Carlos Serrano

Music 710
Fall 2016
Week 3 Assignment

Jig/Gigue

The first entry from Grove music online is a very detailed article by Margaret Dean
Smith. In this article, the author explains different dance styles that have been labeled as
jig. Also, this article presents a concise description of its different variations, connecting
each of them to the different geographical regions of Scotland, Ireland and England.
Remarkably, the author compares each style’s individual characteristics, including
metrical division, form and performance practice. Regarding sociological aspects, the
author describes customs regarding social roles (status) and gender participation in each
dance style. Besides that, the author expresses how this term has been used
interchangeably with other terms such as hornpipe. Finally, the author delivers a brief but
detailed review of the use of the term in instrumental music, the different works that were
labeled jigs and its respective composers.

The second entry from the Oxford companion to music is by author Janet Halfyard,
this short article is a very brief definition of the term Jig to define traditional dance forms
of the British Isles and a short description of the term’s usage in popular culture between
the 16th and 18th century. In conclusion, it resembles a dictionary definition, appropriate
for a reference book.

The third entry from the Oxford dictionary just mentions the different meanings and
applications of the term Jig/Gigue. The first one being the British dances, the second one
describes its application and characteristics during late 16 th and 17th centuries and the
last one describes the term’s function in an 18th century orchestral suite.

The fourth and last entry from Grove Music online is a very comprehensive and
very organized article written by Meredith Ellis Little. This article presents a great
introduction to the term; it initiates by mentioning the term’s most relevant use in music;
being the last movement of the baroque suite. Very swiftly, the author starts depicting
the origins of the term and the evolution of the musical style in regards to meter and form.
Consequently, transitioning into the comparison of its most distinctive and relevant
variations of the 17th century; the French Gigue and the Italian Giga. Soon after the
introduction, the author expands on the etymology of the term and its different possible
origins, elaborating on the possibility of the word coming out of slang. The next section in
the article is dedicated to present a historical and stylistic background of the Jig in 17th
century England. Once again, connecting the term with its humble and “vulgar”
beginnings and describing its evolution to the extent of being used by Henry Purcell,
England’s greatest composers of the time. The next two sections deliver with great detail
the history and stylistic variations that the “gigue” undertook when it was imported into
France and Italy. Describing in thoroughly the different aspects that were transformed
and the aesthetics that each country developed with the style. In addition, this article
offers great examples of works that were labeled Gigue/Giga as well as the wide array of
composers who used and developed each style. Finally, this article provides an
exhaustive account of the evolution of the Gigue in the 18th century, providing wide-
ranging descriptions of the different rhythmic structures, forms, tonalities and ways in
which the Gigue was developed as well as the many different composers who helped
develop the Gigue.

Sarabande

The first entry from Grove Music Online is an article written by Richard Hudson
and Meredith Ellis Little. This article is very comprehensive in its content, organization
and examples. It initiates with an in depth introduction that mentions the role of Sarabande
in the baroque suite and its origins in the 16th century. In addition, it mentions how it
originated in Latin America and spread primarily to Spain and consequently to other
countries in western Europe. The first section offers a very detailed review of its “obscene”
origins, instrumentation, literary references by distinguished writers, examples of
surviving music notation and early rhythmic structure. The second section of this article
presents a detailed account of works, influential composers and stylistic characteristics
of the 17th and 18th century Sarabande in Spain, England and Italy. The third section of
this article describes how the Sarabande was used in the baroque dance suites in France
and Germany. It mentions its different structural developments, different instruments and
ensembles that composers wrote Sarabandes for. In addition, it provides several
examples of such works. Finally, it remarks how the form of Sarabande was still being
used in the late 19th and early 20th century by modern composers.

The second entry from the Oxford Companion to music is a short article by Jane
Bellingham. This article offers a much more concise overview of the origins of the
Sarabande, its role in the baroque dance suite and its lascivious reputation. Also, it
mentions its transformation as it was adopted in Italy, Spain and England very briefly. In
conclusion, this article seems like a summary of the first entry. It grants very few details
but it provides the reader with a clear idea of the term, its stylistic development and
history. In conclusion, it appears to be a shortened adaptation of the first entry on
Sarabande.

The last entry on the Sarabande is found on the Oxford Dictionary. This article
delivers a miniature review of the history of Sarabande and the controversy that it caused
during its origins. In addition, this article portrays a few highlight of its rhythmic structure
and general aesthetics in different countries and time periods. The article seems
organized in a strict chronological way. Just like the previous entry, it seems like an even
more concise adaptation of the first entry on Sarabande.

Bagpipe

The first entry on the Bagpipe is found on Grove music online. This remarkably
extensive and rich article is a collaboration of authors William A. Cocks, Anthony C. Banes
and Roderick D. Cannon. It presents an enormous collection of knowledge on the
instrument, its structure, history and different variations present according to geographic
regions. This article is organized in a geographical manner. The first section of the article
is dedicated to its structure, materials, construction and its overall functionality. The
second section delivers some literature references of the instrument as well as a concise
and general overview of its history. The following sections offer a thorough review of the
history and variations of the instrument in each individual country that has adopted the
bagpipe into its cultural customs. Finally, the last sections provide a full overview of the
aesthetics and qualities of this instrument and its present state.

This particular entry is full of citations, references, examples and illustrations. This
article presents a vast bibliography and appears to be the result of lengthy research and
study from the authors. In conclusion, this article is wonderfully crafted, very enjoyable
for the reader and extremely well written.

The second and last entry on the bagpipe is found on The Oxford Companion to
music and is signed by Richard Partridge. The article is organized by the different types
of bagpipes and its countries of origin and influence. This article’s primarily concern is the
mechanics of the instrument, construction materials and overall functionality. In addition,
it provides a short review of its history and a few literature references on the instrument.
The article concludes with a brief description of the different solo and ensemble
performance settings in which the instrument has been commonly used. This article
provides no citations and only has one entry in its bibliography. In conclusion, this article
is very accessible but is missing more details, illustration, examples and other features.
Bibliography:

Margaret Dean-Smith. "Jig." Grove Music Online. Oxford Music Online. Oxford University Press,
accessed September 15, 2016, http://www.oxfordmusiconline.com/subscriber/article/grove/music/14307.

Halfyard, Janet. "jig." The Oxford Companion to Music. Oxford Music Online. Oxford University Press,
accessed September 16, 2016, http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e3566.

Meredith Ellis Little. "Gigue (i)." Grove Music Online. Oxford Music Online. Oxford University Press,
accessed September 17, 2016, http://www.oxfordmusiconline.com/subscriber/article/grove/music/11123.

Richard Hudson and Meredith Ellis Little. "Sarabande." Grove Music Online. Oxford Music Online. Oxford
University Press, accessed September 17, 2016,
http://www.oxfordmusiconline.com/subscriber/article/grove/music/24574.

Bellingham, Jane. "sarabande." The Oxford Companion to Music. Oxford Music Online. Oxford University
Press, accessed September 18, 2016,
http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e5891.

William A. Cocks, et al. "Bagpipe." Grove Music Online. Oxford Music Online. Oxford University Press,
accessed September 20, 2016, http://www.oxfordmusiconline.com/subscriber/article/grove/music/01773.

Partridge, Richard. "bagpipe." The Oxford Companion to Music. Oxford Music Online. Oxford University
Press, accessed September 20, 2016,
http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e535.