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Giovanni Battista Lulli was born on November 28, 1632. His father, Lorenzo di Maldo, was a miller and his mother, Caterina del Sera, was a miller’s daughter. Lully was born in Florence, Italy and lived there until age 11. While in Italy he studied dance and music; he played violin and guitar. In March of 1646 he moved to France to tutor Mlle de Montpensier in Italian. There he studied composition and harpsichord. Lully was able to hear the King’s grande bande perform, witness balls where the best French dance music was played.
When Mlle de Montpensier was exiled from Paris, Lully was released from her service and gained the attention of King Louis XIV. In February 1653 he danced in “Ballet de la nuit” with the King and less than a month later was appointed the King’s “composituer de la musique instrumentale de Roi.” Over the next ten years Lully gained control over all the royal family’s court music. This is when he began experimenting with performance practices and changing the basic stylistic features of orchestral music. Lully’s “petits violons” brought him international fame.
At this point Lully focused his career on ballets. They brought together Lully’s two favorite expressions of art: dance and music. The dances he composed shaped what is now known as “French music.” Between 1658 and 1671 Lully wrote thirty ballets. During this ballet frenzy he received his French citizenship and changed his name from Lulli to Lully. He also elevated his father’s status to “gentilhomme Florentin.” Also in 1661 Lully was appointed the composer of chamber music for the King. In 1664 Lully collaborated with Jean-Baptiste Molière and started composing comédies-ballets. He didn’t thing the French language was appropriate for large works but was good for ballets.
Perrin, a French composer, introduced opera around this time and Lully thought it was absurd. However, when Perrin’s “Promone” succeeded, Lully changed his mind. Perrin ended up in prison over a money dispute and Lully bought the opera patent from him. This gave him complete control of French operatic performances. Then in 1673 Molière died and the King granted the patent for the Royal Theater to Lylly also. Lully’s new operatic style grew out of his popular ballets. He kept the overture, entry music for the dancers, atmosphere and action symphonies, and some of the dances themselv...
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...ed. Instrumentalists would only be used in scenes where an instrumentalist would normally be found in life: weddings, festivals, etc.
Lully’s influence on the orchestra cannot be overstressed. He dramatically affected its style and importance. His orchestra was emulated all over Europe. Many of the characteristics that Lully developed are still in use today.
Bibliography
Anthony, James R., “Lully.” The New Groves Dictionary of Music and Musicians. 1980 ed., vol. 14, p. 315-326.
Anthony, James R., H. Wiley Hitchcock, Edward Higginbottom, Graham Sadler, Albert Cohen. “French Baroque Masters.” The New Groves Dictionary of Music and Musicians. W.W. Norton and Company, 1986. p. 1-63
Buelow, George J., “Music and Society in the Late Baroque Era.” Music and Society in the Late Baroque Era. Englewood Cliffs: Prentice-Hall, 1994. p. 1-38
Harman, Alec and Anthony Milner. Late Renaissance and Baroque Music. Fairlawn: Essential Books, 1957.
Heyer, John Hadju. Lully Studies. Cambridge Universal Press, 2000.
Lewis, W. H., The Splendid Century: Life in the France of Louis XIV. Waveland Press, 1997
Newman, Joyce. Jean-Baptiste de Lully and His Tragédies Lyrique. UMI Research Press, 1979.
He moved his court because he did not feel safe in Paris and could watch over his court officials due to living so close to one another. This piece certainly provides evidence of what Louis himself valued, but perhaps these attributes are needed to effectively rule with absolutism. Throughout this entire document, the author is implying how great Louis is as a person and an effective ruler. He even goes to list his issues: “All his faults were produced by his surroundings...soon found out his weak point, namely, his love of hearing his own praises” (Saint-Simon). Louis cared deeply regarding his personal image and these weaknesses do not seem that drastic, but according to him, “It was this love of praise which made it easy for Louvois to engage him in serious wars” (Saint-Simon). The text gives historians information about Louis’ love-affair with Mademoiselle de la Valliere, compelling his courtiers to spend more than they earned creating a dependency, and other interesting details regarding his life that are excluded in textbooks. Overall, this document provides a deeper insight to King Louis XIV personality and justifications for why he chose the actions he did. Duc de Saint-Simon, someone that resided at the Palace of Versailles, can provide information about a man that ruled with an iron fist over his
The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, 20 vols. (London: Macmillan, 1980)9: 708-709
Daum, Gary. "Chapter 12 The Baroque Era (1600-1750)." Georgetown Prep. 1994. Georgetown University. 12 July 2005 .
... and slavery left millions of newly freed African Americans in the South without an education, a home, or a job. Before reconstruction was put in place, African Americans in the South were left roaming helplessly and hopelessly. During the reconstruction period, the African Americans’ situation did not get much better. Although helped by the government, African Americans were faced with a new problem. African Americans in the South were now being terrorized and violently discriminated by nativist groups such as the Ku Klux Klan. Such groups formed in backlash to Reconstruction and canceled out all the positive factors of Reconstruction. At last, after the Compromise of 1877, the military was taken out of the South and all of the Reconstruction’s efforts were basically for nothing. African Americans in the South were back to the conditions they started with.
He may even have been the first to sing the tragic love of Tristan and Isolde. One of Chretein de Troyes’ works, Chevalier de la Charette (The Knight of the Cart) expresses the doctrines of courtly love in its most developed form. The plot of this story is believed to have been given to him by Marie of Champagne and has been called “the perfect romance” for its portrayal of Queen Guinevere’s affair with Lancelot of the Lake.1
This book by John Rupert Martin is a good introductory book in the understanding of Baroque artists and their tremendous variety. Martin defines the Baroque characteristics, but only very broadly leaving a significant amount of room for the reader to make his own deductions. In general, Martin believes that the typical definitions of the Baroque are "too restrictive and hence likely to create more problems of classification and interpretation than it solves." Even the time of the Baroque is left open to the reader when Martin says the Baroque is roughly comprehended by the seventeenth century. It is important to note at the outset that this is only a convenient approximation; for epoch as a whole can certainly not be fitted into such a strait-jacket." This helps to define the Baroque much more generally as a gradual change which can much easily be noticed from the present than the past.
Schulenberg, David. Music of the Baroque. New York: Oxford University Press, 2001. ML193.S38 2001 c.2
Willoughby, David. "Chapter 11." The World of Music. 7th ed. New York: McGraw-Hill, 2012. 249-53. Print.
Among his various compositions, Holst’s First Suite in E-flat for Military Band (1909) and Second Suite in F for Military Band (1911) are very popular and famous concert band suites. Both suites are written in Holst’s traditional style of English folk s...
Rousseau was often in trouble for fighting and stealing. As a result of living this way, he fled to Paris in 1741 seeking fame. He composed an opera called Les Muses galantes, which led to a correspondence with Voltaire, Denis Diderot, and other French philosophers, some of whom were engaged in producing the Encyclopedia. Rousseau contributed several pieces on music to this project. But, it was not unt...
A. The Baroque Wind Band. Lipscomb University, 2007 -. Web. The Web.
MONDELLI, PETER. "The Sociability Of History In French Grand Opera: A Historical Materialist Perspective." 19Th Century Music 37.1 (2013): 37-55. Academic Search Premier. Web. 6 May 2014.
During and succeeding the Era of Reconstruction, African American lives were reformed in very substantial ways. Most African Americans thought of Reconstruction as an opportunity to improve the lives of their entire race. They thought it would help them bring equality to their people. However, Reconstruction showed many African Americans how difficult it was to survive independently. Once they left their plantations, they had nowhere to live. African Americans living in the south struggled to find food and shelter. To make matters much worse, Southern Whites were beginning to fight to retain southern white supremacy. “Reconstruction did not provide African Americans with either the legal protections or the material resources to ensure anything
John Warrack, author of 6 Great Composers, stated, “Any study of a composer, however brief, must have as its only purpose encouragement of the reader to greater enjoyment of the music” (Warrack, p.2). The composers and musicians of the Renaissance period need to be discussed and studied so that listeners, performers, and readers can appreciate and understand the beginnings of music theory and form. The reader can also understand the driving force of the composer, whether sacred or secular, popularity or religious growth. To begin understanding music composition one must begin at the birth, or rebirth of music and the composers who created the great change.
In today’s society many school officials are being sued in the court of law. It is very important for educators and administrators to understand the legal duties and responsibilities they face. School is to be a safe place for parents to send their children and it is the duty of the teachers, administrators, and personnel to make sure this happen. Many liability issues deals with school safety, unintentional torts, liability and negligence, supervision duties, FERPA, and student record confidentiality. In our school district there are many preventive measures to curtail the need for lawsuits. According to the Arizona Professional Administrators Standard 2, the administrator facilitates the success of all students by understanding, responding to, and influencing the social, cultural, and legal aspects of the community (APAS, 2010).