I.	Englightenment
	A.	 Baroque Art qualities: ornamentation, virtuosity, expressivity, interest in 		greek/	roman ideals
	B.	Classical Features: Clarity, naturalness, balance, interest in greek/roman 		ideals.
	C.	Enlightenment Philosophers
		1.	Immanuel Kant: dare to know…man’s emergence from self 				imposed immaturity
		2.	Locke: Government exists to protect people’s natural right to liberty 			and property
		3.	Voltaire: indiviaul dignity is paramount
		4.	Philosophes: 
			a.	18th century French thinkers led by Voltaire
			b.	Believed humans innately good
			c.	Against superstition
			d.	Monarchs don’t have divine right to rule, oppressive 					government should be overthrown
			e.	Interested in dissemination of ideas
			f.	Diderot compiled an encyclopedia
			g.	Group included Voltaire, Motesquieu, and Rousseau
	D.	Political Revolution 
		1.	Philosophy of enlightenment left people wanting change in 				government
		2.	7 Years (French and Indian) war left France and England ruined 			financially
		3.	Britain taxed American colonies into revolution
		4.	France mismanaged crisis and monarchy was overthrown
	E.	Industrial Revolution :began with invention of steam engine, cotton gin, 		manufacturing
	F. Music And Enlightenment
		1.	Public converts became standard
		2.	Audience demanded knowledge on music and composers
		3.	Composers gained independence from aristocratic patronage
		4.	Composers instead became dependent on public
	G.	Music and the Idea of Nature
		1.	Classical era aesthetic addressed difference between nature and 			art: natural versus artificial
		2.	Ornate gave way to simple
		3.	Baroque era had expressed affect inherent in poetic, dramatic or 			religious text.
		4.	Classical was straightforward, natural representation of passions.
	H.	Criticism of Bach in 18th Century
		1.	Too much labor and effort, which conflict with nature
		2.	Music should seem natural and effortless, even though it is art 			which requires effort
	I. New Style 1720-1780
		1.	Elements of both baroque and classical coexisted in mid century
		2.	Some baroque features such as basso continuo in opera, and 			counterpoint continued for all of classical era
		3.	CPE Bach and Emfindsamkeit
			a.	Believed in sensibility or sentiment, being attuned to details 
			b.	Fluidity of feelings
			c.	No thick textures or grandiose gestures
			d.	Treatise on keyboard, stressing ornaments and voice leading
			e.	Play from the soul, not like a machine
			f.	Fantasia
				i.	Supposed to be like transcribed improvisation
				ii.	Genre without formal conventions
				iii.	Not organized around central theme
				iv.	Reaction to Enlightenment
				v.	Free with lack of meter
				vi.	Opening: instrumental recitative which sounds 						improvised
				vii.	Second half arioso, metered, quick dynamic changes
	J.	Music in Classical Era 1750-1800
		1.	Genuine Homophony- Subordinate voices supporting a single 			prominent line
		2.	obbligato accompaniment - secondary voices contribute material 			essential to musical fabric of work
		3.	Periodic Phrase Structure
			a.	Two parts, call and response
			b.	First part is antecedent
			c.	Second part is consequent
			d.	Together they form a period
		4.	Harmonic rhythm slowed down
	K.	Form	
		1.	Paratactic Forms, those where each section has new music, gave 			way to syntactic structures
		2.	In syntactic structures, one theme is maintained across the entire 			work
		3.	Forms like these included sonata, rondo.
		4.	Encouraged polarity between tonic and dominant
	L.	Sonata Form
		1.	Most important innovation of classical era
		2.	Organization of individual movements for a variety of genres
		3.	Derived from rounded binary form: ABA
		4.	Exposition 
			a.	Main themes introduced
			b.	Modulates from tonic to dominant in major
			c.	Modulates from tonic to relative major in minor
			d.	First group: Presents first theme in tonic
			e.	Bridge: Modulates to new key
			f.	Second group: Contrasts with principal themes
			g.	Closing Group: Confirms new key, emphasizes cadence
		5.	Development 
			a.	 Transformation of themes
			b.	Rapid modulation through different keys
			c.	Retransition at end emphasizes V and builds suspense
		6.	Recapitulation
			a.	Return to themes
			b.	Has same first group, bridge, second group, closing group
			c.	Everything in tonic
			d.	Possibly other minor changes
		7.	Slow Intro (optional) to create anticipation
		8.	Coda: at end of recap
			
II.	Instrumental Music in the Classical Era
	A.	The Illusion of Order
		1.	Contrasting levels in music, surface is orderly and straightforward, 			beneath the surface the music is turbulent and unpredictable.  
		2.	Lots of irregularity, humor, and irony in music
	B.	Sonata
		1.	Primary genre for instrumental music in Classical era
		2.	Keyboard sonatas common because piano were affordable and 			available domestically
		3.	Keyboard sonatas written for amateurs
		4.	Haydn: Piano Sonata in C Minor
			a.	Use of Sturm und Drang: storm and stress
			b.	This characterized by prominent use of minor mode, large 				melodic leaps, sudden dynamic contrasts, jagged 					syncopation
		5.	Haydn vs. Bach: Bach sonatas longer, more challenging for the 			performer, more complex
	C.	String Quartet
		1.	New genre in classical era
		2.	2 violins, 1 viola, 1 cello, no basso continuo
		3.	Also for domestic entertainment
		4.	Haydn and Mozart quartets were more difficult sometimes
		5.	Had three, four, or five movements.
	D.	Symphony
		1.	“Symphony” and “overture” were synonymous in early 18th century
		2.	Originally composed of strings, flute, bassoon, oboe
		3.	In late 1760’s, horns added
		4.	Mid 1780’s, timpani and trumpet added
		5.	Clarinet gradually added between 1770’s and 1790’s
		6.	Early classical era had three movement symphonies: fast, slow, 			fast.
		7.	Four movement structure
			a.	First movement 
				i.	Sonata form
				ii.	slow intro to set tone of piece
				iii.	Grand, solemn, sublime
				iv.	Sublime: powerful, imposing frightening
				v.	Contrasted with beautiful: agreeable and pleasing.
			b.	second movement
				i.	Either slow or minuet
				ii.	Sometimes theme and variation
				iii.	Subdominant key
			c.	Third movement
				i.	Minuet or slow
				ii.	Symphony minuets faster than danced minuets
			d.	Finale
				i.	Fast tempo
				ii.	Rondo form, sonata form, or sonata rondo

	E.	Concerto
		1.	Three movements: fast slow fast
		2.	first movement: double exposition, both tutti and soloist play theme
		3.	Tutti exposition played by orchestra and in tonic
		4.	Soloist exposition modulates to a secondary key, either V or III
		5.	Sonata form but also has cadenza and/or coda
		6.	Cadenzas
			a.	Expected in first movement
			b.	Not uncommon in every movement
			c.	Completely improvised
III.	Opera
	A.	Opera Buffa
		1.	Basic Characteristics	
			a.	Comic
			b.	Normal characters against rulers and heroes
			c.	Bass singers
			d.	No castrati
			e.	Emphasis on ensemble singing
			f.	Arias with period phrasing
			g.	No da capo arias and elaborate improvising
		2.	History
			a.	Grew from intermezzo, a work in between larger works
			b.	These would become so popular they were performed on 				their own
		3.	1733: La Serva Padrona (The Maid as Mistress)
			a.	by Giovanni Battista Pergolesi
			b.	Based on play by Jacobo Nelli
			c.	Performed in Naples between opera seri a
			d.	Three characters: bass, soprano, mime
			e.	Vocal lines with short, melodic phrases
			f.	No improvisation or da capo arias
			g.	“La conozco a quegli’occhietti” - duet between characters.
	B.	Opera Wars
		1.	Performance of La serva padrona at Paris Opera in 1752 ignited 			“War of the Buffoons”
		2.	Caused musical/literary/political dispute over merits of French vs. 			Italian opera
		3.	Louis XV was Traditionalist, wanted to maintain tragedy lyrique of 			French composers
		4.	Queen Marie wanted to adopt Italian opera buffa as a model for 			lighter style music in France
		5.	Opera comique - Combination of singing and spoken dialogue
		6.	Andre Gretry considered the French Perigolesi, wrote “Beauty and 			the Beast” and “Richard the Lionheart”
		7.	Rousseau composed “The Village Soothsayer”
		8.	Gluck was French and wrote tragedy lyrique and Piccini Italian and 			wrote opera seria.
	C.	Reform of Opera Seria
		1.	Principles from florentine came rata
		2.	Wanted to eliminate abuses that disfigured opera, accentuating 			drama and telling a story
		3.	Believed vocal virtuosity was unnatural, music was repetitive, and 			there should be no impediments to drama
		4.	Also considered “reform” opera.
		5.	Musical characteristics
			a.	No da capo arias
			b.	No vocal improvisation
			c.	No long melismas
			d.	Syllabic text setting
			e.	Use of chorus
			f.	Gluck famous for this, wrote the Reform opera manifesto
	D.	Operas of Mozart
		1.	Wrote opera buffa “The Feigned Simpleton”, opera seri a 				“Mithridates, King of Pontus”, and singspiele “The Abduction from 			the Seraglio”.
		2.	Fused comedy and drama
		3.	Librettist Lorenzo Da Ponte wrote “Le Nozze di Figaro”, “Don 			Giovanni”, and “Cosi fan tutte”
		4.	Don Giovanni
			a.	Act I scenes 1-2: abrupt musical changes
			b.	 Comic and dramatic		
IV.	Sacred Music
	A. Reform by Joseph II, Holy Roman Emperor
		1.	No more masses with full orchestra, chorus, and soloists
		2.	These were considered too secular
		3.	Many composers abandoned sacred music until after the death of 			Joseph II
		4.	Musical qualities
			a.	Conservative
			b.	Use of basso continuo
			c.	Simpler, more homophonic
			d.	Strict counterpoint
		5.	Mozart Requiem
			a.	Combined old and new styles
			b.	Includes Gregorian chant
			c.	Uses counterpoint
			d.	Use of wind instruments
			e.	Mozarts last work
V.	Listening Samples
	A.	Monn, Symphony in B Major 
		1.	Orchestral
		2.	Baroque and classical features
	B.	Stamitz, Symphony in D Major; op 3 no 2 
		1.	Orchestral
		2.	Typical of Mannheim School
		3.	Extended Crescendo, tremolo, wind/string mix
		4.	Ritornello form
		5.	Opening ritornello comes back in dominant and tonic
	C.	Haydn, Symphony no 103
		1.	Orchestral
		2.	Sublime+beautiful
	D.	Mozart, Piano Concerto in D Minor; K. 466, no. 1 first movement
		1.	Orchestral
		2.	Double Exposition
	E.	JC Bach, Sonata in D Major; op. 5, no. 2
		1.	Keyboard
		2.	Straightforward melody, texture
		3.	Absence of artifice
	F.	Haydn, Piano Sonata in C Minor, Hob. XVI:20
		1.	Keyboard
		2.	Longer, more challenging for performer
		3.	Compositionally more complex
		4.	Breaks rules of sonata form
		5.	Sturm und drang
	G.	Haydn, String Quartet in C Major, op. 33, no. 3 (movements I and IV)
		1.	Chamber
		2.	Sonata first movement, rondo last movement
	H.	Mozart, Don GIovanni, K. 527 
		No. 1 “Notte e giorno faticar”
		No. 3 “Ah! chi mi dice mai”
		1.	Opera
		2.	Abrupt musical changes
	I.	Pergolesi, La serva padrona, Duet: “Lo conosco a quegli ochietti”
		1.	Opera
		2.	Opera Buffa
		3.	Duet
	J.	Mozart, Requiem, K. 626 (Introit and Kyrie)
		1.	Sacred Music
	K.	Reichardt, Italien (Kennst du das Land)
		1.	Sacred Music’

Melody, Harmony, Form, Rhythm, instrumentation, Lyrics, History