Segona guerra mundial

La segona guerra mundial

• Causes
•  Ressentiment a Alemanya: La Alemanya de la post guerra era una Alemanya pobre, amb crisi moral, havia de pagar la reconstrucció de la primera GM. Hitler va començar a desafiar la ONU quant va trencar el pacte militar i va començar una carrera armamentística important.
•  Expansionisme feixista: el fet de Hitler de envair els països al sud de Alemanya va augmentar la tensió internacional, sobretot quant va sortir de la ONU Alemanya, Itàlia i Japó.
• Context:
• Pactes:
•  Roma Berlín (1936)
•  “Antikomintern” Alemanya Japó no comunisme(1936)
•  “Acer” Nou eix Roma Berlín amb altres feixistes (1939)
•  Germanosoviètic (1939) es divideixen Polònia
• Moviments:
•  1 setembre 1939 Alemanya ocupa Polònia ultimàtum de Gran Bretanya i França. Alemanya no fa res per evitar-ho. Gran Bretanya i França (aliats) Alemanya i Itàlia (eix)
• Aliats
• Gran Bretanya
• França
• EEUU
• Potencies de l’eix
• Alemanya
• Itàlia
• 1941 Japó

Fases

1. Exits de l’eix: Alemanya amb les divisions panzers i l’aviació. Ocupa Polònia, Bèlgica, Països Baixos, Noruega, Dinamarca França Línea Magginot, els alemanys la passen per dalt. Gran Bretanya al veure que han invait França es retira firmant l’armistici 1940. França queda dividida en dos, la França nazi i la França de Vichy (simpatitzant nazi). Alemanya bombardeja Londres 57 dies seguits sobretot instal·lacions militars. La RAF l’atura el 1941, el sud d’Europa es invait per Itàlia i Alemanya; Bèlgica, Eslovàquia, Grècia,…
2.  Internacionalització del conflicte: Alemanya comença a envair Àfrica (no tota sol el nord) Alemanya declara la guerra a la URSS envaint-la, arriba fins a Moscou. Japó al Pacífic: emperador Hiroito va ocupant territoris asiàtics: Indo xina, India, Filipines, Nova Guinea,… Pearl Harbour: EEUU entra al conflicte, els japonesos ataquen la seva base militar de Pearl Harbour.
3.  Canvi de tendència i victòria dels aliats:Victòries: Gran bretaña recupera territoris del nord d’africa. EEUU entra a Itàlia pel sud. Sicilia. Queda dividit en zona feixista al nord i la República de Saló al sud. 1944 Itàlia surt de la guerra. URSS: recupera gran part dels seus territoris. Batalla de Stalingrad. EEUU al Pacífic: batalles del Guadalcanal i Midway. 1943 Churchill, Stalin i Roosvelt. Plans per acabar la guerra. 1944 Día D (desembarc de Normandía) Els aliats entren a França 1945 Contraatac aliat contra el nazis per occident La URSS va guanyant terreny per l’orient. Els aliats conflueixen a Berlín Alemanya capitula al perdre el Reichstag al maig.
4.  Continua al Pacífic Resistència japonesa amb els kamikazes USA: armes nuclears: Hiroshima i Nagasaki Japó es rendeix.

VICTÒRIA

DELS

ALIATS

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Els sàtirs

Els sàtirs

Els sàtirs, també coneguts com silens,o faunes pels romans eren divinitats dels boscos i de les muntanyes, en la mitologia grega. Aquests encarnaven a la força vital d ela naturalesa i es representaven com uns homes amb potes de cabra, orelles punxegudes, banyes i amb una cua llarga. Encara que alguns cops en comptes de potes de cabra són potes de cavall. Els sàtirs més importants eren Silè, Maró, Leneu, Astreu i Màrsias. Normalment acompanyaven al déu Dionís  i aquests participaven a totes les seves festes, mentre que les nimfes s’intentaven escapar d’ells ja que aquests estaven sexualment insatisfets. Ells són criatures alegres i desenfadades encara que sovint poden ser perillosos i violents. Tenen un ball especial que es diu silé, Maró, Leneu, Astreu i Màrsias

Accents diacrítics

AMB ACCENT	SENSE ACCENT
Bé: correcte	Be: animal
Béns: riquesa	Bens: animals
Bóta: recipient	Bota: calçat
Déu: divinitat	Deu: numero
Dónes: donar	Dones: genere
És: ser	Es: pronom
Féu: fer	Feu: terra
Fóra: ser	Fora: exterior
Mà: part del cos	Ma: pronom
Més: advervi de quant	Mes: juliol
Mòlt: moldre	Molt: determinant
Món: terra	Mon: pronom feble
Móra: fruita	Mora: dona arab
Nét: parentiu	Net: brillant
Ós: animal	Os: femur
Pèl: cabell	Pel: conjunció
Què: pronom interrogatiu	Que: conjunció
Sé: saber	Se: Pronom feble
Séc: plec de la roba	Sec: seure
Sí: afirmació	Si: condicional
Sóc: ser	Soc: soca d’arbre
Sól: terra	Sol: astre
Són: ser	Son: dormir
Té: tenir	Te: infusió
Ús: utilitzar	Us: pronom
Véns: venir	Vens: Present d’indicatiu verb vendre
Vés: anar	Ves:
Vós: pronom fort	Vos:Pronom personal feble

History of the music: The baroque period

UNIT 4. THE BAROQUE PERIOD

1. HISTORICAL CONTEXT (1600-1750)

The Baroque period began as an artistic movement dictated by the Roman Catholic Church. It

all started at the Council of Trent (1545-63), when the church, in response to the Protestant

Reformation, launched the Counter-Reformation. This led to the more representational, highly ornamented and dramatic art that kicked off the start of the Baroque around 1600.

Politically, the Baroque was the era of the Absolutism: a system in which the monarchy was

supposed to be supreme, in both law making and policy making. Furthermore it was a period

of long wars and conflicts, the 30 Years War (1618-1648) amongst them.

2. MUSIC

The Baroque is the first era of truly legendary composers and of music that is familiar to even

the masses of today. We´re talking of music like Pachelbel´s Canon in D, Handel´s Messiah,

and Vivaldi´s The Four Seasons. And, even more notable, the Baroque was the era of Johann

Sebastian Bach, one of the greatest composers of all time. 

Main characteristics

- The music of the Baroque echoed the extravagant styles of the period´s fashions and

architecture. Simple melodies evolved into elaborated, flamboyant and very expressive

musical works.

- Rise and splendour of instrumental music.

- It was during the Baroque period that many of the “modern” orchestral instruments

still in use today were first developed. Instruments that came to prominence:

- Winds: flute, clarinet, oboe, bassoon, trumpet and french horn.

- Strings: violin, viola, cello and double bass. (Some of the finest violins ever made

came out of the Baroque, thanks to master craftsman Antonio Stradivari. The Latinized

form of his surname, Stradivarius, is commonly used to refer to the instruments he built

during his life time).

- Rise of keyboard instruments;  predecessor to the modern piano.

- The contrasts (slow-fast, quite-loud…) in tempo, texture and timbre were very common

as well as the interaction between instruments.

- Rise of the accompanied melody. The melody, played by one instrument or voice,

stands above the instrumental accompaniment that supports it.

- Appearance of the Bass Line: the composer writes an structure of low notes in constant repetition to let the melodies change along the musical piece.

- New musical forms came into prominence, incorporating more and different

combination of instruments and, in the case of opera, encouraging the interplay of

voices and instruments.

Music for money

Instead of being in the service of the church, as was common during the Renaissance,

composers of the Baroque were often employed by the wealthy ruling class as part of what

was called the Patronage System. As such, the patron paid the composer for each work, and

usually decided what kind of piece the composer should write. Even the major composers

partook of this patronage: Bach spent several years as Kapellmeister (music director) to

Prince Leopold of Anhalt-Cothen and Handel wrote various works for the Duke of Chandos.

2.1 Vocal Music – Sacred Music

Oratorio

An Oratorio is a dramatic musical setting of a sacred libretto, for solo singers, choir and

orchestra, is like a religious opera but without the senery or costumes. Vocal soloists are

accompanied by orchestra or instrumental ensemble.

Handel´s Messiah is considered the greatest Oratorio ever written.

Passion

It is a kind of Oratorio, with a very specific subject: tells the passion and death of Jesus Christ

emphasising his suffering. The figure of the Evangelist tells the action in the form of recitative.

The characters of the Passion (Jesus, his apostles, etc.) are also incarnated by singers who

sing recitatives and arias. The choir participates often representing the Hebrew people.

Cantata

The term Cantata has described different musical forms over the centuries. The earliest form,

as practiced during the Baroque period, refers to a dramatic vocal piece sung by a solo

vocalist or vocalists, accompanied by lute or basso continuo. They were usually based on

sacred texts, however there were secular cantatas called Cantata de Camera.

2.2 Instrumental Music

Concerto

During the late Baroque period, orchestral music gained popular status in the public concerts

that proliferated in many European cities. The late-Baroque orchestra typically included

strings, woodwinds (flute, recorder, oboe, bassoon) trumpets and other horns, and timpani. As

developed by Vivaldi, Handel, Bach and their counterparts, the concert focused on one or

more solo instruments supported by the larger orchestra. There were many different types of

concertos during Baroque era:

Soloist concerto: a dialogue between a solo instrument and orchestra.

Concerto grosso: dialogue among a small group of instruments and orchestra.

Tempos:

- Largo: a very slow tempo.

- Adagio: indicates that music is to be played slowly.

- Andante: at a walking pace.

- Allegro: fast quickly and bright.

- Presto: very fast.

Suite

Contrast was important in the Baroque era, which led to the development of longer

instrumental forms that incorporated multiple contrasting sections. The suite

often starts with an introduction called Overture, and then there are dances like allemande,

courante, sarabande, gigue, waltz, minuet, gavotte (to name a few).

Examples of Baroque-era Suites include Handel´s Water Music and Music for the Royal

Fireworks and Bach´s six cello and four orchestral suites.

Sonata

Instrumental piece composed of contrasting sections, usually divided into three or four

movements (slow-fast-slow-fast) for soloist or small group of instruments that can be of two

types:

Sonata for solo and continuo (violin+figured bass)

Trio Sonata (example: flute + violin +figured bass)

During the Baroque period the violin was the most popular sonata instrument, although

sonatas were written for all variety of instruments.

Fugue

It’s a musical form based in the counterpoint were every part imitates each other. Most fugues

open with a short main theme, the subject, which then sounds successively in each voice

(after the first voice is finished stating the subject, a second voice repeats the subject at a

different pitch, and other voices repeat in the same way); when each voice has entered, the

exposition is complete.

2.3 Secular music

Opera

Opera is a drama set to music. In practice, opera consists of vocals with instrumental

accompaniament, with the singers typically in costume in an elaborate theatrical production;

while musical passages may be separated by spoken dialogue, the music is an integral part of

the opera.

The operatic form originated in Florence, Italy, in the Renaissance, near the end of the

sixteenth century; it grew out of attempts to recreate the affect of ancient Greek and Roman

dramas. The earliest known opera was Daphne, written in 1597 by Jacopo Peri. Other notable

early operas include Peri´s Euridice (1600); Stefano Landi´s Sant Alesio (1631) which

formalized the various sections of the opera; and Monteverdi´s l´Orfeo (1607).

While opera was born in Italy, it quickly spread throughtout all of Europe. By 1700, Vienna,

Paris, Hamburg and London were all major operatic centers. 

Parts of the Opera

Overtures: Instrumental part played by the orchestra before the curtain goes up.

Recitatives: Fragments in which the singers recite the text with a slight intonation,

accompanied by simple chords of figured bass.

Aria: A little musical piece performed by a singer with orchestral accompaniment.

The singer displays his/her vocal abilities and expresses the feelings of the

character that represents.

Duo, trio, quartet: Several soloists sing at the same time with orchestral accompaniment.

Choirs / Chorus: Choral pieces that are used especially to represent multitudes

Baroque Composers

George Frideric Handel (1685-1759) was a German-born composer and organist, although

he spent most of his life in England. Handel contributed to every musical genre of his time,

with operas dominating his early career. His most famous composition was the

Messiah (1741), an oratorio set to texts from the King James Bible; it is today considered the

greatest oratorio ever written.

Handel wrote more than 20 oratorios, along with nearly 50 operas and hundreds of concerti

grossi and orchestral pieces. 

Antonio Vivaldi (1678-1741). Initially a violin teacher and a priest, Vivaldi published his first

sonatas in 1705. Early on he was employed by the Ospedale della Pieta, an orphanage in

Venice. He composed for children there, primarily the young girls that formed the renowned

orchestra and choir of the orphanage.

Vivaldi´s compositions displayed an extraordinary variety of invention, and embraced

instrumentation unusual for the time. 

Johann Sebastian Bach (1685-1750). Bach is considered a true musical genius: he produced

an astounding variety of chamber and orchestral works, as well as a large number of organ

and keyboard works. His choral works include a variety of sacred and secular cantatas, motets

and other large choral pieces, and chorales and sacred songs. The only musical form in which

he didn´t work was opera.

Bach was the youngest of eight children born to musical parents. His parents died when he was

10 and then he was taken in by his older brother, Johann Christoph, who continued his

musical training. In 1703, the 18-year-old J.S.Bach took the position of organist at the

St.Boniface Church in Arnstadt. Similar posts at other churches followed, and in 1708 Bach

and his wife moved to Weimar, where he became court-organist and later Konzertmeister

(concertmaster) to Duke Wilheim. Bach stayed there until 1717, when he was named

Kapellmeister to Prince Leopold of Anhalt-Cöthen.

History of the music: The renaissance period

UNIT 3. THE RENAISSANCE PERIOD

1. HISTORICAL CONTEXT (15th-16th centuries)

The long, relatively dark era of the Middle Ages eventually led to a great cultural awakening,

the Humanism: born in Italy, it was an intellectual movement that took the ancient wisdom as

an ideal and put the human being in the focus of attention, instead of God.

The increasing freedom of thought allowed to reconsider some points that were taken for

granted.

The Reformation changed some points of view in regards to religion and divide

Christianity (Protestantism/Catholicism).

The Renaissance saw the explorations of Christopher Columbus and Sir Francis Drake, the

scientific advancements of Galileo and Copernicus, the art of Michelangelo and Leonardo Da

Vinci and the plays of William Shakespeare.

2. MUSIC

Music, like all the arts, flourished during the Renaissance. With the rise of the middle class,

more people move to cities and spent their leisure time attending concerts and performances.

Music became part of the common education and -thanks to the invention of the printing

press- sheet music and method books (for lute, recorder and guitar) were made available for

wider groups of people.

The Renaissance saw the dawn of a new musical era full of sprightly polyphony,

experimentation in the musical forms, the spread of secular song and the introduction of a new

polyphonic vocal form called the Madrigal.

Characteristics of Renaissance music

- Strong focus on the melodic line.

- “New” instruments came to prominence: the viol, lute, guitar, harp, recorder (flute), sackbut  as well as the first keyboard instruments, the harpsichord and clavichord.

- During Renaissance polyphony evolved from the independent counterpoint (14th-15th

centuries) into a more harmonious form of melody and accompaniament called

homophony (16th century).

- During Renaissance new forms of vocal (both religious and secular) music were

developed.

- Claudio Monteverdi and Giovanni da Palestrina were among the most important

composers.

Polyphonic music

Counterpoint: The technique of combining two or more melodic lines in such a way that

they establish a harmonic relationship while retaining their linear individuality.

Homophony: music in which one voice carries a single and dominating melody that is

accompanied by chords. The important aspect is that the chords are subservient to the

melody.

2.1 SECULAR MUSIC

Music was increasingly enjoyed in settings outside the church; both men and women of the

upper classes were expected to understand and perform music, while those of the middle

class became a good audience for these performances.

Secular forms, written in vernacular language:

Madrigal (Italy)

Madrigal is one of the most important musical forms of the Renaissance and Claudio

Monteverdi was one of its main composers.  The typical madrigal is a polyphonic

composition for four to six voices (usually five), typically unaccompanied, based on a poem or

other secular text.

Characteristics:

- Composition for 4,5 or 6 voices, usually a cappella.

- Polyphonic music: counterpoint texture (although some fragments may be

homophonic).

- Lyrics came from poetry about human feelings. The favorite subject for such

madrigals was the pain and grief of love.

- Music tried to describe the meaning of words.

Chanson (France)

The melodies sung by 13th century troubadours evolved during the early 14th century into

two-and three-voice pieces called Chanson (French for “song”). 

By the 16th century, chanson grew from its simple beginnings to include elaborate

contrapuntal melodies and vocal effects that emulated birdcalls and nature sounds, the cries of

street sellers, and the like. Master of this later form of chanson included Claude de Sermisy

and Clément Janequin.

Ensalada (Catalonia)

Ensalada is an original musical form from Catalan composers as Mateu Fletxa “el Vell” and

Pere Alberc.

- Mixture of different languages: Catalan, Castilian, Latin…

- Mixture of textures: monody, homophony and counterpoint (often a capella).

- Mixture of genres: serious/popular, sacred /secular.

- Music, lyrics and performance were usually very descriptive.

- Composition with a comic character.

Villancico (Castile)

It talked about popular themes usually with homophonic texture, sometimes a capella, others

with some accompaniment. Juan de la Encina was one of its main composers.

2.2 RELIGIOUS MUSIC

Remember the religious division between Catholics and Protestants!

Church music in the Renaissance reflected the growing influence of secular music –despite

the attempts of Catholic authorities to curb what they viewed as that music´s seductive and

profane excesses. Sacred music was also impacted by the protestant reformation. Martin

Luther´s desire to break with tradition and utilize songs that could be sung by the whole

congregation, not just the choir, had significant impact on the music of the day.

The Protestant chorale

The rise of Protestant church created a new musical tradition, less rigid than that of the

Catholic Church. Martin Luther commissioned a new catalog of songs with easy-to-sing

melodies, based on familiar folk songs, for unison singing by the entire congregation.

Catholic Music

On the other side, the main forms for the Catholics were the Motet and the Mass. Both forms

mixed textures like counterpoint (most of the times) and homophony. They were sung in Latin.

The main distinction between mass and motet is the length: while the mass consists in several

parts and it is considerable long, the motet is a relatively small work with no divisions.

Masses

One of the most important musical form of the Renaissance was the Latin Mass, polyphonic,

and contrapunctual. It had five passages that are frequently set for choir or for choir and vocal

soloists:

1- Lord have mercy

2- Glory be to God on high

3- I believe

4- Holy, holy

5- Lamb of God

During the Renaissance the Mass became a monumental genre.

Motet (catholic)

Motets were full of contrasts, with passages for all voices paired with passages for just two or

three voices, or sections in different times, doubled or triple.

2.3 INSTRUMENTAL MUSIC

Although vocal music remained the main source of musical forms; instrumental music

increased step by step. Some new forms strictly instrumental were born like Variations,

Toccatas and Dances. The main instruments were the lute, the organ, the clave, the guitar,

the viola and the recorder.

Characteristics of the instrumental forms:

Variations: the composer takes a melody and repeats it many times changing rhythms,

harmony and/or melody.

Toccata: virtuoso-like composition for solo keyboard.

Dances: to be danced, with different characteristics and rhythm.

2.4 COMPOSERS

Giovanni Pierluigi da Palestrina (1525-1594): Palestrina was the most famous

representative of the Roman School of composition in the 16th century. His 104 Masses are

considered the typical example of the Renaissance Mass style. He also wrote a variety of

other church music, as well as more than a hundred secular madrigals.

Claudio Monteverdi (1567-1643): Monteverdi was a composer who got started during the

Renaissance and completed his career during the Baroque. Up until age 40, he specialized in

writing madrigals, composing a total of nine books of madrigal song. 

VOCAL FORMS INSTRUMENTAL FORMS

Religious Secular

Toccata

Protestant Chorale

Variations 

Catholic Mass

Villancico

Madrigal

Religious Motet

Chanson

Ensalada