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What seems like a long time ago, I worked in a university music department as a professors office assistant. At the time, I was trying to improve my meager understanding of art history by reading E.
Gombrichs excellent Story of Art. Seeing art as an integral part of civilized society, in the context of [ To listen as you read. Seeing art as an integral part of civilized society, in the context of historical change—rather than as decontextualized globs of color on canvass—really helped me to appreciate it in a way I could not before; and I wondered if the same might not be possible with music.
A History of Western Music is the standard music history textbook in use on college campuses, at least in the United States. Palisca, and then by J. Peter Burkholder. I bought the fifth edition, mainly because it was cheap. Any author of a general music history textbook deserves some sympathy. First, it is proverbially difficult to write about music. Somewhere between these two extremes is the narrow path that Palisca tries to tread, sometimes precariously—veering too much in one direction, and then too much in the other—but for the most part ably.
Even so, this middle path carries its own cost: dryness. Since Palisca can neither describe his own tastes and aesthetic responses, nor make any incisive analyses with music theory, he is forced to be an unexciting guide—the fate of most textbook writers. The other major challenge is compression. How do you fit 2, years of music history into pages? How do you give a decent overview of medieval plainchant, Italian opera, German romanticism, and American minimalism, while also providing the names, biographies, and accomplishments of the major composers, as well as integrating the relevant cultural history—all in enough time to teach it in two semesters?
There is simply too much material to do justice to it all. But he does succeed in giving his reader a generous spoonful of all the main dishes. If I measure this book by my own progress, I must deem it a success. Beforehand, I had only a scattered and incidental knowledge of the major composers. Now, not only do I feel much more knowledgeable, but the chronological framework will make it easier to learn more. One of my most pleasant discoveries was the wealth of wonderful music that was written before J.
Bach even took his first breath, in Most surprising for me was how much I enjoy sacred music. Like the shadowy interior of a gothic cathedral, the music is tranquil, meditative, and otherwordly—pregnant with tragedy and hope. So this book does its job. What prevents it from being as great as, say, E. In all three of those works, the author is not afraid to opine and speculate.
Palisca, by contrast, rarely offers his own judgment, and does not venture to make any theories. His writing is neutral and plain, simply serving up information. Seeing how they think about their subject, and how they feel about it, is as much an education as the information they present.
As I went through this book, I downloaded and listened to most of the representative pieces discussed in each chapter. I ended up with a long playlist which you can see here , which I replayed over the course of few weeks before writing this review. I recommend that any curious listener do the same. Several historical trends seem apparent when you do this. First is the obvious rise of instrumental music, as music shifts from purely vocal, to vocal with instrumental accompaniment, to mainly instrumental.
The second is the rise in the prestige associated with secular music, and the attendant fall in the importance of sacred music. The composer becomes increasingly important as time goes on, exerting ever more control over the performance, while the performer becomes merely an executor rather than a collaborator. With many notable exceptions, art music also seems to grow in harmonic and rhythmic complexity, at least in the time since Haydn and Mozart, until the traditional rules of harmony break down entirely.
Something strange happens in the twentieth century, especially in the second half. Music—along with literature and art—seems to split into a dichotomy: erudite and inaccessible, and popular and oversimplified. The first camp, represented most perfectly, perhaps, by Milton Babbitt, write music that does not make sense to the untrained human ear, while popular songwriters make catchy tunes with little depth.
This division seems to correspond to sources of income: the university patronizes experimental music; while popular music is obviously commercial. I also mentally associate the fall of religious vocal music, and the concomitant rise of secular instrumental music, with widespread changes in attitude towards nature: Nature went from being conceived as animated by intelligence and oriented around humankind, to an impartial force, indifferent to humanity, driven only by mechanical laws.
I also wonder why so many first-rate composers—Bach, Mozart, Haydn, Beethoven, and Brahms, to name only some—are from German-speaking countries? And I might also ask why relatively few first-rate painters have arisen from these same countries. Is this something to do with language? With the Protestant Reformation?
To bring this review back to its purported subject, I think that this book is a competent, well-researched, and intelligent overview of the history of western music. And with this rather bland statement, and this song , I will make my final bow.
Historia da Musica Ocidental GROUT PALISCA 1988
Historia de la musica occidental 2
Historia de la música occidental 1