28.06.2017 @ 22:52 Education » Literary

A History of Musical Style

English | 608 pages | EPUB | 9 MB
Style — the distinctive manner of presentation, construction, and execution in any art — is a topic of primary importance in music history. This highly regarded text by noted musicologist Richard Crocker (University of California, Berkeley) takes a much-needed fresh look at the subject and attempts to reshape some basic ideas in the light of modern research. Seeking the reasons for stylistic change within the history of style itself (rather than in the history of men or of ideas), this enlightening account shows how music, growing out of its own past, has shaped its own development.

Professor Crocker's exceptionally clear and systematic presentation enables students to easily follow the evolution of Western musical style from Gregorian Chant (ca. 750) to the atonal music of the mid-20th century. The book stresses the continuity of basic musical principles over long periods of history, while it explores in detail moments of high stylistic achievement and the composers who exemplified them.

Drawing of the earliest written records, Crocker begins his description and analysis of Western music's changing style with a discussion of Frankish Gregorian Chant, laudes and melismas, and polyphony — the leading medium of musical development after 1150. The author traces the progression of new polyphonic forms from the Parisian motet of the 13th and 14th centuries through Italian song forms to the Franco-Flemish style of the 15th and 16th centuries. This sweeping survey then documents the emergence of the Classic Style after 1550, embodied in the music of such composers as Palestrina and Byrd, moves through new Italian dramatic styles (1600–1650) and on to the harmonic and polyphonic contributions of the 17th- and 18th-century masters.
With perception and insight, Crocker traces the creation of the German symphonic style, epitomized in the works of Mozart, Beethoven, and Brahms, and deals with the parallel development of operatic style. An illuminating examination of new styles after 1900, including the serial music of Schoenberg, Webern, and Berg, concludes this exhaustive study.

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Hans Irgend Blumenfeld

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21.04.2014

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Hans Irgend Blumenfeld	status	registered	comments	rating
Hans Irgend Blumenfeld	Resident	21.04.2014	1589	+330

I love specific books. I can summarize it more directly and clearly.

Style comes from greek 'Styllus', that was a sharp tool of ancient greece, which served to cut anything, clothes, papers, people, well, works almost like our scissors, so with this tool things were shaped to the new, it's the same as the word 'Design' used today.

For centuries the Greek etymology is used in the same way, although many authors still confuse this word, when they want to say something else. It is very common to confuse gender with style.

In music is even easier:
The harmony of music is the engineering, like a building with all its visible columns, no matter the rhythm, motifs or the genre of music to be used.
Harmony is an activity that does not demand much of the intellect, does not have to be genius for it, although, many still think it is something divine or cabalistic, therefore, who thinks this way will never make music, but just feel the dissonant sensations, like eating a food and have the sensation of satiety.

The style is the design of all ornaments, ie it is the final cut of how it will sound, as in music we use to say embellishments, that are: 'Passing tones', 'Appoggiatura', 'Neighbor tone' (Trill and mordent are just a faster execution of 'Neighbor tones EFXs'), Escape tone (when the Neighbor tone goes other), 'Anticipation' and 'Note delay' or 'Suspension'. And finally the chromaticism which avoids all the features mentioned above, btw, used since the baroque era, 'Bach' and all Jazz loved chromaticism.

The style is still applied to a performer. It's common to hear, he has his own style.
Listen to 'Andre Previn' playing jazz piano, this guy has style on playing, quite different from Oscar Peterson. 'Carmen Cavallaro' and 'Liberace' played the same standards in their own styles.

'Jacques Loussier' plays the same old 'Bach', he just changed the rhythm to the jazz language and thus changed the genre to the Jazz, thus he was able to create his own unmistakable style. He redesigned Bach.

2.07.17 @ 08:30