Summary of Medieval and Renaissance Music; Dark ..
Music Of The Medieval Period Essay - 2512 Words
The goal of this bibliography is to provide a broad overview of vocal music in Western Europe prior to 1650. In some cases, this means I have included books which are general in nature. In other cases, I have included books covering an individual composer, specific time period, or geographic location which are considered to be representative and important within the field of early music. In creating this bibliography, I have tried to avoid works which are extremely scholarly in nature, or which assume an extensive background in music history or theory. Given that English is the primary language of the intended audience of this bibliography, I have included more works which deal with English songs than those in other languages. Also, any works, other than music anthologies, which are not in English or do not have a parallel English translation have been excluded. Music anthologies given here provide modern music notation and modern transcription of the lyrics except where noted.
Medieval & Renaissance Music: A Brief Survey
The evolution of polyphony began in the late Dark Ages, when some musicians began to embellish Gregorian chants with a melody line.
The Medieval time period was the longest period of musical history
Having associated with contemporary composers and having written much modern musichimself, Bernstein was well aware that the pivotal significance of transcended mere popularity. Indeed, so much of what we now accept as "modernmusic" derives from . Carl Van Vechten (who got beat up in the openingnight melee) recalled that the audience had reacted so violently because they found thewhole thing "a blasphemous attempt to destroy music as an art." With the benefitof perspective, Edwin Evans more aptly described the score as "a conflict which isforever rending and tearing, not in order to destroy, but in order to emerge."Stravinsky recognized that traditional classical music had become stagnant and had toevolve quickly. He did not set out to destroy the old music, but his jagged rhythms, wildharmonies and violent dynamics gave birth to so much of the music of our time. Thus theproblem Bernstein faced was to present the score with startling freshness to an audiencethat was apt to take its innovations for granted. After all, in the 45 years since thepremiere of modern notions of rhythm had grown sophisticated through jazz,traditional musical form had become superseded by chance music, the outer bounds oftonality and dissonance had been supplanted by serial music, and crashing chords seemeddownright placid compared to high-decibel rockers and computer-generated .