form for English tastes: famous composers included Thomas Morley, John Wilbye and Thomas Weelkes. Spain developed instrumental and vocal styles of its own, with Tomás Luis de Victoria writing refined music similar to that of Palestrina, and numerous other composers writing for the new guitar. Germany cultivated polyphonic forms built on the Protestant chorales, which replaced the Roman Catholic Gregorian Chant as a basis for sacred music, and imported the style of the Venetian school. In addition, German composers wrote enormous amounts of organ music, establishing the basis for the later Baroque organ style which culminated in the work of J.S. Bach.

One of the most revolutionary movements in the era took place in Florence in the 1570s and 1580s, with the work of the Florentine Camerata, who ironically had a reactionary intent: dissatisfied with what they saw as contemporary musical depravities, their goal was to restore the music of the ancient Greeks. Chief among them were Vincenzo Galilei, the father of the astronomer, and Giulio Caccini. The fruit of their labors was a declamatory melodic singing style known as monody, and a corresponding staged dramatic form: a form known today as opera. The first operas, written around 1600, also define the end of the Renaissance and the beginning of the Baroque eras.

Music prior to 1600 was modal rather than tonal. Several theoretical developments late in the 16th century, such as the writings on scales on modes by Gioseffo Zarlino and Franchinus Gaffurius, led directly to the development of common practice tonality. The major and minor scales began to predominate over the old church modes, a feature which was at first most obvious at cadential points in compositions, but gradually became pervasive. Music after 1600, beginning with the tonal music of the Baroque era, is often referred to as belonging to the common practice period.

Baroque Music

Above you will find an image first of J.S. Bach then George Fredric Handel.

Instrumental music became dominant in the Baroque, and most major music forms were defined. Counterpoint was one of the major forces in both the instrumental and the vocal music of the period. Although a strong religious musical tradition continued, secular music came to the fore with the development of the sonata and the concerto.

Much Baroque music was designed for improvisation, with a figured bass provided by the composer for the performer to flesh out and ornament. The keyboard, particularly the harpsichord, was a dominant instrument, and the beginnings of well temperament opened up the possibilities of playing in all keys and of modulation (changing keys).

Much Baroque music featured a basso continuo (improvised accompaniment) consisting of a keyboard, either harpsichord or organ and a bass instrument, such as a bassoon. The three outstanding composers of the period were Johann Sebastian Bach, George Frideric Handel, and Antonio Vivaldi, but a host of other composers, some with huge output, were active in the period.

 

Classical Music

The music of the Classical period is characterized by homophonic texture, or an obvious melody with accompaniment. These new melodies tended to be almost voice-like and singable, allowing composers to actually replace singers as the focus of the music. Instrumental music therefore quickly replaced opera and other sung forms (such as oratorio) as the favorite of the musical audience and the epitome of great composition. However, opera did not disappear: during the classical period, several composers began producing operas for the general public in their native languages (previous operas were generally in Italian).

Slide the Image below to reveal and influential composer: 

 

Along with the gradual displacement of the voice in favor of stronger, clearer melodies, counterpoint also typically became a decorative flourish, often used near the end of a work or for a single movement. In its stead, simple patterns, such as arpeggios and, in piano music, Alberti bass (an accompaniment with a repeated pattern typically in the left hand), were used to liven the movement of the piece without creating a confusing additional voice. The now-popular instrumental music was dominated by several well-defined forms: the sonata, the symphony, and the concerto, though none of these were specifically defined or taught at the time as they are now in music theory. All three derive from sonata form, which is both the overlying form of an entire work and the structure of a single movement. Sonata form matured during the Classical era to become the primary form of instrumental compositions throughout the 19th century.

The early Classical period was ushered in by the Mannheim School, which included such composers as Johann Stamitz, Franz Xaver Richter, Carl Stamitz, and Christian Cannabich. It exerted a profound influence on Joseph Haydn and, through him, on all subsequent European music. Wolfgang Amadeus Mozart was the central figure of the Classical period, and his phenomenal and varied output in all genres defines our perception of the period. Ludwig van Beethoven and Franz Schubert were transitional composers, leading into the Romantic period, with their expansion of existing genres, forms, and even functions of music.

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