A Brief, incomplete and biased History of Music on One Page
Posted by: mikeeschman on 04 December 2009
Middle Ages. Wild experimentation with instruments, many home grown many others back from the East and the Crusades. Harmony is almost coincidental. Free rhythmically, like speech. Can be very complex rhythmically. Intonation doesn’t exist.
Renaissance. Musical form establishes itself, growing out of dance for one. Instrumentation becomes more capable. The opera comes into being.
Baroque. J.S. Bach codifies harmony. He also writes beautiful melody.
Classical. Haydn perfects the symphony. Mozart codifies sonata form. Harmony and melody are integrated in new ways, by slowing down harmonic motion, opening the door to romanticism. Mozart writes beautiful melody.
Romantic. Beethoven expands sonata form to the breaking point, and writes melodies inconceivable.
20th Century. Stravinsky brings music and dance together. He writes stunning melody, and puts you in two different places you know tonally at the same time. His music is a dialogue.
Still waiting to have an impulse to write the next line …
Renaissance. Musical form establishes itself, growing out of dance for one. Instrumentation becomes more capable. The opera comes into being.
Baroque. J.S. Bach codifies harmony. He also writes beautiful melody.
Classical. Haydn perfects the symphony. Mozart codifies sonata form. Harmony and melody are integrated in new ways, by slowing down harmonic motion, opening the door to romanticism. Mozart writes beautiful melody.
Romantic. Beethoven expands sonata form to the breaking point, and writes melodies inconceivable.
20th Century. Stravinsky brings music and dance together. He writes stunning melody, and puts you in two different places you know tonally at the same time. His music is a dialogue.
Still waiting to have an impulse to write the next line …
Posted on: 04 December 2009 by BigH47
After a google:-
The earliest confirmed bone pipe dates to 36,000 years ago.
The harp, a complicated musical device, dates to 5,000 years ago based on statues found in Crete, as well as the double flute. In regards to song, this dates to 3,400 years ago, written in Hurrian, consisting of two melodic lines that utilizes major and minor thirds, while some interpretations of the music states it is monophonic.The Delphic Hymn is the earliest surviving example of notated music in the world.
Whether these items fall under the 'music' banner, I'm not sure.
The earliest confirmed bone pipe dates to 36,000 years ago.
The harp, a complicated musical device, dates to 5,000 years ago based on statues found in Crete, as well as the double flute. In regards to song, this dates to 3,400 years ago, written in Hurrian, consisting of two melodic lines that utilizes major and minor thirds, while some interpretations of the music states it is monophonic.The Delphic Hymn is the earliest surviving example of notated music in the world.
Whether these items fall under the 'music' banner, I'm not sure.
Posted on: 04 December 2009 by Dan Carney
I'm not sure if Bach really codified harmony.
Species Counterpoint set about codifying harmony, and the laws thereof.
Species Counterpoint set about codifying harmony, and the laws thereof.
Posted on: 04 December 2009 by mikeeschman
quote:Originally posted by Dan Carney:
I'm not sure if Bach really codified harmony.
Species Counterpoint set about codifying harmony, and the laws thereof.
Bach wrote the music contemporary musicians learn the rules of harmony from, the music they practice and perform most frequently.
That's what I mean by biased. I learned my harmony from Bach.
How about you?
Posted on: 04 December 2009 by fred simon
quote:Originally posted by mikeeschman:
Still waiting to have an impulse to write the next line …
Interesting, Mike ...
I think the next line has to be a disclaimer that you are actually talking about a History of European Classical Music. I know that you said upfront it was incomplete and biased, but I think even with that in mind this crucial clarification is necessary.
All best,
Fred
Posted on: 05 December 2009 by mikeeschman
I don't want to claim knowledge of anything but European classical music, and that incomplete.
But that isn't the only thing that might be posted on this thread. Someone might post a history of rock & roll or jazz, or even Chinese music.
Now that would make the thread a good read :-)
But that isn't the only thing that might be posted on this thread. Someone might post a history of rock & roll or jazz, or even Chinese music.
Now that would make the thread a good read :-)
Posted on: 05 December 2009 by Mat Cork
I'd say that's very european Mike.
Music was going on for a long time before your start point, and taking different paths through your timeline elsewhere in the world.
It must be a fair account of one particular genre however.
Music was going on for a long time before your start point, and taking different paths through your timeline elsewhere in the world.
It must be a fair account of one particular genre however.
Posted on: 05 December 2009 by mikeeschman
quote:Originally posted by Mat Cork:
I'd say that's very european Mike.
Music was going on for a long time before your start point, and taking different paths through your timeline elsewhere in the world.
It must be a fair account of one particular genre however.
So why not broaden it some, Mat? You know a thing or two ...
and someone could write a totally different summary for European classical and be absolutely correct.
Every one of us brings our biases to their listening. It would be interesting to compare warts :-)
Posted on: 05 December 2009 by Mat Cork
Sorry Mike...I'm just a bit busy at the moment. How about (as a quick stab off the top of my head):
Long Before Jesus pulled on a shirt for the Jerusalem 1st XI - African musicians develop a call and response musical form, using voice and a variety of goat gut and wind instruments...later start to use melisma via influences with the arabic world
A bit later - black slaves use call and response out in the cotton fields of the US and later use guitar to develop early melodies into the standard blues form
Then - Robert Johnson sells his soul one night to the devil at the crossroads, and cuts one amazing set of songs which tap the blues into something less righteous and more dark, sinister and subversive - the kids start to take notice.
Later - Somebody plugs T Bone Walker into an electric amplifier and something magical happens.
Elsewhere - A young Elvis Aaron Presley is born and picks up a guitar to beat off the babes.
1960's - White kids en masse start to make music from these very roots, bringing a working class work ethic and middle class education to create powerful music for the masses. The black blues meets white country in the bar over a beer or two.
Later 60's - Jimi meets Jim Marshall and plugs in with a Roger Mayer fuzz pedal.
1976 - They laughingly tear up the rule book and spit on it (having cleverly memorised it first)
1987 - Handsome 'Men of God' guitarist joins 'Slick Trigger Mick and the Holsters'. It ends in tears.
Long Before Jesus pulled on a shirt for the Jerusalem 1st XI - African musicians develop a call and response musical form, using voice and a variety of goat gut and wind instruments...later start to use melisma via influences with the arabic world
A bit later - black slaves use call and response out in the cotton fields of the US and later use guitar to develop early melodies into the standard blues form
Then - Robert Johnson sells his soul one night to the devil at the crossroads, and cuts one amazing set of songs which tap the blues into something less righteous and more dark, sinister and subversive - the kids start to take notice.
Later - Somebody plugs T Bone Walker into an electric amplifier and something magical happens.
Elsewhere - A young Elvis Aaron Presley is born and picks up a guitar to beat off the babes.
1960's - White kids en masse start to make music from these very roots, bringing a working class work ethic and middle class education to create powerful music for the masses. The black blues meets white country in the bar over a beer or two.
Later 60's - Jimi meets Jim Marshall and plugs in with a Roger Mayer fuzz pedal.
1976 - They laughingly tear up the rule book and spit on it (having cleverly memorised it first)
1987 - Handsome 'Men of God' guitarist joins 'Slick Trigger Mick and the Holsters'. It ends in tears.
Posted on: 05 December 2009 by Dan Carney
Hi Mike,
I started with species counterpoint, which in turn was the foundation that Bach built upon. That led onto early Madrigal writing. Next, you take on re-harmonising Bach chorales - this is where I like to get my teeth stuck in!!
I started with species counterpoint, which in turn was the foundation that Bach built upon. That led onto early Madrigal writing. Next, you take on re-harmonising Bach chorales - this is where I like to get my teeth stuck in!!
Posted on: 05 December 2009 by mikeeschman
Dan,
I started with Bach the first two years, then moved on to Palestrina' counterpoint the third year.
How about you writing an alternative thumbnail history for this thread?
Just an incidental note, I am most curious to see if anyone writes of German atonal music.
I started with Bach the first two years, then moved on to Palestrina' counterpoint the third year.
How about you writing an alternative thumbnail history for this thread?
Just an incidental note, I am most curious to see if anyone writes of German atonal music.
Posted on: 05 December 2009 by Florestan
Mike, I'm going to take a stab at your starting point. For me, it's impossible to do this correctly but just for fun and because I like to fill gaping holes (and a few misconceptions)....Of course anything I write will be incomplete and full of holes too but here it goes...
I will only talk mainly about Western Art (European) Music and that which is associated with it.
You cannot talk about early Medieval music without mentioning Gregorian Chant (plainchant) and Gregorian Melody or Medieval Modes. This is the music that functioned through the early Christian Church. Nothing coincidental about this period in the least. Very specific constraints placed on it. Single-line melody (monophonic) which has no other dimension to it (ie. harmony or counterpoint).
After this came the rise of Polyphony. Specific defined periods would be from 850-1150 (Romanesque period) and then 1150-1450 (Gothic era). This whole period combined saw the development of meter, rhythm, pitch, phrase as well as a musical staff. The more complicated it got necessitated that the music be written down. Because of this you start seeing names attributed to the score (instead of that ubiquitous Anonymous guy (or gal)). We could talk about the rise of Secular music owing to minstrels and troubadours. Then we could talk about Motets and the Mass.
Of course, then followed the Renaissance period which is set as roughly 1450-1600. To many transitions and changes to note. Main thrust is the change in man's reliance exclusively on faith and authority of the church to a sense that man was able to reason (intellect) and develop a scientific method. A cappella music was very important and the polyphony was notable for its continuous imitation of voices (soprano, alto, tenor, bass). The Madrigal also came into importance. The most notable composers of the period were the likes of Josquin des Prez, Roland de Lassus, Palestrina, Tallis, Byrd, Weelkes, to name a few.
The Baroque era is typically set from the period of 1600-1750. The 1750 is associated with the death of J.S. Bach. While Bach emerged as probably the most important figure associated with the Baroque period it is wrong to believe he was the sole contributor. One needs only to think of Monteverdi, Purcell, Schütz, Corelli, Vivaldi, Telemann, Händel, Scarlatti, Glück, again to only name a few. Bach didn't invent anything. Polyphony already existed. Just like anyone of a period, he took what was their and moved it forward. The difference is he perfected something, took it to an unreal level and did it better than anyone else in the history of music. The Fugue is the most notable example. Anyone who creates something owes much to the past as it is like a handoff.
Too many things of this period to note but surely one has to mention a few. The transition from the Medieval Modes to major-minor seems to be a big one. The rise of a figured bass and the development/evolution of keyboard instruments (klavier-included the clavichord, harpsichord, and organ namely). Picking the appropriate keyboard was associated more with the style of the piece than the exclusiveness of any existing keyboard. Instrumental color became important. Rhythm, terraced dynamics, binary form also stand out.
Classicism is roughly defined as 1775-1825. You cannot talk about classicism without talking about Haydn, Mozart and Beethoven. For me Schubert is sort of the transition; he is a little of classical and also pushing mostly forward into Romanticism. The Sonata form was used in the Baroque era but I would count the Sonata form as the most important musical form of Classicism (just my view as I'm a pianist and you can't get by without knowing about Sonatas). Symphony, opera, and chamber music also rapidly developed and became the force. Musical instruments really were developed to the point that much of what was developed in this time is still with us today, largely unchanged or improved upon since.
Romanticism (mainly 19th century) is huge for me, and sadly, I don't understand why it is misrepresented by many as not valid. (Mike: Was that intentional to refer to Beethoven as a Romantic and then skip right on to 20th century?) This mainly comes from a lack of understanding, maybe it's personality thing or even a lack of willingness to discover something that people often tarnish without even considering it. You can easily take the worst example of anything and incorrectly generalize that this part represents the whole. Just like with the previous eras, the music was tied to what was happening in society as a whole (both socially and politically). Romanticism represented the individual more so than any time before it. Expressiveness, melody, chromatic harmony developed rapidly. The song (lied) was important. Everything got larger.
20th century music again saw many changes. From Impressionism to many new styles and tonalities. The later group largely rebelling against form and Romanticism in particular.
Of the above my main interest is Baroque, Classical, and Romantic/Impressionistic periods. If I could I would talk about these three periods for as long as I have breath; fortunately for you all I'm a slow typer and need to spend more time playing and listening to music. Unfortunately, one can't possibly talk about 3 or 4 centuries of musical development without omitting or misrepresenting most of it.
Best Regards,
Doug
I will only talk mainly about Western Art (European) Music and that which is associated with it.
You cannot talk about early Medieval music without mentioning Gregorian Chant (plainchant) and Gregorian Melody or Medieval Modes. This is the music that functioned through the early Christian Church. Nothing coincidental about this period in the least. Very specific constraints placed on it. Single-line melody (monophonic) which has no other dimension to it (ie. harmony or counterpoint).
After this came the rise of Polyphony. Specific defined periods would be from 850-1150 (Romanesque period) and then 1150-1450 (Gothic era). This whole period combined saw the development of meter, rhythm, pitch, phrase as well as a musical staff. The more complicated it got necessitated that the music be written down. Because of this you start seeing names attributed to the score (instead of that ubiquitous Anonymous guy (or gal)). We could talk about the rise of Secular music owing to minstrels and troubadours. Then we could talk about Motets and the Mass.
Of course, then followed the Renaissance period which is set as roughly 1450-1600. To many transitions and changes to note. Main thrust is the change in man's reliance exclusively on faith and authority of the church to a sense that man was able to reason (intellect) and develop a scientific method. A cappella music was very important and the polyphony was notable for its continuous imitation of voices (soprano, alto, tenor, bass). The Madrigal also came into importance. The most notable composers of the period were the likes of Josquin des Prez, Roland de Lassus, Palestrina, Tallis, Byrd, Weelkes, to name a few.
The Baroque era is typically set from the period of 1600-1750. The 1750 is associated with the death of J.S. Bach. While Bach emerged as probably the most important figure associated with the Baroque period it is wrong to believe he was the sole contributor. One needs only to think of Monteverdi, Purcell, Schütz, Corelli, Vivaldi, Telemann, Händel, Scarlatti, Glück, again to only name a few. Bach didn't invent anything. Polyphony already existed. Just like anyone of a period, he took what was their and moved it forward. The difference is he perfected something, took it to an unreal level and did it better than anyone else in the history of music. The Fugue is the most notable example. Anyone who creates something owes much to the past as it is like a handoff.
Too many things of this period to note but surely one has to mention a few. The transition from the Medieval Modes to major-minor seems to be a big one. The rise of a figured bass and the development/evolution of keyboard instruments (klavier-included the clavichord, harpsichord, and organ namely). Picking the appropriate keyboard was associated more with the style of the piece than the exclusiveness of any existing keyboard. Instrumental color became important. Rhythm, terraced dynamics, binary form also stand out.
Classicism is roughly defined as 1775-1825. You cannot talk about classicism without talking about Haydn, Mozart and Beethoven. For me Schubert is sort of the transition; he is a little of classical and also pushing mostly forward into Romanticism. The Sonata form was used in the Baroque era but I would count the Sonata form as the most important musical form of Classicism (just my view as I'm a pianist and you can't get by without knowing about Sonatas). Symphony, opera, and chamber music also rapidly developed and became the force. Musical instruments really were developed to the point that much of what was developed in this time is still with us today, largely unchanged or improved upon since.
Romanticism (mainly 19th century) is huge for me, and sadly, I don't understand why it is misrepresented by many as not valid. (Mike: Was that intentional to refer to Beethoven as a Romantic and then skip right on to 20th century?) This mainly comes from a lack of understanding, maybe it's personality thing or even a lack of willingness to discover something that people often tarnish without even considering it. You can easily take the worst example of anything and incorrectly generalize that this part represents the whole. Just like with the previous eras, the music was tied to what was happening in society as a whole (both socially and politically). Romanticism represented the individual more so than any time before it. Expressiveness, melody, chromatic harmony developed rapidly. The song (lied) was important. Everything got larger.
20th century music again saw many changes. From Impressionism to many new styles and tonalities. The later group largely rebelling against form and Romanticism in particular.
Of the above my main interest is Baroque, Classical, and Romantic/Impressionistic periods. If I could I would talk about these three periods for as long as I have breath; fortunately for you all I'm a slow typer and need to spend more time playing and listening to music. Unfortunately, one can't possibly talk about 3 or 4 centuries of musical development without omitting or misrepresenting most of it.
Best Regards,
Doug
Posted on: 05 December 2009 by mikeeschman
quote:Originally posted by Florestan:
(Mike: Was that intentional to refer to Beethoven as a Romantic and then skip right on to 20th century?)
Yes it was intentional and knowingly incomplete. I didn't want to bog down the thumbnail with lots of detail on the Romantic period.
For the record, my favorite music of all music is Romantic period, but Bach is equally loved.
I think Romantic music is where music found its stride.
For me, the heroes of the Romantic era are Beethoven, Chopin, Debussy and Brahms.
Posted on: 05 December 2009 by Dan Carney
Mike, seeing as like Beethoven, Chopin, Debussy, and Brahms - how you rate Krystian Zimerman? I'd be interested in your thoughts...
Posted on: 05 December 2009 by mikeeschman
quote:Originally posted by Dan Carney:
Mike, seeing as like Beethoven, Chopin, Debussy, and Brahms - how you rate Krystian Zimerman? I'd be interested in your thoughts...
This is the first I have heard of him. I Googled and see he is a pianist. Are you recommending him? If so, please make some recommendations on recordings.
From Wikipedia :
Shortly after September 11, 2001, Zimerman's custom-made piano was confiscated at JFK Airport when he landed in New York City to give a recital at Carnegie Hall. The US Transportation Security Administration decided to destroy his piano, claiming the glue smelled like explosives !!!
Posted on: 05 December 2009 by Dan Carney
He was a winner (youngest ever) of the Chopin Competition!
For me, there is no better! His Chopin Concerti (himself conducting) with the Polish Festival Orchestra are superb.
He has recorded all of the Debussy preludes too (about 20 years ago...) - they certainly edged out Michelangelli.
He has recorded all of the Beethoven Piano Concerti (with Bernstien and the VPO). They are available on DVD, as are the Brahms Concerti, again, with Leonard.
There is a CD of Rach 1 and 2, with Ozawa, excellent.
You must!
For me, there is no better! His Chopin Concerti (himself conducting) with the Polish Festival Orchestra are superb.
He has recorded all of the Debussy preludes too (about 20 years ago...) - they certainly edged out Michelangelli.
He has recorded all of the Beethoven Piano Concerti (with Bernstien and the VPO). They are available on DVD, as are the Brahms Concerti, again, with Leonard.
There is a CD of Rach 1 and 2, with Ozawa, excellent.
You must!
Posted on: 05 December 2009 by mikeeschman
quote:Originally posted by Dan Carney:
He has recorded all of the Debussy preludes too (about 20 years ago...) - they certainly edged out Michelangelli.
This is where I will start, as Michelangelli is my favorite Debussy performer.
Posted on: 05 December 2009 by Dan Carney
Good choice!
They are very different. I'll reserve any specifics until you've heard them.
They are very different. I'll reserve any specifics until you've heard them.
Posted on: 05 December 2009 by mikeeschman
So Dan, how about that thumbnail sketch of music? What I did was think for 10 minutes about my current appetites and what was driving them, ignoring anything else. So it's a synopsis of my current state of mind.
You can get a 10,000 word essay on a particular work or composer anytime you like. But a frank exposition of what tickles your fancy at the moment is something different all together.
Fun on the forum :-)
You can get a 10,000 word essay on a particular work or composer anytime you like. But a frank exposition of what tickles your fancy at the moment is something different all together.
Fun on the forum :-)
Posted on: 05 December 2009 by mikeeschman
Sorry for the double post, but I have to comment on this. It is a very disturbing trend.
I already have a good idea that the Krystian Zimerman Debussy Preludes are probably going to be fantastic, as they were $34.
I have noticed that DGG has been putting a price premium on the best things in their catalog.
I already have a good idea that the Krystian Zimerman Debussy Preludes are probably going to be fantastic, as they were $34.
I have noticed that DGG has been putting a price premium on the best things in their catalog.
Posted on: 05 December 2009 by Dan Carney
A thumbnail sketch 
Well, at the risk of sounding simplistic, they are, in many places, quite dry in comparison to ABM. For example, in Feux d'artifice the opening is more 'zesty' - maybe like a small shimmering flame. However, when the explosions begin, he offers so much colour.
All the way through the set he certainly puts character first. At first I wasn't convinced of Debussy with so little pedal, but I've grown to love it. The level clarity is fantastic, it gave a few new meanings to many of the Preludes.
For many, they won't be everyone's cup-of-tea, nor will they be the definitive set, but I can't find anyone to beat them IMO.
Well, at the risk of sounding simplistic, they are, in many places, quite dry in comparison to ABM. For example, in Feux d'artifice the opening is more 'zesty' - maybe like a small shimmering flame. However, when the explosions begin, he offers so much colour.
All the way through the set he certainly puts character first. At first I wasn't convinced of Debussy with so little pedal, but I've grown to love it. The level clarity is fantastic, it gave a few new meanings to many of the Preludes.
For many, they won't be everyone's cup-of-tea, nor will they be the definitive set, but I can't find anyone to beat them IMO.
Posted on: 05 December 2009 by andrea
I'm not an expert of classical music . . . but it would seem Tchaikovsky was never mentioned within this thread . . . isn't that strange?
Posted on: 05 December 2009 by Mat Cork
What's struck me is that, classical seems to have a vibrant history from the medieval period to 1900...but little has happened since (from the posts on this thread)?
Haven't we seen some great developments in classical this century as well? Most of my favourite classical music seems to be from this century.
By this century...I mean 1900 to 2000 it's just what us old folks call it. This century is still in diapers.
Haven't we seen some great developments in classical this century as well? Most of my favourite classical music seems to be from this century.
By this century...I mean 1900 to 2000 it's just what us old folks call it. This century is still in diapers.
Posted on: 05 December 2009 by mikeeschman
quote:Originally posted by andrea:
I'm not an expert of classical music . . . but it would seem Tchaikovsky was never mentioned within this thread . . . isn't that strange?
But now you have, but you didn't speak long enough?
Posted on: 05 December 2009 by mikeeschman
quote:Originally posted by Mat Cork:
What's struck me is that, classical seems to have a vibrant history from the medieval period to 1900...but little has happened since (from the posts on this thread)?
Haven't we seen some great developments in classical this century as well? Most of my favourite classical music seems to be from this century.
By this century...I mean 1900 to 2000 it's just what us old folks call it. This century is still in diapers.
Mat, I talked of Stravinsky in the initial post, which I think represents the best music of the 20th century.
Do you want to know some more about it?
Posted on: 05 December 2009 by BigH47
I have nothing to add but a question.
There was a recent series on the history of music, either BBC4 or Sky Arts, unfortunately I can't remember the name of the programme or the presenter.
If memory serves, it was 4 parts and looked at the developments , of rhythm, Harmony, Bass and I think scales.
If any one can decode that into programme and presenter, then thanks.
There was a recent series on the history of music, either BBC4 or Sky Arts, unfortunately I can't remember the name of the programme or the presenter.
If memory serves, it was 4 parts and looked at the developments , of rhythm, Harmony, Bass and I think scales.
If any one can decode that into programme and presenter, then thanks.