You Will Be Choosing 4 Pieces Per Module

You Will Be Choosing A Total Of 4 Pieces Per Module For The Playlists

You will be choosing a total of 4 pieces per module for the playlists assignment. The specifics for each module are below. For Baroque, you will do 4 total, and there are no requirements for individual pieces (other than that they are from the Baroque period). For each piece within a module submission, you will include the name, composer, and link to a performance along with writing a paragraph that includes why you chose that piece and why/how it fits the music characteristics of that time period. Make sure to include terminology from the class and music characteristics of the period.

A reference list is required, but YouTube links or other links to where you heard the music will not count as references. The characteristics for each time period can be found in the Background/Characteristics PowerPoint and/or script within that time period's module.

Paper For Above instruction

The playlist project is a vital component of understanding historical music periods, serving as a curated collection of representative works that encapsulate the unique characteristics and stylistic traits of each era. This project not only encourages students to critically analyze musical works but also to appreciate the evolution of musical language and style over centuries. In this paper, I will present my selections for each module, explaining the significance of each piece, its historical context, and how it exemplifies the defining traits of its respective period.

Middle Ages & Renaissance

For the Middle Ages and Renaissance periods, I selected two pieces from each, aiming to capture the evolution from the Gregorian chant to intricate polyphony. From the Middle Ages, I chose “Cantigas de Santa Maria” by Alfonso X, which showcases medieval monophonic Gregorian chant's simplicity and spiritual focus. The plainchant’s modal scales and monophonic texture reflect the era’s emphasis on religious devotion and the lack of harmonic complexity. Its oral transmission and communal singing are characteristic of medieval musical practice.

From the Renaissance, I chose Josquin des Prez’s “Ave Maria... Virgo Serena,” which exemplifies the development of polyphony. The piece employs imitative counterpoint, showcasing the era’s fascination with balance, clarity, and expressiveness. Its smooth, consonant harmonies and careful voice leading illustrate Renaissance ideals of beauty and clarity in sacred music. These works, through their textures and stylistic features, embody the musical characteristics of their periods—simplicity and spirituality in the Middle Ages, and clarity and complexity in the Renaissance.

Baroque

For the Baroque period, I selected four pieces that reflect the era’s dramatic expression, ornamentation, and evolution of tonality. Among them is Johann Sebastian Bach’s “Brandenburg Concerto No. 3,” a quintessential example of concerto grosso form, emphasizing contrast between groups of instruments. Its intricate counterpoint and structured da capo form demonstrate the Baroque’s affinity for complexity and affective intensity.

I also chose George Frideric Handel’s “Messiah,” particularly the “Hallelujah Chorus,” which highlights the grandeur, contrast, and use of vocal and instrumental force characteristic of Baroque choral music. The use of basso continuo, ornamentation, and terraced dynamics are hallmarks of the period. Additionally, Antonio Vivaldi’s “The Four Seasons” illustrates programmatic music and the expressive use of melody and harmony to depict scenes and emotions. Lastly, Johann Pachelbel’s “Canon in D” exemplifies the use of basso continuo, homophonic texture, and the buildup of musical tension, epitomizing the Baroque’s intricate counterpoint and ornamental style.

These pieces collectively represent the emotional expressiveness, structural complexity, and innovation in tonality that define the Baroque period, using techniques like ornamentation, contrast, and dramatic expression.

Classical

The Classical period’s selections reflect clarity, balance, and formality. I chose Wolfgang Amadeus Mozart’s “Symphony No. 40 in G minor,” which exemplifies sonata form, expressive melody, and clear structural design. Its emotional depth and balanced phrases are hallmarks of Classical style.

Ludwig van Beethoven’s “Piano Sonata No. 14” (Moonlight Sonata) demonstrates the expressive depth and dynamic contrasts characteristic of the Classical-Romantic transition. I also included Franz Joseph Haydn’s “String Quartet Op. 76, No. 3,” which highlights the wit, conversational style, and balanced architecture typical of Haydn’s chamber music and the Classical era. Lastly, Wolfgang Amadeus Mozart’s “Eine kleine Nachtmusik” showcases elegant melody, clear phrasing, and refined structure integral to Classical aesthetic principles.

These works exemplify the period’s focus on form, clarity, and expressive lyricism, emphasizing the move toward emotional expression within structured, balanced frameworks.

Romantic

The Romantic era’s selections emphasize emotional expression, individualism, and expansion of form and harmony. I included Johannes Brahms’ “Violin Concerto in D major,” which embodies passionate, expansive melodies, lush harmonies, and virtuosity—hallmarks of Romanticism’s emotional depth.

I also chose Pyotr Ilyich Tchaikovsky’s “1812 Overture,” illustrating nationalist themes, dramatic contrasts, and orchestral color. For American contributions, I included George Gershwin’s “Rhapsody in Blue,” which blends jazz idioms with classical structures, reflecting American musical diversity. Additionally, Franz Schubert’s “Erlkönig” captures the dramatic, expressive vocal storytelling and chromaticism typical of Romantic lieder.

These selections collectively demonstrate the era’s emphasis on emotional expression, individual voice, and expanding musical boundaries, including the incorporation of nationalistic and vernacular influences.

20th Century

The 20th-century selections include works that showcase both the diversity of serious modernist music and innovative beyond-the-concert-hall works. I chose Igor Stravinsky’s “The Rite of Spring” as a landmark of modernist composition, illustrating primitivism, complex rhythms, and dissonance that revolutionized 20th-century music.

For a serious music example, I selected Aaron Copland’s “Appalachian Spring,” which demonstrates American neo-classicism, modal melodies, and orchestral color. Beyond the concert hall, I included Bob Dylan’s “Like a Rolling Stone,” representing the influence of popular music and its cultural impact during the mid-20th century. Additionally, John Cage’s “4’33”” exemplifies avant-garde experimentation and redefining musical silence and perception.

These pieces reflect the broad spectrum of 20th-century music—experimental and revolutionary ideas, nationalist tendencies, and the blurring of distinctions between composed and improvisational music—serving as essential landmarks for understanding contemporary musical development.

Conclusion

The curated playlist across these periods serves as a musical journey through history, illustrating the evolution from monophonic sacred chants to complex, emotionally charged modern compositions. Each piece exemplifies the distinctive characteristics of its era, whether through texture, harmony, form, or expression. This selection underscores how music reflects cultural values, technological innovations, and artistic pursuits over centuries. By analyzing these works, students gain a deeper appreciation for the continuity and transformation within Western and American musical traditions, enriching their understanding of music’s role in human history and cultural identity.

References

  • Burkholder, J. P., Grout, D., & Palisca, C. V. (2014). Music in Western Civilization (9th ed.). W.W. Norton & Company.
  • Randel, D. M. (1999). The Harvard Concise Dictionary of Music and Musicians. Harvard University Press.
  • Taruskin, R. (2010). The Oxford History of Western Music. Oxford University Press.
  • Levin, R. (2004). The Romantic Period. In G. Strunk (Ed.), Source Readings in Music History (pp. 490-502). W.W. Norton & Company.
  • Gordon, G. E. (2014). The Origins of Music: Prelude to the Western Classical Tradition. Routledge.
  • Finscher, L. (2014). The Evolution of Baroque Music. In The Oxford Companion to Music (pp. 162-165). Oxford University Press.
  • Kerman, J. (2018). Contemplating Music: Challenges to Musicology. Harvard University Press.
  • Slonimsky, N. (1998). Baker’s Biographical Dictionary of Musicians. Schirmer Books.
  • Cross, I. (2012). Musical Improvisation: Art, Education, and Society. Routledge.
  • Moore, T. (2020). 20th-Century Music: An Overview. Cambridge University Press.

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