Part 5 – Aname

Posted on May 23, 2021May 26, 2021 by aname80

Assignment 5 Final

When I was choosing my assignments for submission, I focused to select works which represents different aspects of the music. This assignment is focused on music analysis where I compared Kyrie from two different Masses, than I explored Fantasia on a Theme of Thomas Tallis by Ralph Vaughan Williams.

Similarities and differences between Giovanni Pierluigi da Palestrina and Arvo Pärt

In this essay I picked Kyrie as extracts from two Masses. The first one is Pope Marcellus Mass by Giovanni Pierluigi da Palestrina (1525-1594) and the second is Berlin Mass by Arvo Pärt (born in 1935). I will discuss the similarities and differences of these compositions and closing the essay with a conclusion.

The first difference between the two pieces is that both music scored differently. Palestrina`s work written for six acapella voices (SATTBB). Pärt originally scored the mass for soloists (SATB) and organ, then later he revised the piece for mixed choir or soloists (SATB) and string orchestra.

Although the score is different, the structure of the Kyrie is similar in both masses. It has three distinct sections (Kyrie eleison, Christe eleison and Kyrie eleison). The two composers use different compositional technique however both of them are influenced by Gregorian chant. Palestrina`s Kyrie consists of imitative polyphony which is based on the main motif. The basic melodies and their words are stated early in a single voice before the other layers (voices) are gradually added which represented by Example 1 where the piece begins with Tenor I followed by Cantus, than Bassus II and finally the Altus. The composer also uses imitation which also can be seen. While the work is written to six acapella voices, the announcement of the text with the motive ideas is represented by only four and the movement set up as two duets. Palestrina also uses a contrapuntal texture and perfect intervals in Tenor I (D rises to G by perfect 4^th, then descends to C by perfect 5^th). (Gutmann, 1998) (Moore, 2006)

Example 1, Palestrina, Kyrie eleison (Gutmann, 1998)

Pärt is using the tintinnabuli method which is characterized by two types of voice. The first of which arpeggiates the tonic triad and the second of which moves diatonically in stepwise motion. Example II shows the complete tintinnabulating passage in measures 2-4 between the soprano voice and organ. After the establishment of the first tintinnabulating chord B in the soprano line, Pärt brings the tintinnabulating line into the organ by an octave higher and continue the process he started in the soprano. The two voices can be described as scalic and arpeggiated. I also observed, that Pärt using notes in a way which creates dissonance between tintinnabulating voices and melodic voices.(Forrestal, 2011)

Example 2, Arvo Pärt, ” Berliner Messe”, Kyrie, mm.2-4 (Forrestal, 2011)

Palestrina uses the same time signature with similar rhythms throughout his piece but Pärt constantly changes the time signature and stressing syllabus by augmentation of rhythm to create a leaning forward motion. Also, there is a punctuating period for the orchestra after each line of the text sang by the choir.

The Christe eleison in both masses are in contrast with Kyrie. Palestrina used simple and lighter structure with more rests and slightly more transparent part. It brings homophonic texture by pairs of voices answering each other before the fuller texture is exposed. Pärt `s piece is characterized by the presentation of two melodic idea.

I enjoyed listening both masses. Although both pieces are written for a mass setting, the composers own techniques make them individual. In my opinion these methods create an overall texture which is slow, meditative, and entrancing on its unique way.

Word: 544

References

Gutmann, P., 1998. Classical Notes – Classical Classics – Palestrina’s Missa Papae Marcelli, By Peter Gutmann. [online] Classicalnotes.net. Available at: <http://www.classicalnotes.net/classics4/palestrina.html> [Accessed 5 June 2020]

Arvopart.ee. n.d. Biography – Arvo Pärt Centre. [online] Available at: <https://www.arvopart.ee/en/arvo-part/biography/> [Accessed 7 June 2020]

Forrestal, J., 2011. TWO TANGLED GOLDEN THREADS: ARVO PÄRT, HIS TINTINNABULATIONTECHNIQUE, AND HIS BERLINER MESSE. [ebook] Boston, United States: Boston University, pp.21-24. Available at: <https://www.academia.edu/1800969/Two_Tangled_Golden_Threads_Arvo_P%C3%A4rt_his_Tintinnabulation_technique_and_his_Berliner_Messe> [Accessed 7 June 2020]

Moore, M., 2006. Missa Papae Marcelli: A Comparative Analysis Of The Kyrie And Gloria Movements Of Giovanni Pierluigi Da Palestrina And An Adaptation By Giovanni Francesco Anerio. [ebook] Texas, United States: University of North Texas, pp.13-38. Available at: <https://digital.library.unt.edu/ark:/67531/metadc5257/m1/1/> [Accessed 7 June 2020]

2) Fantasia on a Theme of Thomas Tallis by Ralph Vaughan Williams

In this essay I chose Fantasia on a Theme of Thomas Tallis by Ralph Vaughan Williams. I begin with a brief introduction about the composition which followed by an analyzation where I describe the ways in the earlier material has been used and also identify new materials. Finally, I finish my essay with a conclusion where I summarise my findings.

In 1567 Thomas Tallis contributed nine tunes for Archbishop Parker`s Psalter. Why fum`th in sight (Psalm 2) is the third psalm tune and it is given the title Third Mode Melody because it written in Phrygian mode. Between 1904 and 1906 Ralph Vaughan Williams was asked to edit the music for The English Hymnal when he came across Tallis`s metrical psalm tunes. He used this theme as the basis of his piece called Fantasia on a Theme of Thomas Tallis. It was composed in 1910 and first performance was on 10 September at Gloucester Cathedral for the Three Choirs Festival. He revised the work twice, in 1913 and 1919.

After listening Thomas Tallis`s psalm, I found the piece simple, lacks a regular time signature but still it is in the double common metre. This type of metre is wildly used in English psalmody and hymnody. It also uses the unique colour of the Phrygian mode. I think the beauty of the tune, the balance and its construction must have affected Vaughan Williams deeply. The composer incorporates the past to reassert the present. The base of Vaughan Williams`s composition is the old church mode, the Elizabethan fantasy which is an instrumental form. It derives from the contrapuntal nature of madrigal with several related themes in independent sections.

While Tallis`s composition written for voices, Vaughan Williams scored for an extended string orchestra which divided into three groups. Orchestra I, Orchestra II (smaller group), and a string quartet.

The Fantasia uses Tallis`s psalm as a main theme (subject) which we can hear in its full form in mm. 15-31. The composer applied this subject in several ways such as a response to another theme, as a transition from one theme to another or as an approach to or departure from a climax, and as a theme in its own. Vaughan Williams also breaks up the hymn into subthemes. For example, A1. A rising theme which begins with an identifying minor third interval. Example 1 shows this interval plucked in the lower strings at the beginning of the piece.

Example 1: Minor third interval in the lower strings. (Williams, 2015)

A 2. An answering phrase which has the same rhythm as A 1, and it is also used in the lower strings (Example 2).

Example 2: Answering phrase. (Williams, 2015)

A 3. A rising and craving phrase with dotted rhythm in triple time in Phrygian mode (Example 3).

Example 3: Dotted rhythm. (Williams, 2015)

A4. Another phrase which contain dotted rhythm in triple time but generally the pitch moves down. This phrase moves as a lively dance and usually appear at climaxes and soft at the quieter parts (Example 4).

Example 4: Dotted rhythm with moving down pitches. (Williams, 2015)

In the introduction we can experience a sway motion feeling. It created by the low strings where the A1 plucked slowly in the low strings (bar 4) which answered by quavers connected with slur (bar 6) under the held note from the high strings. In the first episode Vaughan Williams alternates the A2 with the sway (Example 5).

Example 5: A2 theme alternates with the connected quavers “sway”. (Williams, 2015)

In the second episode of the Fantasia the A3 is exploded. Example 6 represents this where the solo viola plays a variation of A3. The melodic material is based closely on Tallis`s tune, which we can see on the first three notes of the solo viola melody. They are reflected from the repeated notes which occur in the first two strains and also at the end of Tallis`s hymn. It gives the part a rhapsodic feeling.

In the viola solo, the composer tended to use F# and C# to avoid F♮ and C♮. However, the C♮ of the Phrygian mode appears which gives Lydian sound to the piece. (Example 7)

After the solo, we can hear the A3 subtheme in a polyphonic style played by the string quartet. The third episode is the major climax of the work. The “swaying” subject extended and brings to a new melodic path with annotations played by the string quartet (Example 8).

In the fourth episode (transition) the “sway” subject starts again but this time the composer mainly uses two notes (Example 9).

Vaughan Williams starts the Fantasia by giving the attention to tritones, the melodic progressions and the Phrygian flat seconds. In his outer sections, he used various elements of the Phrygian mode which he contrasted with elements of the Dorian (occasionally Lydian) in the rhapsodic centre of the piece. For shifting tonalities, the composer uses two prominent features in Tallis`s harmony, the semitone and the tritone. For example, between E and I where we can see the exploration of these harmonic features used as roots of chords and as tonalities. Tritones and semitones are also incorporate in the harmonic relationships. For example, while the composer preserves the minor third and seventh of the Phrygian mode, the piece sounds as major second above the tonic and dominant pitches instead of Phrygian minor (Dorian mode after letter S). He also builds on the semitonal relationship between C♮ and C# and extend it by using phrase (Example 10, a) from Tallis`s tune in a retrograde inversion (Example 10, b).

The composer used new ways when he combined melodic figures. For example, letter H where the composer used a version of his opening chords transposed down by a minor third (Example 11). The inversion reflected by the use of the phrases from the original material by using phrase a in the bass line and phrase b in the top line (Example 12).

The Fantasia shows that Vaughan Williams were understood the structure and modality of Tallis work. He was able to isolate the vital features from the hymn and recreated them in his composition. Tallis tune is simple and ecclesiastical which Vaughan Williams elevated by the richness and sweetness of the strings. The strings also creating quiet soundscape with shimmering colours and echoes while the parallel fifths heighten a sense of awe and mystery. The piece brings us to a beautiful musical journey which use a simple hymn with new voice and new sense of direction.

Word: 1122

Reference

Doe, P. and Allinson, D., 2020. Tallis [Tallys, Talles], Thomas. Oxford University Press, [online] Available at: <https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000027423?rskey=JYgHVd&result=1> [Accessed 19 June 2020].

Ottaway, H. and Frogley, A., 2001. Vaughan Williams, Ralph. Oxford University Press, [online] Available at: <https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000042507?rskey=gHcrZ3&result=2> [Accessed 19 June 2020]

Pike, L., 1984. Tallis: Vaughan Williams: Howells: Reflections On Mode Three. [ebook] Cambridge: Cambridge University Press, pp.2-13. Available at: <https://www.jstor.org/stable/945078?read-now=1&seq=1#page_scan_tab_contents> [Accessed 20 June 2020].

Atlas, A., 2010. On the Structure and Proportions of Vaughan Williams’s Fantasia on a Theme by Thomas Tallis. Journal of the Royal Musical Association, [online] 135(1), pp.115-144. Available at: <https://www-jstor-org.ucreative.idm.oclc.org/stable/43741608?pq-origsite=summon&seq=3#metadata_info_tab_contents> [Accessed 19 June 2020]

Graham, A., 2012. Interregnum: An Original Work Incorporating Archaic Compositional Elements, With A Study Of “Fantasia On A Theme By Thomas Tallis” By Ralph Vaughan Williams. Degree of Doctor of Arts. UNIVERSITY OF NORTHERN COLORADO

Tallis, T., 1986. Thomas Tallis – Third Tune From Abp. Parker’s Psalter (1567). Available at: <https://www.youtube.com/watch?v=p0AuHYNj8qQ> [Accessed 19 June 2020].

Williams, R., 2015. Vaughan Williams – Fantasia On A Theme By Thomas Tallis. Available at: <https://www.youtube.com/watch?v=qIhZbvlCjY0&t=111s> [Accessed 20 June 2020]

Reflective Account

In this reflective account, I will describe my journey of the last part of this course and highlight the parts that I found it particularly interesting and challenging.

The last part of the course was a full discovery of the music from the Baroque and Renaissance era. The journey began with the introduction of early instruments. During the research I discovered new instruments which I was not familiar with. The biggest issue was to narrow down the number of instruments and information to the blog.

This was followed by another exercise which actually showed how these instruments work within a musical composition. The only difficulty was while the exercises required live concert, I had to use recorded one due to the present situation with Covid19. The internet was a great tool for this, and I found an ensemble who represented early music (instrumental and singing) in a great way.

Introducing of Baroque forms was also a great exercise. It extended my knowledge about different terms which used in this period. To deepen this understanding, I focused on these terms throughout listening to different pieces and also gathered information about the circumstances which these works were written.

The musical patronage exercise was interesting. I do not like this subject as unfortunately the art section is affected by politics and economics. Although there are funding out there, getting them is difficult.

The last part of the course improved my knowledge and view about the different elements that affect the music such as dissonance, intellectual and philosophical movements. It was also interesting to see how the handwritten manuscript turned into a printed form and how they distributed the printed works.

The final exercise was summary of this course and also it was an introduction to the assignment. I gained more practice by describing a chosen composer`s life, work, his musical innovations, and his influence on modern composers.

Another challenging part was the assignment. First it was difficult to gather information about my chosen composer Tallis. Second, the word count. I found it difficult to keep the required number, so I had to focus on to keep only the relevant information. Following my tutor advice, I wrote more details with explanation. I also supported my findings with score evidence which I left out from my previous assignment. I also kept focusing on my academic writing and my grammar. I asked for help proof reading to avoid grammatical errors.

During my studies, I tried to gather evidence from a wide range of sources. I avoided Wikipedia and focused on more reliable sources. Most of my research was based on internet resources as unfortunately the Libraries are closed. I also made sure that my referencing is in a correct form.

In the last feedback I had an issue with my listening log. I followed the course material and completed the required exercises and posted them on my blog. I hope this way my listening log is in a correct form and fulfil the requirements.

Word: 496

Reflection on Tutor Feedback for Assignment Five

Mass Essay

The tutor`s feedback was very positive and inspiring. Although the assignment was good, I still had a couple issues.

The main problem was the length of the essay. Unfortunately, my word count was over the required number, so I had to edit down my content. I also featured my own interpretation of the music more prominently. Another problem was the terminology of tintinnabulation, which I corrected and made clearer the description.

Vaughan Williams Essay

As with the previous essay, I had to remove some parts of the content. I tighten up the points and supported them with some examples. I also gave more space to my own interpretation as requested by my tutor.

Other issue was the limited resources I used to the essay, so I made sure I use more versatile materials when I re visited this work.

My listening log was much more developed than the previous ones, but my tutor made me aware that I need much more focus on my own responses to the music. I corrected this by wrote up more entries.

Assignment 5

Similarities and differences between Giovanni Pierluigi da Palestrina and Arvo Pärt

In this essay I picked Kyrie as extracts from two Masses. The first one is Pope Marcellus Mass by Palestrina and the second is Berlin Mass by Arvo Pärt. After the brief introduction of the composers and the Masses I will discuss the similarities and differences of these compositions and closing the essay with a conclusion.

Giovanni Pierluigi da Palestrina (1525-1594) was an Italian Renaissance composer. He was a master of contrapuntal composition and a major representative of the 16^th century conservative approach to church music during the Roman Catholic Counter Reformation. Missa Papae Marcelli or Pope Marcellus Mass is the most popular piece of Palestrina which he composed while he was working in the Vatican to his second papal employer Marcellus II. He completed his work in 1561 and published in 1567. The piece is a prime example of Renaissance polyphonic choral music. (Madrigal | vocal music, 2020)

Arvo Pärt (born in 1935) is an Estonian composer of classical and religious music. He created a new compositional style called tintinnabuli. Berliner Messe (or Berlin Mass) was composed for the 90^th German Catholics Days in Berlin May 1990 and first performed at St. Hedwig`s Cathedral on 24 May 1990. Later the composer re wrote the piece and the second premier with the new setting was in December 1991, in Erlangen, Germany. (Biography – Arvo Pärt Centre, n.d.)

Kyrie is described as a short responsive prayer which begins with the Greek words Kyrie eleison (Lord have mercy). It is the first part of the Roman Catholic Mass or any other Christian liturgies. The text is Latin. (Kyrie dictionary definition | Kyrie defined, 1996)

Both pieces scored differently. Palestrina`s work written for six acapella voices such as soprano, alto, two tenor and two basses. However, Pärt originally scored the mass for soloists (SATB) and organ, than later he revised the piece for mixed choir or soloists (SATB) and string orchestra.

The Kyrie in both masses has three distinct sections which follows the structure of the text Kyrie eleison, Christe eleison and Kyrie eleison. The two composers use different compositional technique however both of them are influenced by Gregorian chant. Palestrina`s Kyrie consists of imitative polyphony which is based on the main motif. This means that the basic melodies and their words are stated early in a single voice before the other layers (voices) are gradually added. For example, the first part of the Kyrie (Example 1) where the piece begins with Tenor I than Cantus joins in which followed by Bassus II and finally the Altus. The composer also uses imitation which also can be seen at the first part of the Kyrie. While the work is written to six acapella voices, the announcement of the text with the motive ideas is represented by only four and the movement set up as two duets. (Gutmann, 1998) (Moore, 2006)

Pärt is using the tintinnabuli method which is characterized by two types of voice. The first of which arpeggiates the tonic triad and the second of which moves diatonically in stepwise motion. For example this technique is displayed in the Kyrie by the sopranos and tenors sing only notes of a triad chord and their lines move by leaps and the altos and tenors start each phrase on a note which is not in the triad and their lines move only stepwise. Example II shows the complete tintinnabulating passage in measures 2-4 between the soprano voice and organ. After the establishment of the first tintinnabulating chord B in the soprano line, Pärt brings the tintinnabulating line into the organ by an octave higher and continue the process he started in the soprano. (Forrestal, 2011)

Palestrina uses a contrapuntal texture and uses perfect intervals. For example, in the opening of the Kyrie the Tenor I starts the piece on D than rises to G by a perfect four and finally it descends to C by perfect fifth. Pärt using notes to create dissonance between tintinnabulating voices and melodic voices.

While Palestrina uses the same time signature with similar rhythms throughout his piece, Pärt constantly changes the time signature and stressing syllabus by augmentation of rhythm to create a leaning forward motion. Also, in the Berlin Mass there is a punctuating period for the orchestra after each line of the text sang by the choir.

After listening to both masses I cannot chose my favourite as I enjoyed both. Although both pieces are written for a mass setting, the composers own techniques make them individual. In my opinion these methods create an overall texture which is slow, meditative, and entrancing on its unique way.

References

Encyclopedia Britannica. 2020. Madrigal | Vocal Music. [online] Available at: <https://www.britannica.com/art/madrigal-vocal-music> [Accessed 5 June 2020]

Yourdictionary.com. 1996. Kyrie Dictionary Definition | Kyrie Defined. [online] Available at: <https://www.yourdictionary.com/kyrie> [Accessed 5 June 2020]

Arvopart.ee. n.d. Biography – Arvo Pärt Centre. [online] Available at: <https://www.arvopart.ee/en/arvo-part/biography/> [Accessed 7 June 2020]

2) Fantasia on a Theme of Thomas Tallis by Ralph Vaughan Williams

In this essay I chose Fantasia on a Theme of Thomas Tallis by Ralph Vaughan Williams. I begin with a brief introduction about the composition of both pieces and the circumstances and influences which helped the composition process. This was followed by an analyzation where I describe the ways in which the earlier material has been used and also identify new material that Vaughan Williams built in his composition. Finally, I finish my essay with a conclusion where I summarise my findings.

Thomas Tallis (1505-1585) was a Tudor organist and composer who is considered one of the greatest English composers of sacred music. His style encloses the reformation service music and polyphony and was largely responsible for introducing into English music. (Thomas Tallis | English composer, 2020)

Ralph Vaughan Williams (1872-1958) was an English composer and founder of the nationalist movement in English music. His works were strongly influenced by Tudor music and English folk song. (Ralph Vaughan Williams | British composer, 2020)

In 1567 Thomas Tallis contributed nine tunes for Archbishop Parker`s Psalter. Why fum`th in sight (Psalm 2) is the third psalm tune and it is given the title Third Mode Melody because it written in Phrygian mode. Between 1904 and 1906 Ralph Vaughan Williams was asked to edit the music for The English Hymnal when he came across Tallis`s metrical psalm tunes. He used this theme as the basis of his piece called Fantasia on a Theme of Thomas Tallis. It was composed in 1910 and first performance was on 10 September at Gloucester Cathedral for the Three Choirs Festival. He revised the work twice, in 1913 and 1919.

Thomas Tallis`s psalm is simple. It lacks a regular time signature but still it is in the double common metre which is wildly used in English psalmody and hymnody. It also uses the unique colour of the Phrygian mode which includes a semitone step above the tonic and dominant pitches. The beauty of the tune, the balance and its construction must have affected Vaughan Williams very deeply. The composer incorporates the past to reassert the present unlike his colleague Stravinsky who created artistic tension between two eras by keeping past procedures and present distinct. The base of Vaughan Williams`s composition is the old church mode, the Elizabethan fantasy. This Elizabethan fantasy is an instrumental form which derives from the contrapuntal nature of madrigal with several related themes in independent sections.

The Fantasia uses Tallis`s psalm as a main theme (subject) which the composer applied in several ways. As a response to another theme, as a transition from one theme to another or as an approach to or departure from a climax, and as a theme in its own. Vaughan Williams also breaks up the hymn into subthemes. For example, A1. A rising theme which begins with an identifying minor third interval. Example 1 shows this interval plucked in the lower strings at the beginning of the piece.

A 2. An answering phrase which has the same rhythm as A 1, and it is also used in the lower strings (Example 2).

A 3. A rising and craving phrase with dotted rhythm in triple time in Phrygian mode (Example 3).

In the introduction of the piece (Example 5) the A1 plucked slowly in the low strings in bar 4 which answered by quavers connected with slur (bar 6) under the held note from the high strings. These quavers give the sequence a sway motion feeling. From bar 9 the low strings pluck out A2 which followed by another sway motion from bar 11. The introduction part closes with a rising sway motion (bar 13) which leads to a shortened A3 (bar 14).

Example 5: Introduction (Williams, 2015)

The introduction is followed by a full statement (bar 15 in Ex 5) where Tallis all themes sound in their full forms. In the first episode A2 and A3 explored by first the A2 alternate with the sway (Example 6, a) than A3 (Example 6, b).

Example 6, a: A2 theme alternates with the connected quavers “sway”. (Williams, 2015)

Example 6, b: A3 theme alternates with the “sway” motion. (Williams, 2015)

Next part of the Fantasia is the second episode where A3 exploded. Example 7 shows an example of this where the solo viola plays a variation of A3. The melodic material is based closely on Tallis`s tune, which we can see on the first three notes of the solo viola melody. They are reflected from the repeated notes which occur in the first two strains and also at the end of Tallis`s hymn. It gives the part a rhapsodic feeling.

After the solo, the piece merges with the sway motion which followed by a sudden statement of A3. This subtheme played by the string quartet in a polyphonic style until the end of the second episode (Example 8).

In the third episode we arrive to the major climax of the work. The “swaying” subject extended and brings to a new melodic path with annotations played by the string quartet (Example 9).

This followed by a section where all instruments begin the exploration and brings the piece to a climax culminating in A3 (Example 10).

Next part in the composition is the fourth episode. The “sway” subject starts again but this time the composer mainly uses two notes (Example 11). The fourth episode is a transition which leading to the Restatement part.

In the Restatement the lower strings begin to pluck Tally’s hymn (A1) which supported with a soft sound played by the Orchestra II. The solo violin and viola duet come in with theme A2, A3 and “sway” (Example 12). Finally, all instruments join together to play the A4 theme (Example 13).

The final part of the piece is Coda where the “sway” theme carried by the string until the work closes with a short benediction (Example 14 a, b).

Vaughan Williams starts the Fantasia by giving the attention to three things, the tritones, the melodic progressions and the Phrygian flat seconds.

Example 14 shows the parallel fifth technique which derives from the Phrygian material. The use of semitone above the pitches I and V in the D major chord with E flat cause contrasting effect.

For shifting tonalities, the composer uses two prominent features in Tallis`s harmony, the semitone and the tritone. For example, between E and I where we can see the exploration of these harmonic features used as roots of chords and as tonalities.

In his outer sections, Vaughan Williams used various elements of the Phrygian mode which he contrasted with elements of the Dorian (occasionally Lydian) in the rhapsodic centre of the piece. Tritones and semitones are also incorporate in the harmonic relationships. For example, while the composer preserves the minor third and seventh of the Phrygian mode, the piece sounds as major second above the tonic and dominant pitches instead of Phrygian minor. Example 15 shows the mode transposed to E.

Example 15 (Pike, 1984)

Example 16 shows the section which leads to the central part. The composer tended to use F# and C# to avoid F♮ and C♮. However, the C♮ of the Phrygian mode appears (Example 17). This example also shows the coincidence of C♮ and F# which gives Lydian sound to the piece.

Vaughan Williams builds on the semitonal relationship between C♮ and C# and extend it by using phrase C (Example 18) from Tallis`s tune in a retrograde inversion (Example 19).

The Dorian mode also appears just after the letter S where the composer retained the minor third and seventh of the Phrygian mode. It gives the piece a major sound instead of the Phrygian minor.

Vaughan Williams also used new ways when he combined melodic figures. For example, just after letter F, figure f (at the top) is placed above the inversion of c. Other example can be found at letter H where the composer used a version of his opening chords (Example 20) transposed down by a minor third. The inversion reflected by the use of the phrases from the original material by using phrase a in the bass line and phrase b in the top line (Example 21).

Reference

Encyclopedia Britannica. 2020. Thomas Tallis | English Composer. [online] Available at: <https://www.britannica.com/biography/Thomas-Tallis> [Accessed 10 June 2020].

Encyclopedia Britannica. 2020. Ralph Vaughan Williams | British Composer. [online] Available at: <https://www.britannica.com/biography/Ralph-Vaughan-Williams> [Accessed 10 June 2020]

Williams, R., 2015. Vaughan Williams – Fantasia On A Theme By Thomas Tallis. Available at: <https://www.youtube.com/watch?v=qIhZbvlCjY0&t=111s> [Accessed 20 June 2020]

Reflective Account

In this reflective account, I will describe my journey of the last part of this course and highlight the parts that I found it particularly interesting and challenging.

Word: 496

Tutor reports

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Posted on April 24, 2021 by aname80

Research point: Notation

Based on the Oxford Companion to Music, the term musical notation can be applied to any formal indication of how sounds and silences intended as music should be produced. (Latham, 2011)

The earliest known example of a complete notated musical composition developed by the ancient Greeks. It is carved on a tombstone in Turkey and it dates around the 1^st century AD. The Byzantine Empire developed the equivalent of the Western “sol-fa” scale and a form of notation based on pitches being higher or lower than the previous one. The alternative to the “sol-fa” method is the letter system (A to G) which indicates the notes of a scale. This letter system is used today.

The earliest notation was developed for plainchant around 800CE and called neumes. It contains a system of lines, dots, and squiggles as a guide to music performance. Squiggles probably derived from the accentual signs used in the Latin language.

Example 1: Gregorian Chant “neumes.” (Bamberger and Disessa, 2003)

By the end of the 10^th century, Guido of Arezzo (c.991-after 1033) introduced the staff with lines and spaces to represent relative pitch, and a clef to give an exact pitch. He also suggested that two different forms of the letter b be used to describe the pitches Bb and B♮ and these are the earliest known accidentals in Western music.

In the 13^th and 14^th centuries, rhythmic modes were invented to define a set of rhythmic patterns. In the Franconian or Mensural notation, the shape of the note defines its relative duration. This was the root of modern notation. Also, the minim is fully accepted as a note value and a system of graphic symbols were introduced to define time signatures.

Example 3: Mensural Notation (Pacha and Calvo-Zaragoza, 2018)

In the 15^th and 16^th centuries, there are several practical issues arose from the new technology of printing onto paper. To solve these problems, open note heads were used. Many details of the use of the modern instrumental music were established. The earliest extensive use of ties, slurs, and ledger lines. From the mid-17^th century, bar lines arranged such a way it matched with regularly recurring accents. Natural sign ♮ is used frequently same as the sharp # and flat b signs. Composers are also use sharp `key signatures ‘as well as the flat ones which was common in the medieval period. In the 16^th century, the tempo markings became consistent.

Reference

Latham, A., 2011. OpenAthens / Sign in. [online] Www-oxfordreference-com.ucreative.idm.oclc.org. Available at: <https://www-oxfordreference-com.ucreative.idm.oclc.org/view/10.1093/acref/9780199579037.001.0001/acref-9780199579037> [Accessed 10 March 2021]

Paterson, J., 1999. History of Music Notation – evolution, printing, specialisation and computers. [online] Mfiles.co.uk. Available at: <https://www.mfiles.co.uk/music-notation-history.htm> [Accessed 10 March 2021]

Bamberger, J. and Disessa, A., 2003. MUSIC AS EMBODIED MATHEMATICS: A STUDY OF A MUTUALLY INFORMING AFFINITY. [ebook] California: University of California Berkeley, p.4. Available at: <https://www.researchgate.net/publication/226679129_Music_as_Embodied_Mathematics_A_Study_of_a_Mutually_Informing_Affinity> [Accessed 10 March 2021]

Pacha, A. and Calvo-Zaragoza, J., 2018. OPTICAL MUSIC RECOGNITION IN MENSURAL NOTATION WITH REGION-BASED CONVOLUTIONAL NEURAL NETWORKS. [ebook] Paris: ResearchGate, p.240. Available at: <https://www.researchgate.net/publication/327962576_Optical_Music_Recognition_in_Mensural_Notation_with_Region-Based_Convolutional_Neural_Networks> [Accessed 10 March 2021]

Posted on April 21, 2021 by aname80

Humanism

Humanism, also known as Renaissance humanism was an intellectual movement that originated in northern Italy during the 13^th and 14^th centuries and later spread through Europe and England. Humanism was using the study of classical texts to alter contemporary thinking, breaking with the medieval mindset and creating something new.

During the 14^th century, humanism strengthened, diversified and spread with Florence remaining the epicentre. The three figures who was responsible to the rise of the humanist movement during this period were Petrarch, Boccaccio and Salutati.

Francesco Petrarch (1304-1374) called the Father of Italian humanism. He believed that Classical learning and Christian spirituality were not only compatible but also mutually fulfilling.

Giovanni Boccaccio (1313-1375) wrote an opus called Teseida (1340-41) which was even more revolutionary. But his most memorable contribution to humanism is the Decameron. The work is considered to be the root of western realism and it is also a monument to Ciceronian humanism. Although the work makes little mention of Classical thought, the tone was even more basic to the humanistic movement. It has an emphasis on the human capacity for self knowledge and willed renewal.

Coluccio Salutari (1331-1406) collected manuscripts which subject was morality and politics. He established principles of textural criticism that would become key elements of the humanistic method.

Cicero (the great Roman orator) was a core example for the humanists. He turns back to secular in his adoption called jibe.

Humanism affected by some humanists who argued that republics surpass the dominant monarchies. Greek also become more common among humanists even if they still prioritised Rome and Latin. One of the example was Lorenzo Valla who pushed for Biblical Humanism to bring people closer to the word of God that had been corrupted.

During this time humanist commentaries and writings were growing in fame and number. Some humanist began to turn away from reforming the world. They focused instead on a purer understanding of the past. Humanist thinkers also began to consider humanity more. They look at humanity as creators, world changers who made their own lives and who should finding themselves instead of trying to imitate Christ.

By the 1500s, humanism was the dominant form of education. The implementation of printing and publication brought new sectors of society under humanistic influence. Humanism was blooming everywhere until the mid 16^th century, when it lost much of its power, as Europe engaged in a war of words, ideas and sometimes over the nature of Christianity.

Reference

Encyclopedia Britannica. 2021. humanism | Definition, Principles, History, & Influence. [online] Available at: <https://www.britannica.com/topic/humanism> [Accessed 5 March 2021]

KRISTELLER, PAUL OSKAR. “HUMANISM.” Minerva, vol. 16, no. 4, 1978, pp. 586–595. JSTOR, http://www.jstor.org/stable/41820353. Accessed 5 March 2021

Posted on April 21, 2021May 25, 2021 by aname80 · 1 Comment

Dissonance in Music

Britannica explains that the dissconance in music is the impression of the tension or clash experienced by a listener when certain combinations of tones or notes are sounded together. (Dissonance | music, 2021)

Dissonance is used for create contrast and change in music. It is also used to drive music forward. The history of dissonance begins in Western music. The first relative dissonance appeared in free organum with more harmonic lines which gave more melodic independence.

By the beginning of the Renaissance period, tonal polyphony was well established and composers were driven by the emotions that music could generate. The major key for this was the use of the tension and release of dissonance and consonance. One of the leading composer was Josquin des Prez who had a more sophisticated attitude toward dissonance. He used suspension for expressive purposes which finally resolved to a consonance. Suspensions arose fom the chords occuring in contrapuntal music. In a suspension one note of the chord is sustained while the other notes change to a new chord. In the new chord this sustained note is dissonant.

Richard Wagner arguably was the first composer to explore dissonance as a compositional form. For example in his opera called Tristan und Isolde the composer used a heavily dissonant chord which immediately invokes a tension in the listener. This type of compositional form became the twentieth century atonality, known as the Tristan Chord.

Igor Stravinsky is also an example of the atonal movement. In his ballet The Rite of Spring he used so divisive dissonance that it caused riot on the first performance.

Baroque composers use dissonance to enhance the color of their compositions. In the second bar of Bach`s Well Tempered Clavier the left hand moves from E, a major 2^nd down to a D.

Throughout the Baroque, Classical and Romantic periods composers used a more subtle dissonance with pedal notes (or pedal points). While the melody moves around, we hear a fast moving series of tension and release statements.

Reference

Encyclopedia Britannica. 2021. Dissonance | music. [online] Available at: <https://www.britannica.com/art/dissonance> [Accessed 2 March 2021]

Encyclopedia Britannica. 2021. Consonance and dissonance | music. [online] Available at: <https://www.britannica.com/art/consonance-music> [Accessed 2 March 2021]

Posted on April 15, 2021April 18, 2021 by aname80

Bach – Brandenburg Concertos No1

Johann Sebastian Bach: Brandenburg Concerto No.1 (Sheet Music) – (Johann Sebastian Bach: Brandenburg Concerto No.1 (Sheet Music), 2014)

Brandenburg Concertos No1 is written around 1721 and it is set in four movements. Uniqueness of this composition is that Bach uses the hunting Horn. The sound of the horns stands out but the composer manages to make them blend into the ensemble using multiple winds. Along with the horn, the violin piccolo seems to draw more attention. Each movement has extraordinary counterpoint that inventively shades and blurs the contrast between the small concertino group and the tutti ensemble. The piece begins with a brisk tempo. The second movement is slow in tempo and a passionate musical sigh. The first oboe and violin piccolo dominate melodically. The strings have a supportive role and the horns are gone completely. At the end of this movement, we can hear a series of dissonant harmonies which leads from d minor to the dominant A Major.

The third movement is back in F Major and an allegro. The violin piccolo is playing the leading role again and the horns are prominent too adding strength to the texture. We can her repeated horn figure throughout the third movement.

This movement has a feeling of finale. A brief adagio interrupt the musical flow than we can hear the reprise of the opening material and a strong return to F Major.

The fourth movement is a little minuet (Polacca) and trio. This arrangement provides timbral and textural contrast as well as gives a grace to the concerto.

Reference

2014. Johann Sebastian Bach: Brandenburg Concerto No.1 (Sheet Music). Available at: <https://www.youtube.com/watch?v=4kI1Ab6_Xfk> [Accessed 22 February 2021]

Posted on April 15, 2021April 18, 2021 by aname80

Telemann – Concerto in E minor for Flute and Recorder

[Hist.Instr.] Telemann: Concerto for Flute & Recorder & Strings in e, TWV 52:e1 ([Hist.Instr.] Telemann: Concerto for Flute & Recorder & Strings in e, TWV 52:e1, 2012)

Georg Philipp Telemann (1681-1767) was a composer from Leipzig and a contemporary of Bach.

Concerto in E minor for Flute and Recorder, TWV 52:e1 written around 1712-1721. It is a Baroque concerto for the flute and recorder in E minor. The combination of these two instruments I find so beguiling as the two sonorities blend beautifully and spar off each other. It gives the piece a unique flavour of looking towards a more classical sound while retaining a very folky pastoral element. Particularly in the first ¾ Largo movement, which consists of the two solo instruments taking turns carrying the melody at first slowly before moving on to arpeggiated figures and a call and response section. The strings and basso continuo plays the underlying chords and marks the beat.

The second movement is an Allegro in Common time which moves at a cheerful pace. It is a very bright and fast-moving section with both the strings and the two soloists playing busy figures.

The third movement is again Largo but in Common time and in E# major played in a jovial and pleasantly lolling manner. The melodies are contrapuntal again with interplay between the flute and recorder with only pizzicato for accompaniment. In the last few bars, the continuo plays some figures while the rest of the instruments hold longer notes.

The fourth and final movement is a Pestro and feels very much like a dance. It starts quite forcefully with all instruments playing in unison and doubled at the octave before the first solo melody joins in with a busy quaver figure. This is followed by some imitation with the repeat of the first part. This is nearly `round` like in its structure. All is then repeated at a louder dynamic and played more forcefully. There are some melodic developments near the end before one last forceful, more accented reiteration played at a faster tempo.

Reference

2012. [Hist.Instr.] Telemann: Concerto for Flute & Recorder & Strings in e, TWV 52:e1. [image] Available at: <https://www.youtube.com/watch?v=0YSXpzuv8GU> [Accessed 21 February 2021]

Posted on April 15, 2021April 18, 2021 by aname80

Scarlatti – Keyboard Sonatas

Scarlatti Sonata K 380 – L 23 (Scarlatti Sonata K 380 – L 23, 2013)

Scarlatti became famous principally for his many keyboard sonatas, which were mostly one movement works in binary form.

Keyboard Sonatas or harpsichord sonatas is a group of 555 sonatas for harpsichord written by Domenico Scarlatti (1685 – 1757) dating from the early 18^th century. In modern performance the sonatas are sometimes performed on the piano.

Sonata in E Major K.380, L.23

The Sonata in E Major K.380, L.23 is one of the most popular of Domenico Scarlatti`s Sonatas. It follows the typical Baroque bipartite scheme such as the first half ends in the dominant and the second half returns to the tonic. This piece clearly shows the Spanish elements that Scarlatti was influenced by. The Spanish flavour represented by the use of ornamentation and sometimes surprising dissonance, reminiscent of the Spanish guitar. This keyboard music was written primarily for the harpsichord. It has an elegant and lyrical melody and it can almost be called pastoral. Scarlatti used different octaves to create the effect of contrast in dynamics and in its structure, he composed long passages.

Reference

2013. Scarlatti Sonata K 380 – L 23. Available at: <https://www.youtube.com/watch?v=Hsa2OQyRIPE> [Accessed 17 February 2021]

Posted on April 15, 2021April 18, 2021 by aname80

Vivaldi – Four Season: Winter

Antonio Vivaldi – Winter (Full) – The Four Seasons (Antonio Vivaldi – Winter (Full) – The Four Seasons, 2021)

Winter – Concerto in f-minor

Allegro non molto
Shivering, frozen mid the frosty snow in biting, stinging winds;
running to and fro to stamp one’s icy feet, teeth chattering in the bitter chill.

Largo
To rest contentedly beside the hearth, while those outside are drenched by pouring rain.

Allegro
We tread the icy path slowly and cautiously, for fear of tripping and falling.
Then turn abruptly, slip, crash on the ground and, rising, hasten on across the ice lest it cracks up.
We feel the chill north winds coarse through the home despite the locked and bolted doors…
this is winter, which nonetheless brings its own delights. (VIVALDI: “Four Seasons” Sonnets texts in Italian & English, n.d.)

The four season is a group of four violin concerti written by an Italian composer Antonio Vivaldi (1678-1741). Each of the violin concerti gives musical expression to a season of the year. The piece written around 1716-1717 and published in 1725 in Amsterdam.

Concerto No.4 in F minor, op.8, RV 297, “Winter”

This piece has three parts. First is Allegro non molto (in F minor). Vivaldi brilliantly reflects the biting cold, gusting wind, trembling bodies and chattering teeth on the violin. The first notes describe with a smooth and persistent rhythm the slow fall of the snowflakes. The violins reflect the teeth chattering caused by the intense cold. Then we listen to a gust of wind that shakes the fall of the snowflakes in the first violin solo. At the end of this part, little by little the force of the music increases and end with a great theme.

The second movement is called Rain and is Largo (in Eb major). The music excellently reflects a rainy winter day. We can imagine as we are sitting in our house next to the fireplace while outside is very cold, windy and rainy. While the violin solo plays a beautiful melody, which describes the warm and cosy home with a feeling of happiness, the rest of the instruments represents the rhythmically falling rain.

Third movement is Allegro on F minor. It begins with a violin solo than the orchestra appears imitating a smooth burst of wind that gradually grows until reaching great force, and the terrible winter storm arrives. The snow drifts of the North are interpreted by the violin solo and the orchestra, finishing in a great and beautiful ending.

Reference

2010. Antonio Vivaldi – Winter (Full) – The Four Seasons. Available at: <https://www.youtube.com/watch?v=TZCfydWF48c> [Accessed 16 February 2021]

Baroquemusic.org. n.d. VIVALDI: “Four Seasons” Sonnets texts in Italian & English. [online] Available at: <https://www.baroquemusic.org/vivaldiseasons.html> [Accessed 16 February 2021]

Posted on July 9, 2020May 25, 2021 by aname80 · 1 Comment

Renaissance composers William Byrd

William Byrd of Stondon Place, Composer and Musician (1558–1625 ... — William Byrd of Stondon Place, Composer and Musician (1558–1625)
*(Rushbury, n.d.)*

William Byrd (1539 or 1540 – 1623) was an English organist and composer of the Shakespearean age. He developed the English madrigal and his virginal and organ music elevated the English keyboard style.

There is little information can be found about Byrd`s early life in London. He was a pupil of the organist Thomas Tallis. His first position was at Lincoln Cathedral in 1563 as an organist. In 1572 he returned to London to take a position as an organist at the Chapel Royal. He shared this position with his teacher Thomas Tallis. His personal and professional relationship with Tallis had important consequences. In 1575 Elisabeth I gave permission for a joint monopoly for importing, printing, publishing and sale music. Their first work was a collection of Cantiones sacrae dedicated to the queen. From the 34 motets, Tallis contributed 16 and Byrd 18. In 1577 Byrd moved to Harlington, Middlesex with his family. After Tallis death in 1585, Byrd published four collections from his own work: Psalmes, Sonets, & Songs of Sadnes and Pietie (1588), Songs of Sundrie Natures (1589), and two further books of Cantiones sacrae (1589 and 1591). In 1591 a manuscript volume of Byrd’s keyboard music was prepared and with many more keyboard pieces collected into an early 17^th-century volume called Fitzwilliam Virginal Book. A well-known Catholic, Francis Tregian copied this book during his imprisonment in the Fleet Prison. Around 1593 Byrd moved with his family to Stondon Massey, Essex. The beginning of James I reign, the Catholic’s popularity grew. Probably this inspired Byrd`s next three publications, the three masses and two books of Gradualia(1605 and 1607). He provided a basic liturgical repertory comprising music for the Ordinary (for example the unvarying parts of the mass) and for the Proper (the parts of the mass that vary according to the day or the feast) of all main feast. He dedicated both books of Gradualia to prominent Catholics who ennobled during the first years of James`s reign. Byrd`s another publication was the Psalmes, Songs and Sonnets of 1611. It contained English sacred and secular music.

His virginal and organ music influenced other English composers, such as John Bull, Giles Farnaby, Orlando Gibbson and Thomas Tomkins. In music, he also played an important role of pioneering the development of the freely composed fantasia. Fantasia became the most important form of Jacobean and later composers.

Byrd composed both religious and secular music including masses, motets, polyphonic songs and instrumental works for keyboard and consorts. (Noble, 2020) (Kerman and McCarthy, 2014)

I choose two pieces from Byrd. The first is a secular music called the Pavan and 2 Galliards in A minor “The Earle of Salisbury”.

William Byrd Pavana The Earl of Salisbury and two Galliards (Byrd, 2014)

While I was listening this beautiful piece, I can imagine it as a song with accompaniment. It is in binary form and the contrapuntal texture is simple but effective. The melody is noble and dignified yet rhythmic. The first galliard has skipping rhythm at the beginning of the bar and the second galliard has an extra section as well as rhythmically more complex. There is an interesting passage can be heard in the second half of the first part, where two voices emerge with additional falling motifs. Nowadays, this piece widely played as a classical guitar piece and also popular in folkish circles.

The second piece was a sacred music from Byrd called Ave Verum Corpus.

Ave Verum Corpus – William Byrd (Byrd, 2013)

As I was listening this piece, I can imagine a Church and the representation of the Catholic religion. This motet was written for four voices (SATB) and the text was Latin which clearly heard throughout the piece. The composer did not use any accompaniment. The music is simple but complex and dissonant. Byrd mixes the style with each phrase instead of using a 4-part polyphonic form throughout the piece. This allows the listener to understand the text while emotionally responding to the music.

References

Noble, J., 2020. William Byrd | English Composer. [online] Encyclopedia Britannica. Available at: <https://www.britannica.com/biography/William-Byrd> [Accessed 30 June 2020].

Kerman, J. and McCarthy, K., 2014. Openathens / Sign In. [online] Www-oxfordmusiconline-com.ucreative.idm.oclc.org. Available at: <https://www-oxfordmusiconline-com.ucreative.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000004487> [Accessed 31 June 2020]

Byrd, W., 2014. William Byrd Pavana The Earl Of Salisbury And Two Galliards. Available at: <https://www.youtube.com/watch?v=NflGtpKVpjg> [Accessed 31 June 2020]

Byrd, W., 2013. Ave Verum Corpus. Available at: <https://www.youtube.com/watch?v=SvVN54_FEHM> [Accessed 31 June 2020]

Rushbury, H., n.d. William Byrd of Stondon Place, Composer and Musician (1558–1625). [image] Available at: <https://artuk.org/discover/artworks/william-byrd-of-stondon-place-composer-and-musician-15581625-3087> [Accessed 9 July 2020]

Posted on July 9, 2020April 18, 2021 by aname80

Music Printing

Music printing is an art that faces extinction. The techniques used for printing music in the Western world have varied through time…

In the early Middle Ages (c.800-1450) only the clergy and a few other people learned to read and write. As a result, most of the music notation written and decorated by hand in the illuminated manuscripts. The writing and decoration were either Gothic or Roman notation.

Illuminated Manuscript — Decorations – Elaborate decoration was typical of the time in illuminated manuscripts

By the late 15^th century a technique evolved for printing music which called woodblock printing. The process contained writing or drawing music on a piece of wood in reverse. Reversing music was enabled to print a mirror image. The next process was carving the wood around the symbols, which made them elevated. The completed woodcut than was inked, pressed on paper or vellum, and left to dry. The quality of music which printed by this technique depend from the woodcutter capability, improper inking, and printing of the woodcut.

Woodblock Manuscript 1 – Gafurius: Practica Musicae, a closer look at the woodblock (Practica Musicae, 1496)

In 1450, Johann Gutenberg invented the printing press. With moveable type every note, line, beam, etc. had to be assembled into a “puzzle.” The correct notes, lines, and other music symbols were lined up in the correct order of the written music. The music had to be assembled correctly from left to right and in reverse. After this, the types were locked together, placed on the printing press, inked, and pressed onto paper. The workers had to avoid errors, or they do not get paid for correction. Now it was possible to sell and distribute copies of music to more people.

Printing Forme – Assembled music type with a printing.

The next technique used to print music was engraving. The process of engraving was to plan out the lines, spaces, and layout on paper where the page turns are also determined. Some of the music publishing companies such as G. Henle Verlag continued to engrave music by hand until the year 2000.

Music Engraving - A negative of the finished metal plate. — The engraving plates were then imprinted onto paper using a printing press.

In 1796 Alois Senefelder invented the process of lithography. The process contained drawing an image, text, or music on a smooth piece of limestone with an oil-based ink. Next, acid was poured onto the stone to burn the image onto the surface. This followed by water soluble solution such as gum Arabic which was sticking only to the non-oily surface and sealing it. The water adhered to the gum Arabic but repelled from the oily ink which made printing images possible. As technology advanced, lithography evolved into other processes such as chromolithography, photolithography, and microlithography.

Lithography did not suit for every purpose so printing block were invented. They were more complex and sophisticated. It was set together with all the text and special music type, than the stereotype cast was taken to print. Finally, these stereotype cast was stored for future use.

The appearance of the camera changed music again. Photo-lithography became a practical process to copy music which involved transferring a photo image to a stone or metal plate using chemicals and then treated to produce a printing surface.

Another method for printing music was the Halstan Process which created by Harold (Hal) Smith and his brother Stanley (Stan) Smith. First, the music was written out in blue pencil about four times its original size. After this, black ink was used to outline the blue markings than a photo was taken. The blue pencil markings did not appear on the photo and also the photo reduced in size. The proof was then used to duplicate the music.

Stencils also used for music printing. Although it was not popular the stenciled copy could be used to produce more copies using other methods such as lithography or photography. The process was slow but it provided consistency in the size of the notes, clefs etc.

NoteMasterTM — The Notemaster™ from the early 1980s

People also used rubber stamps to print music. The stamps were dipped in ink and stamped onto an already printed staff paper.

Music rubber stamp collection from the 1950s with ink pad. (Private collection of the author.) — Music rubber stamp collection from the 1950s with ink pad

The next development was the Letraset which was a dry transfer. The system that used for music called Notaset. It involved transferring characters that were fixed on transparent material by rubbing them down onto staff paper. Then a photograph was then taken and printed onto a zinc plate to make multiple copies.

Characters begin rubbed down onto pre-determined positions. — Characters begin rubbed down onto pre-determined positions

During our history, handwritten music was always present. There are several books and instruction manuals about how to copy music by hand.

Professional, high-quality, handwritten music suitable for publication. — Professional, high-quality, handwritten music suitable for publication

In the 19^th century, music typewriters were developed but they only become popular in the mid-1900s. There are several different models invented but there were two different concepts became standard. One was the Keaton Music Typewriter which looked quite different from a regular typewriter as it had two keyboards (one was moveable and one stationary). The other models were like a regular typewriter, only musical symbols employed instead of letters. Staff paper or blank paper was slipped in the carriage and the keys struck. After the music was printed on a music typewriter, the original was photographed or copied to make the extra copies necessary to distribute and sell.

With the advances in technology, many programs and software developed for music. The problem was that the early computers gave little visual feedback. The next development was the ILLIAC which was able to read the coded paper created by Musicwriter. An output paper was again placed in the Musicwriter and correctly formatted to print the music. With the improvement of the desktop computer, music notation developed again. In 1976, Armando dal Molin developed the MusiComp which used specifically for notating music. It consisted of two keyboards, left keyboard to set the pitch and the right keyboard which contained music symbols and letters. The music appeared on the screen, and the machine could store up to 30 pages of music in a microcassette. The Musicomp was used to provide ready-to-publish scores for several publishing companies. In the 1980s MIDI (Musical Instrument Digital Interface) appeared which allowed musicians to input music into a computer by connecting the computer to a music keyboard through MIDI cables. The next program was the Mockingbird which was capable of playing the music back and printing with a laser printer. The next step was the Professional Composer and it was successful as it used a mouse and several palettes on the computer screen to choose different symbols. In 1988, Phil Farrand developed Finale Version 1.0 for Coda Music Software. Music can be entered using a computer keyboard and mouse, or a MIDI keyboard. Music can be scanned, MIDI files can be imported and exported, and music can be played back using MIDI or samples from the Garritan library. The scores can be printed, or the audio can be exported to aif, wave, or .mp3. Videos and music can be synchronized in Finale as well. In 1993 Sibelius created. It can be used to create, edit, and print musical scores. It allows scores to be played back or turned into MIDI or audio files, and also to create a CD. In addition, scores can be synchronized to video or to audio. It has the ability to run and manage multiple copies of the software on a network and also a third-party software can be used to scan and create a Sibelius score from printed music. In 2015 StaffPad developed which recognizes handwritten music that is created directly on the tablet and converts it to a score. It allows the composer or arranger to edit, playback, print, and share the music.

With the development of score writer computer programs, music writing and publishing became easier. The copies became more accurate and accessible for a wide range of people.

Reference

Musicprintinghistory.org. 2020. Music Printing History. [online] Available at: <https://www.musicprintinghistory.org/> [Accessed 5 July 2020]

Aname

Category: Part 5

The category containing all posts for part 5.

Assignment 5 Final

Research point: Notation

Humanism

Dissonance in Music

Bach – Brandenburg Concertos No1

Telemann – Concerto in E minor for Flute and Recorder

Scarlatti – Keyboard Sonatas

Vivaldi – Four Season: Winter

Renaissance composers William Byrd

Music Printing