“…music grew too proud to be the garment of words.” (W.B. Yeats) This, by a poet who was, allegedly, tone deaf, is nevertheless a concise but very astute summing up of what has happened to music since about the end of the 16th century. Yeats’ definition of music as “the garment” of words suggests admirably an earlier relationship of music to text- both adorning it and taking its form from it, as we can observe in the mass, motet, madrigal and other Medieval and Renaissance vocal forms in which the musical structures are largely determined by the words set. But after about 1600 music began to dissociate itself from words in earnest and go its own way, and the main cause of this was the rise in popularity of music purely for instruments. Of course there was instrumental music before 1600- lute and keyboard pieces for example, but it had been subsidiary and had never taken the chief place in the output of composers as it was increasingly to do in later times. Also it was very much bound up with the dances of the period- pavanes, galliards and so on- and therefore not so much music for listening to as for directing and co-ordinating bodily movements. What was new in the history of Western music after 1600 was the rapid rise of what another profound thinker about music, Ernst Krenek refers to as “autonomous music”- symphonies, concertos, string quartets, sonatas and fantasies etc., expressly written to be listened to and appreciated as things of beauty and value in their own right, and serving no extra- musical purpose.
Table of Contents
1. Introduction: The historical relationship between music and text
2. The rise of autonomous instrumental music after 1600
3. Popular reception and the vocal tradition
4. Development of instrumental styles and forms
5. Absolute versus programmatic instrumental music
6. The evolution of vocal music and instrumental prominence
7. The future of music: Technology and the voice
Objectives and Core Themes
This work examines the historical shift in Western music from text-based vocal compositions to the rise of autonomous instrumental forms after 1600, exploring how this evolution has shaped audience perception and the persistent role of the human voice.
- The transition from vocal-dominated music to instrumental autonomy.
- The distinction between absolute and programmatic instrumental music.
- The influence of performance technology on musical trends.
- Sociological aspects of how the "general public" interacts with classical music.
- The shifting balance between orchestral sound and vocal requirements in opera.
Excerpt from the Book
APT FOR VOICES OR VIOLS
The earliest pieces of instrumental ensemble music- for what were termed “consorts”, usually of viols, or of the wind instruments of the late Renaissance and early Baroque periods, imitated both the style and forms of contemporary vocal music. In effect they were “madrigals without words”. Indeed we find the designation “apt for voices or viols” at the beginning of collections of works such as Monteverdi’s 3rd Book of Madrigals (published in 1592).
Very soon, however, a more defined instrumental style arose. Thus in keyboard pieces from the late 16th century onwards we see an increasing display of rapid runs and figuration more suited to the agility of fingers rather than that of voices. With the rise of the violin in the 17th century instrumental music finally breaks from vocal not just in style but in form, with the introduction of purely instrumental forms such as sonata and concerto. Without the guidance of words, composers were obliged to think in terms of abstract musical designs, hence began the use of formal devices such as sequential repetition, binary and ternary structures and, eventually, modulation within what quite rapidly became a more prevalent major and minor key system. By the late 17th century an autonomous instrumental music, in the form of sonatas, suites, concertos and symphonies was well established.
Summary of Chapters
1. Introduction: The historical relationship between music and text: Outlines the shift from music as a "garment" for words to its liberation as autonomous art.
2. The rise of autonomous instrumental music after 1600: Discusses the emergence of music written solely for instruments, intended for listening rather than dance.
3. Popular reception and the vocal tradition: Analyzes the public's continued preference for vocal music and the challenges posed by abstract instrumental sounds.
4. Development of instrumental styles and forms: Traces the technical evolution from vocal imitation to specialized forms like the sonata and concerto.
5. Absolute versus programmatic instrumental music: Categorizes instrumental works into those existing for their own sake versus those meant to represent external narratives.
6. The evolution of vocal music and instrumental prominence: Examines how instruments gradually dominated vocal genres like opera.
7. The future of music: Technology and the voice: Reflects on the potential dominance of synthetic sounds in the future of musical expression.
Keywords
Instrumental music, vocal music, autonomous music, 1600, Renaissance, Baroque, absolute music, programmatic music, symphony, sonata, concerto, virtuosic, music technology, orchestral, composition.
Frequently Asked Questions
What is the central focus of this work?
The work focuses on the historical transition of Western music from text-based vocal forms to the development of independent, autonomous instrumental music after the 16th century.
What are the primary themes discussed?
The themes include the emancipation of instrumental forms, the audience's psychological response to "abstract" music, the role of virtuosity, and the impact of technology on musical evolution.
What is the author's main research question or objective?
The objective is to explore why and how music shifted away from words and how that shift affects modern musical perception and the future of performance.
What methodological approach does the author use?
The author employs a historical-analytical approach, drawing on musicological history, sociological observations of audiences, and critical reflection on the medium of sound.
What subjects are covered in the main body?
The body covers the history of consorts, the rise of the violin, the distinction between absolute and programmatic music, and the changing role of the voice in operatic contexts.
Which keywords best describe this publication?
Instrumental music, vocal music, autonomous music, programmatic music, symphonic evolution, and musical technology.
How does the author define "autonomous music"?
It refers to music written expressly to be listened to as a thing of beauty in its own right, serving no extra-musical purpose.
What is the significance of the phrase "apt for voices or viols"?
It highlights the historical period where instrumental music was still directly mimicking vocal forms before developing its own distinct, idiomatic language.
Why does the author suggest instrumental music may eventually be replaced?
The author posits that as technology progresses, synthetic sounds may replicate the historical trajectory of instrumental music, eventually relegating traditional instrumentation to a secondary status.
- Quote paper
- Michael Regan (Author), 2012, Apt for Voices or Viols, Munich, GRIN Verlag, https://www.hausarbeiten.de/document/195405
