Oxford History of Western Music

Richard Taruskin was late Professor Emeritus of Music Scholarship at The University of California, Berkeley. He was the 2017 recipient of the Kyoto Prize in Arts and Philosophy. His other works inlcude Text and Act (Oxford University Press, 1995), Stravinsky and the Russian Traditions (University of California Press, 1996), and The Danger of Music and Other Anti-Utopian Essays (University of California Press, 2009) Christopher H. Gibbs is the James H. Ottaway Jr. Professor of Music at Bard College, Co-Artistic Director of the Bard Music Festival, and Executive Editor of The Musical Quarterly. His other works include The Life of Schubert (Cambridge University Press, 2000), Franz Liszt and His World (Princeton University Press, 2006), and Franz Schubert and His World (Princeton University Press, 2014).

• Introduction: Reading MusicAcknowledgementsSuggestions for using this book Part I Ancient and Medieval MusicChapter 1: Music from Antiquity to Gregorian Chant: C. 1200 BCE-750 CEMusic in the Bible and Ancient GreeceAncient Greek Theories of MusicDifficulties in Understanding Early NotationsMusic of the Early Christian ChurchThe Legend of Pope Gregory IThe Development of the Liturgy: The OfficesProper and Ordinary of the MassWriting It Down: NeumesGuido of ArezzoSolmizationChurch ModesPsalmody in Practice: The Office and the MassThe Structure of the MassFrankish Additions to the Chant RepertoryHildegard of BingenOther New Frankish Musical FormsHymnsTropesLiturgical DramasMarian AntiphonsTimelineTracklistStudy QuestionsKey TermsChapter 2: Secular Music in the Middle Ages: c.1100-1300Notated Music and the Persistence of Oral TraditionsTroubadoursPerformance and Oral CultureMusic for the Elites versus Music for the PeopleThe Trouvères in Northern FranceAdam de la HalleThe Geographic Spread of the Troubadour and Trouvère TraditionsCantigas de Santa MariaMusical Instruments in the Middle AgesTimelineTracklistStudy QuestionsKey TermsChapter 3: The Emergence of Polyphony and Cathedral Music in the Middle AgesPolyphony: Music for More Than One VoiceOrganum and Its ModificationsOrganum and DiscantPolyphony in Aquitanian Monastic CentersMusic in Parisian Cathedrals and UniversitiesNotre Dame PolyphonyMetrical MusicOrganum and Conductus with Three and Four VoicesThe Motet: Music for an Intellectual and Political Elite"Franconian" or Mensural NotationThe Late Thirteenth-Century MotetTimelineTracklistStudy QuestionsKey TermsChapter 4: The Ars Nova: Musical Developments in the Fourteenth CenturyArs Nova NotationMusic about musicThe Roman de FauvelIsorhythmic TechniqueGuilluame de Machaut: Poet and MusicianMachaut and the Art of Courtly SongMachaut and the Isorhythmic MotetMachaut's Dance SongsThe Great Schism and Machaut's Messe de Nostre DameCanonsA New Complexity: Ars SubtiliorTrecento Vernacular Music in ItalyTwo "Wild Bird" Madrigals by Jacopo da BolognaFrancesca Landini and the Ballata CultureThe Crowning Era of the Ars Nova MotetGuillaume Du Fay's Nuper rosarum floresThe Problem of PeriodizationTimelineTracklistStudy QuestionsKey Terms Part II The RenaissanceChapter 5: Music in Europe: Towards an International Style, 1300-1500The Influence of English MusicSurviving English ManuscriptsThe English Kings and the Hundred Years WarThe Influence of John Dunstable on French MusicGuillaume Du Fay and Fauxbourdon TechniqueDu Fay and BinchoisThe Spread of Music for the EliteThe Cyclic Mass in the RenaissanceThe Growth of Four-part HarmonyLater "Caput" MassA Summit of Technical VirtuosityThe Man at ArmsThe Importance of "Pervading Imitation"High, Middle, and Low Musical StylesHigh Church Music in EnglandMoltetti Missales in Milan and Loyset CompèreSecular Love SongsInstrumental MusicTimelineTracklistStudy QuestionsKey TermsChapter 6: Church Polyphony in the Late Fifteenth and Sixteenth Centuries: c. 1475-1600Josquin des Prez and the HumanistsChanges in Music TheoryJosquin's CareerA Model Masterpiece: Josquin's Ave MariaJosquin's Influence of Other ComposersThe "Perfect Art" of the RenaissanceAdrian Willaert and the Post-Josquin GenerationThe New Instrumental MusicGiovanni Pierluigi da PalestrinaPalestrina Continues the TraditionPalestrina's Missa Papae Marcelli and the Council of TrentPalestrina's StylePalestrina's Textbook CounterpointWilliam Byrd in EnglandMusic under Elizabeth IByrd's Music of Religious DefianceWhy Musical Styles ChangedTimelineTracklistStudy QuestionsKey TermsChapter 7: Religious and Secular Music of the Sixteenth CenturyThe Protestant ReformationMusic in the Lutheran ChurchSinging Together: The Lutheran ChoraleThe Catholic Response: The Counter-ReformationGrand Polychoral and "Concerted" MusicGiovanni Gabrielli and the Art of OrchestrationVernacular Music in the Sixteenth CenturyVernacular Song in ItalyThe "Parisian" ChansonOrlando di Lasso: Cosmopolitan ComposerThe Literary Revolution: Music's Relation to WordsThe Return of the MadrigalLater Italian MadrigalistsClaudio MonteverdiCarlo GesualdoMusic for the EyesThe English MadrigalThe Three W's: Ward, Wilbye, and WeelkesTimelineTracklistStudy QuestionsKey Terms Part III The Baroque EraChapter 8: Humanism and the Birth of Opera: 1570-1640The Baroque EraHumanism and the Greek PastMonody and the Representational StyleThe Intermedio: An Allegorical Pageant with MusicThe Triumph of MonodyMadrigals and Arias RevisitedThe Birth of OperaEstablishing Operatic Conventions: "Heard" and "Unheard" MusicMonteverdi's Operas: From Court Celebrations to Commericial EntertainmentsL'OrfeoMonteverdi's Later Career in VeniceOpera and PoliticsMonteverdi's Final Opera: L'incoronazione di PoppeaTimelineTracklistStudy QuestionsKey TermsChapter 9: Music in Italy, Germany, France, and England: 1600-1740The Rise of Instrumental MusicMaster Organists: Frescobaldi and SweelinckThe Chorale Partita and Chorale ConcertoGermany, the Thirty Years War, and Heinrich SchützSchütz Returns to a Germany at WarItalian Oratorio and CantataBarbara Strozzi: Performer and ComposerWomen in Music: The Stories that are ToldFrench Opera: Tragédie LyriqueDrama as Court Ritual: Lully's AtysJean-Philippe RameauThe Keyboard "Portraits" of Francois CouperinTimelineTracklistStudy QuestionsKey TermsChapter 10: English Music, Italian Opera Seria, and the Concerto StyleEnglish Music: Masques and Consort MusicPurcell's Dido and AeneasOpera SeriaReforming OperaMetastasio and the Role of the LibrettistThe Power of the Opera Singers and Changing ValuesCorelli and the Development of the ConcertoAntonio VivaldiMusic Imitating Nature: Vivaldi's The Four SeasonsTimelineTracklistStudy QuestionsKey TermsChapter 11: Class of 1685: Johann Sebastian Bach and George Frideric HandelBach and Handel's Changing ReputationsBach's Life and CareerBach's Instrumental MusicThe Chorale PreludeThe FugueThe Well-Tempered ClavierThe Baroque Dance Suite: From France to GermanyThe Brandenburg Concertos: Stylistic HybridsBach's Vocal WorksCantatasPassionsCursed QuestionsHandel's Life and CareerHandel's MusicInstrumental MusicOperasOratoriosMessiahHandel's "Borrowing"TimelineTracklistStudy QuestionsKey Terms Part IV The Classical EraChapter 12: The Mid-Eighteenth Century: From Bach's Sons to the Comic StyleForefather of the New Style: Domenico ScarlattiBach's SonsThe Music of Wilhelm Friedmann BachC. P. E. Bach's Expressive MusicThe London Bach: Johann ChristianIntermission PlaysPergolesi's La Serva PadronaThe "War of the Buffoons"Operatic InnovationsThe Reform Operas of GluckMusic and Culture in the EnlightenmentTimelineTracklistStudy QuestionsKey TermsChapter 13: Concert Life Lifts Off, 1725-1810: Franz Joseph HaydnThe Birth of the SymphonyModern Concert Life GrowsThe Mannheim Orchestra: "An Army of Generals"Joseph Bologne, Chevalier de Saint-GeorgesJoseph HaydnHaydn's Years with the Esterházy FamilyHaydn's Symphony No. 45: The "Farewell" SymphonyHaydn's String Quartets and ConcertosThe Symphony Composer in LondonSonata FormHaydn's Symphony No. 104, "London"Haydn's Final YearsTimelineTracklistStudy QuestionsKey TermsChapter 14: The Composer's Voice: Mozart (1756-1791)Mozart's Early OperasMusical Portraits in OperaThe "Da Ponte" OperasMozart's Two Last OperasMozart's SymphoniesThe "Symphonic" Concerto Is BornThe Piano Concerto in G Major, K. 453Domestic GenresSacred Music and the RequiemMozart and the Emergence of RomanticismThe "Beautiful" and the "Sublime"TimelineTracklistStudy QuestionsKey Terms Part V Early RomanticismChapter 15: Beethoven (1770-1827)The Religion of ArtEarly Life and WorksEarly LifeThe Move to ViennaA New Challenge: Beethoven's Loss of HearingThe Middle PeriodThe Mighty Eroica SymphonyBeethoven's Opera FidelioThe Fifth Symphony and Fate"More Expression of Feeling than Tone Painting": The Pastoral SymphonyConcert Life in Beethoven's ViennaRising Fame and Decreasing ProductivityLate BeethovenThe Ninth SymphonyInwardness: The Late String QuartetsTimelineTracklistStudy QuestionsKey TermsChapter 16: Opera in the Age of Rossini, Bellini, Donizetti, and Weber: 1810-1850The Popularity of Gioachino RossiniRossinian Conventions: The OvertureImbroglio: The Comic FinaleThe Serious AriaVincenzo Bellini and Bel CantoGaetano DonizettiPauline Viardot and the Rise of the DivaGerman Romantic Opera: Carl Maria von Weber's Der FreichützNationalismFolk Song, Folklore, and Folk TalesTimelineTracklistStudy QuestionsKey TermsChapter 17: Private Art: Franz Shubert and InwardnessSchubert: A Life in ArtSchubert's Health CrisisWhat Contemporaries Knew of Schubert's MusicThe Elevation of the LiedLyric and Ballad: Goethe's "Heideröslein" and "Der Erlkönig"Schubert's Settings of GoetheSchubert's Piano Character PiecesSchubert's Later WorksThe "Unfinished" SymphonyFollowing BeethovenSchubert's Last SongsTimelineTracklistStudy QuestionsKey TermsChapter 18: Romantic Spectacles: From Virtuosos to Grand Opera: 1800-1850The Devil's Violinist: Niccolò PaganiniPaganini's Caprices"The Paganini of the Piano": Franz LisztTransforming Music through ArrangementsThe Lisztian ConcertSpectacle on the Stage: French Grand OperaDaniel-François-Esprit Auber's La muette de PorticiGiacomo MeyerbeerMeyerbeer's Contested ReputationTimelineTracklistStudy QuestionsKey TermsChapter 19: Music and Literature: Berlioz, Mendelssohn, and Schumann, 1830-1850Hector BerliozBerlioz's Fantastic First SymphonyThe Orchestration of the FantastiqueTracing the Idée Fixe through the FantastiqueThe Initial Reception of the Symphonie fantastiqueThe Prodigious MendelssohnThe Concert OvertureMendelssohn's Paulus and Civic NationalismNationalism Takes a Racial TurnSchumann and LiteratureThe Influence of Literature on Schumann's MusicSchumann's "Year of Song"Schumann's Last YearsGenius Restrained: Fanny Mendelssohn Hensel and Clara Wieck SchumannTimelineTracklistStudy QuestionsKey TermsChapter 20: "Outsiders" in the Romantic Tradition: Chopin, Gottschalk, and Glinka, 1820-1860The Genius of ChopinChopin's Career: From Warsaw to ParisThe Culture of the SalonChopin's Music for the SalonThe Chopinesque MiniatureChopin's Mazurkas and BalladesAn American Virtuoso: Louis Moreau GottschalkRussia: The NewcomerNational Markings and Folk TunesMikhail GlinkaAn Education in Italy and GermanyGlinka's A Life for the TsarTimelineTracklistStudy QuestionsKey Terms Part VI Late RomanticismChapter 21: Musical Politics in the Mid-19th CenturyFranz Brendel and the Dialectic of HistoryThe New German SchoolLiszt's Symphonic PoemsLiszt's Les PréludesThe Meaning of Les Préludes"The Music of the Future"Eduard Hanslick and Absolute MusicThe Concerto TransformedConcertos by Mendelssohn, Schumann, Liszt, and BerliozTimeline TracklistStudy QuestionsKey TermsChapter 22: Richard Wagner and Giuseppe Verdi: Class of 1813Art and Revolution: Wagner's Early CareerA Union of the ArtsFrom Theory into Practice: The Ring of the NibelungWagnerian LeitmotifsWagner's Theories on Words, Orchestra, and TheaterThe Ultimate Experience: Tristan und IsoldeTroubling Parallels between Wagner's Life and ArtWagner's Final Opera: ParsifalVerdi: Upholding the Italian TraditionEarly VerdiStirrings of Revolution: The Struggle for a Unified ItalyTragicomedy in the Shakespearean MannerA Trio of MasterpiecesIl trovatore and La traviataRigoletto: Opera as Modern DramaVerdi in RetirementVerdi's Last Opera: FalstaffTimelineTracklistStudy QuestionsKey TermsChapter 23: Music in Eastern Europe and Russia: 1825-1895Bedrich Smetana: Czech ComposerEarly Life and WorkTravels AbroadReturn to PragueSmetana's Má vlast and His Later OperasRussian Musical NationalismA New Russian MusicModest Musorgsky's RealismBoris Godunov and Russian HistoryThe Coronation SceneRevising Boris GodunovPyotr Ilyich TchaikovskyTchaikovsky and 19th Century Russian SymphoniesFate in Music: Tchaikovsky's Fourth SymphonyTchaikovsky's Life versus His ArtTimelineTracklistStudy QuestionsKey TermsChapter 24: The Revival of the Symphony: 1875-1900New Halls and New OrchestrasThe Development of the Classical Canon"New Paths": Johannes BrahmsBrahms's Symphonic AttemptsBrahms's Choral and Chamber MusicBrahms Looks to the Past and to HungaryBrahms's First SymphonyThe Symphony as Sacrament: Anton BrucknerThe Czech Master: Antonín DvorákDvorák in AmericaThe "Boston School" and Amy BeachSymphonies in FranceTimelineTracklistStudy QuestionsKey TermsChapter 25: Opera of the Later 19th Century: 1850-1900Stereotyping the Other: "Orientalism"Bizet's CarmenRussian OrientalismOpéra LyriqueOperettaJacques Offenbach and French OperettaJohann Strauss II: The Waltz King and Viennese OperettaEngland's Gilbert and SullivanThe Spanish ZarzuelaVerismoInnovation and Popularitt - "Repertory" versus the "Canon"The Operas of Giacomo PucciniTimelineTracklistStudy QuestionsKey Terms Part VII The Twentieth Century to Post-warChapter 26: Early Modernism: Mahler, Strauss, and Schoenberg (1890-1918)The Birth of ModernismVienna at the Turn of the CenturyMaximalismGustav Mahler: Conductor and ComposerMahler's LiederFrom Symphonic Poem to First SymphonyMoving Beyond Program MusicMahler's Middle PeriodMahler's Late WorksRichard Strauss: Radical ModernistMaximalizing Opera: Strauss's SalomeArnold Schoenberg: The Next GenerationA New Synthesis of Wagner and BrahmsSchoenberg's ExpressionismThe "Emancipation of Dissonance"The Monodrama ErwartungAt the Opposite Extreme: Schoenberg's Atonal MiniaturesSchoenberg's Pierrot lunaireTimelineTracklistStudy QuestionsKey TermsChapter 27: Modernism in France: 1870-1930Erik Satie: Escaping the Shadow of WagnerClaude Debussy: Searching for a New Harmonic FreedomEarly YearsImpressionism and SymbolismPelléas et Mélisande"Essentially French": Gabriel Fauré and Maurice RavelMaurice RavelNew Possibilities for WomenThe Rebirth of BalletStravinsky's The Firebird and PetrushkaThe Rite of SpringScandalized Reactions to The Rite of SpringTimelineTracklistStudy QuestionsKey TermsChapter 28: Nationalism in Music: 1890-1930Finland's Jean SibeliusEngland: Elgar, Coleridge-Taylor, and Vaughan WilliamsThe Allure of Spain: Manual de FallaFolk and Modernist Synthesis: Béla BartókAdopting Folk Traditions to Modern MusicModernism in Eastern Europe: Karol Szymanowski and George EnescuThe Oldest Modernist: Leos Janác ekAlexander Scriabin: From Expression to RevelationScriabin's MysteriumCharles Ives: American ModernistReactions to Ives's MusicThe Concord SonataNostalgia in Ives's Music: Three Places in New EnglandThe Johnson Brothers' "Lift Every Voice and Sing"The Nationalists' LegacyTimelineTracklistStudy QuestionsKey TermsChapter 29: Neoclassicism and Twelve-Tone Music: 1915-1950The First World War and Its Impact on the ArtsNeoclassicismStravinsky's Neoclassical PathThe Music of Stravinsky's OctetStravinsky on his OctetArnold Schoenberg's Twelve-Tone TechniqueThe Road to Twelve-Tone MusicThe Rules of Twelve-Tone MusicAlban Berg's Twelve-Tone RomanticismAnton Webern's Structural RigorTimelineTracklistStudy QuestionsKey TermsChapter 30: Music Between the Wars: 1920-1940Popular Music and Classical Composers: Ragtime, Blues, and JazzJazz's Impact on French MusicIn Search of "Real" American MusicAaron Copland in ParisGeorge Gershwin and Popular MusicDuke EllingtonSurrealism in MusicSatie's ParadeFurther Forays in French Surrealism: Les SixAmerican SurrealismMusic in Germany Between the WarsAlban Berg's WozzeckMusic for Political ActionFrom Vienna to Hollywood: Operatic Techniques in Film ScoresTimelineTracklistStudy QuestionsKey TermsChapter 31: Music and Totalitarianism in the Soviet Union, Italy, and Germany 1920-1945Totalitarianism and MusicThe Rise of the Soviet UnionMusic in the Soviet UnionThe Doctrine of Socialist RealismDmitry Shostakovich's Troubled Life and CareerShostakovich's Fifth Symphony: Capitulation or Hidden Critique?Shostakovich's Later WorksSergey Prokofiev's Return to His HomelandItalian FascismArturo Toscanini and Music Making in the New ItalyMusic in Nazi GermanyThe Flight to FreedomCarl Orff and Youth CultureShades of Gray: Hartmann, Webern, and StraussTimelineTracklistStudy QuestionsKey TermsChapter 32: Music and Politics in America and Its Allies: 1930-1950Ultra-modern ComposersEdgard VareseSplitting the Semitone: Microtonal MusicNew Sounds, New Instruments, New TuningsThe American Left and MusicAaron Copland's"American" MusicCarlos Chavez and Silvestre Revueltas in MexicoAmerican Patriotic WorksA Blooming of American SymphonySamuel Barber and Sergey RachmaninoffOpera in MidcenturyBenjamin BrittenA Modern Antihero: Britten's Peter GrimesBritten on "The Composer's Duty"Olivier Messiaen: "The Charm of Impossibilities"Messiaen's Quartet for the End of TimeFaith, Nature, Color, and RhythmTimelineTracklistStudy QuestionsKey Terms Part VIII Post war to presentChapter 33: Music in the Aftermath of World War II: 1945-1970The Aftermath of World War IIThe Revival of SerialismToward Total Serialism: Olivier Messiaen's Mode de valeurs et d'intensitésThe Darmstadt SchoolConversions to SerialismAmerican Academic MusicIndeterminacy: John Cage and the "New York School"Music for Prepared PianoSilence"Permission": Cage's InfluenceMorton Feldman: Preserving the Avant-gardeElectronics: An Old Dream Comes TrueMusique Concrète versus Elektronische MusikThe New Technology SpreadsElectronics and Live MusicMusic in History: Elliott Carter"Who Cares if You Listen?"TimelineTracklistStudy QuestionsKey TermsChapter 34: Change in the Sixties and Seventies: Rock, Minimalism, and The Mixing of Classical and Popular MusicThe Revolutionary SixtiesThe Music of Youth: Rock 'n' RollThe British Invasion: The BeatlesThe Influence of RockThe Rise of MinimalismLa Monte YoungTerry Riley's In C"Classical" Minimalism: Steve ReichPhase MusicMusic for 18 MusiciansPhilip GlassEinstein on the BeachThe Impact of MinimalismThe Spiritual MinimalistsTimelineTracklistStudy QuestionsKey TermsChapter 35: "Many Streams": Millennium's End, 1970-PresentCompeting Visions for MusicPostmodernismCollage and Pastiche: Luciano Berio and George RochbergPasticheAcross Time and Space: George Crumb and Frederic RzewskiThe Neo-RomanticsAmerican Neo-RomanticsEuropean Neo-RomanticsThe Avant-Garde ContinuesThe Digital RevolutionPerformance ArtThe Death of Classical Music and the Revival of OperaJohn Adams and Nixon in ChinaA New SpiritualityTimelineTracklistStudy QuestionsKey Terms Appendix: Structure and Text of the MassNotesGlossary Further Reading Index