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Home , Alba (poetry), Ars cantus mensurabilis, Ars subtilior, Bar form, Bernart de Ventadorn, Cantus firmus

and Dance in the Early sung in Churches, Monasteries and Nunneries Chant and Chant notation taught in Church Schools

Few people could (or needed to) read outside the church, and was

rarely written down…

…except in elite circles that valued secular music.

What secular music survives in notation?

Several hundred monophonic Lyrics for songs whose are lost

And a few dance tunes

We have… descriptions of music-making, illuminations of musicians playing instruments,

and a few instruments

What was the Medieval World that supported SECULAR MUSIC?

CHARLEMAGNE (742-814)

CHARLEMAGNE (742-814) Crowned Holy Roman Emperor in 800

CHARLES le MAGNE (742-814) Unites Europe and sponsors the Arts creating the…

CAROLINGIAN

Upon the death of his son LOUIS the PIOUS (778-840) Charlemagne’s empire divided into geographical beginnings of Modern Europe Political centers developed, some of which nurtured the development of secular music.

Regional nobility had considerable political autonomy and competed for artistic prestige by hiring the best musicians

Western Europe saw remarkable economic growth in 800-1300 Economy was largely agricultural Most people lived in rural areas

By 1300, however, several cities had populations over 100,000

There were three Social Classes Nobility Peasants

Doctors, Lawyers, Merchants, and Artisans formed a new “middle class” in cities

Artisans—including musicians— organized themselves into groups called GUILDS to regulate their crafts and protect their interests

Cathedral schools were established throughout Europe from 1050 to 1300.

Universities were founded in Bologna, , Oxford, and other cities

Beginning in 1200, independent schools for laymen were founded.

Educated people spoke, wrote, and understood as well as vernacular languages

wrote in LATIN based on Roman models, but using Latin in a unique way.

poetry treated nonreligious subjects, and were often satirical, moralizing about sex and love.

THE , wandering students and clerics, who composed many songs in the late tenth through thirteenth centuries

Their texts are in Latin, and topics include religious themes and , and celebration of earthly pleasures, such as eating and drinking.

PROFESSIONAL MUSICIANS

BARDS in Celtic lands sang epics at banquets, accompanying themselves on or fiddle

JONGLEURS were traveling entertainers who told stories and performed tricks in addition to performing music

jongleur = “juggler”

(Latin minister = “servant”)

By the 1200s meant any specialized musician Many were highly paid, unlike the jongleurs

Minstrels came from many economic backgrounds, and were on the payrolls of courts and cities.

The and TROUVÈRES

The TROUBADOURS and TROUVÈRES

Began around 1100 The root words trobar and trover meant “to compose a song”

music has its origins in three possible genres: 1. Arabic love songs from Iberia 2. Versus from 3. Secular Latin songs (Goliards) Courts supported songs from these - in two vernacular languages

In the south the language was Occitan Langue d’Oc and the poet-composers were called TROUBADOURS

OCCITANIA In the North, the language was FRENCH Langue d’Oïl and the poet-composers were called TROUVÈRES.

Troubadours and trouvères came from many backgrounds, and there were female troubadours were called

Some were nobility, such as Guillaume IX Duke of Aquitaine (1071 –1126)

and Beatriz, (c. 1140 - c. 1200)

Some were from the servant class such as (c. 1130 - 1200)

They were all accepted into aristocratic circles because of their accomplishments and demeanor

Many of their biographies, VIDAS were written down and survive

“Bernard de Ventadorn was from the castle of Ventadorn in Limousin. He was a man from a poor family, the son of a servant who was an oven-tender and heated the oven to cook the bread for the castle. He grew handsome and skilled, and knew how to compose and sing, and he was courtly and educated. The Viscount Ventadorn [Eble III], his lord, was greatly pleased with him and his composing and singing, and honored him greatly.

Now,Viscount Ventadorn had a wife [Marguerite de Turenne] who was beautiful and gay, and young and noble, and she was pleased with Bernard and his songs, and she fell in love with him, and he with her, so that he made his poems and songs about her, the love that he had for her and her noblesse. Their love lasted for a long time. And when the viscount caught on, he distanced himself from Bernard shut in his wife under guard. Then he had the lady dismiss Bernard, and made him agree to leave and depart from the district.

So Bernard left, and went to the Duchess of Aquitaine, who was young and of great nobility, and well-versed in worthiness and honor and eulogy. And she was most pleased with Bernard’s poems and songs, so she received, honored, and supported him and gave him many great favors. He was at the court of the duchess for a long time and he fell in love with her and she with him, so Bernard made many good songs about it.

But King Henry II of took her to wife and took her from Normandy to England. Sir Bernard stayed behind, sad and ailing, and he left Normandy and went to the good count Raimon V of , and was with him at his court until the count died. And when the count was dead, Sir Bernard abandoned the world and composing, and entered the order of Dalon and died there. And all that I have told you about him was told to me by Viscount Eble of Ventadorn, who was the son of the Viscountess Bernard loved so much.”

Castle of Ventadorn Bernart de Ventadorn

Guillaume IX Beatriz de Dia

TROUBADOUR SONGS LOVE SONGS predominate. Other songs are on political, moral, and literary topics. Some are dramatic ballads and dialogues, and dance songs

TROUBADOUR SONGS The poems of the troubadours and trouvères are some of the finest of Western vernacular poetry, notable for their elegance, and intricacy.

TROUBADOUR SONGS Influence all of Western poetry through DANTE, PETRACH

TROUBADOUR SONGS The central theme was FIN’ AMORS (Occitan) = “” or, more precisely, “refined love”

FIN’ AMORS Love from a distance, whose object was a real woman, usually another man’s wife. The woman was unattainable, making unrewarded yearning a major theme

FIN’ AMORS Tristan and Iseult

TROUBADOUR There are several genres types, the (dawn-song), CANSO (love song), and TENZO (debate-song)

TROUBADOUR CHANSONS Most song lyrics are strophic. Dance songs often include a

TROUBADOUR SONGS Around 2,600 Troubadour lyrics survive, one-tenth survive with melodies. Around 2,100 Trouvère lyrics survive, and two-thirds survive with melodies.

TROUBADOUR SONGS Songs are strophic, with stanzas set to the same

Text-setting is syllabic, with occasional melismas on a line’s penultimate syllable.

TROUBADOUR SONGS The vocal range is narrow, usually not over a ninth.

Melodic motion is mostly stepwise.

TROUBADOUR SONGS Plainchant modal theory was NOT part of troubadours’ mindset, yet most melodies fit the theory

TROUBADOUR SONGS Mode I (D-Dorian) and

Mode VII (G-Mixolydian) used most frequently

TROUBADOUR SONGS Like plainchant, the is not indicated by the notation

TROUBADOUR SONGS Some scholars believe melodies were sung with each syllable receiving the same duration, while others interpret the songs with a meter corresponding to poetry.

TROUBADOUR SONGS Dance songs were mostly likely sung metrically, and serious love songs may have been sung more freely.

Bernart de Ventadorn Can vei la lauzeta mover Can vei la lauzeta mover When I see the lark spread its wings De joi sas alas contral rai, for joy and fly towards the sun, Que s’oblid’ es laissa chazer Forget itself, and fall Per la doussor c’al cor li vai, In the bliss that rushes to its heart, Ai! Tan grans enveya m’en Alas! A great envy comes to me ve Of those that I see filled with joy,

De cui qu’eu veya jauzion, I am amazed that my heart Meravilhas ai, car desse Does not instantly melt with desire. Lo cor de dezirer nom fon. Beatriz de Dia A chantar m’ er de so A chantar m’ er de so qu’ eu no volria, I must sing of that which I would rather not Tant me rancur de lui cui sui amia; So rancorous I am towards him who is my lover

Car eu l’ am mais que nuilla ren que sia: For I love him more than anyone Vas lui nom val merces ni cortezia My kindness and courtesy make no impression on him

Ni ma beltatz ni mos pretz ni mos sens; Nor my beauty, my virtue, or my intelligence, C’ atressi.m sui enganad ’ e trahia So I am deceived and betrayed,

Com degr’ esser, s’ eu fos dezavinens. As I should be if I were unattractive. A A A chantar m’er de so qu’eu no volria, A Tant me rancur de lui cui sui amia; A A Car eu l’am mais que nuilla ren que sia: A Vas lui nom val merces ni cortezia

B B Ni ma beltatz ni mos pretz ni mos sens; A C’atressim sui enganad’ e trahia

B Com degr’ esser, s’eu fos dezavinens. AAB = Bar form

FORMES FIXES Troubadour and Trouvère poetry written in certain poetic forms reflected in musical setting , ,

END of TROUBADOURS Albigensian Crusade, declared by Pope Innocent III in 1208, destroyed the culture and courts of southern .

END of TROUBADOURS Troubadours dispersed, spreading their influence to neighboring countries

MINNESINGERS Knightly poet-musicians who wrote in German, and modeled themselves on the troubadours.

MINNESINGERS Knightly poet-musicians who wrote in German, and modeled themselves on the troubadours. Minne (Gr.) = fin’ amors

CANTIGAS de SANTA MARIA King Alfonso el Sabio

CANTIGAS de SANTA MARIA Over four hundred songs in Gallican-Portuguese in honor of the Virgin Mary

CANTIGAS de SANTA MARIA King Alfonso el Sabio [The Wise] of Castile and Léon in northwest ordered the

compilation of these songs in about 1270–1290.

CANTIGAS de SANTA MARIA In the Christian Church, the Virgin Mary increasingly became the focus of veneration

from around 1100

CANTIGAS de SANTA MARIA Cantigas survive in four beautifully illuminated manuscripts

CANTIGAS de SANTA MARIA Songs praise the Virgin Mary, and describe miracles performed by her After every 9 story songs is a cantiga of praise

CANTIGAS de SANTA MARIA The songs all have , And in performance, group singing of the refrains

might have alternated with a soloist singing the verses.

CANTIGAS de SANTA MARIA Refrain = A Most verses are in bba form.

Refrain Verse Refrain A bba A

CANTIGAS de SANTA MARIA Accompanied by Instruments?

CANTIGAS de SANTA MARIA

CANTIGAS de SANTA MARIA

CANTIGAS de SANTA MARIA

CANTIGAS de SANTA MARIA

CANTIGAS de SANTA MARIA

CANTIGAS de SANTA MARIA

CANTIGAS de SANTA MARIA

Churches started installing organs by ca. 1100, and became common in cathedrals by 1300 Organs small enough to be carried Right hand played the keys, left worked the bellows. “Positive organ” placed (positum) on a table

CANTIGAS de SANTA MARIA

DANCE MUSIC

Estampie

Triple-meter multi-part dance with ouvert [“open”] and clos [“closed”] endings

for each secion La quarte royal c. 1250-70

7 sections with ouvert and clos endings La quarte estampie royal c. 1250-70

7 sections with ouvert and clos endings EARLY (800-1250) POLYPHONY poly = “many” phonos= “sound/voice” With polyphony Western music takes a different turn away from the monophonic traditions of most of the worlds’ music. Early polyphony probably improvised May have roots in Magadizing (singing in octaves) Polyphony is a kind of musical troping, an addition to existing chant TROPING

Chant is sacred—you can’t rewrite it; you can only embellish or add to it by… TROPING (adding and interspersing) TEXTUAL TROPING

Interspersing text between lines Adding texts to melismas, such as to the jubilus of an eleison, Kyrie eleison, Kyrie eleison. Kyrie eleison, Cunctopotens genitor, Kyrie eleison, Kyrie eleison. Kyrie eleison, Cunctopotens genitor, Kyrie eleison, Kyrie eleison.

And by textually troping this piece, we have turned part of the Ordinary into something that is “Proper.” MUSICAL TROPING

Adding or inserting new musical to a piece horizontally…

MUSICAL TROPING

Adding or inserting new musical to a piece horizontally…

MUSICAL TROPING

Adding or inserting new musical to a piece “horizontally”…

MUSICAL TROPING

Adding or inserting new musical to a piece horizontally…

MUSICAL TROPING

Adding new musical material VERTICALLY or POLYPHONY

What was early polyphony?

Two-part polyphony (2 melodies) Polyphony in solo sections of chant (i.e responsorial )

Ways to Perform Chant

DIRECT = All sing RESPONSORIAL = soloist with responding ANTIPHONAL = back and forth between

Ways to Perform Chant

RESPONSORIAL = soloist with choir responding

Troping was an innovation of the 9th century (800s) The Abbeys at St. Gall and St. Martial became important centers of troping. NOTATION

Troping developed at the same time as the earliest fragments of Western notation () in 800… Leading to full-blown notation by 850 POLYPHONY

Western polyphony begins with (late 800s) Means “organized” ORGANUM Earliest details are in two treatises: Musica Enchiriadis (“Music Handbook”) (c. 850-900) Scolica Enchiriadis (c. 850-900), a commentary on the Musica Enchiriadis ORGANUM

Musica Enchriadis and Scolica Enchiriadis give directions on how to IMPROVISE polyphony ORGANUM

The chant in organum is the Vox Principalis (“principle” voice) The added voice is the Vox Organalis (“planned” voice) ORGANUM

CHANT is ABOVE ADDED VOICE is BELOW

ORGANUM

Consonances are: , fifth, fourth, second ORGANUM

Consonances are: Octave, fifth, fourth, second

Remember that these intervals are considered “perfect” because of the whole number ratios that create them ORGANUM

Strict “parallel” organum, with the voices moving in parallel motion at the fifth ORGANUM ORGANUM

Parallel organum at fourth might encounter the (the diabolus in musica)… ORGANUM

Guido d’Arezzo devises rules to avoid the tritone… (And he dislikes strict parallel organum) Starts ; Organal voice stays on the starting pitch until the Principle voice moves a fourth above, then both proceed in parallel motion at the fourth; Organal voice returns to unison at penultimate pitch in the occursus (“meeting”) ORGANUM

Diagram of Rex caeli domine in modified parallel organum from the Musica Enchiradis ORGANUM

Principal (Chant) Voice

Organal Voice Occursus ORGANUM

This type of organum is called “oblique organum” or “modified parallel organum” St. Martial School, Limoges (c.930-1130) St. Martial School, Limoges (c.930-1130)

Center of development of “Free” Organum Composed rather than improvised polyphony

St. Martial School, Limoges (c.930-1130)

Written out IN SCORE

NO indication of rhythm St. Martial School, Limoges (c.930-1130) Voice parts can cross 2 voices now referred to as TENOR (chant voice) from “tenere” = to hold

DUPLUM (“second” voice). St. Martial School, Limoges (c.930-1130)

VOX DUPLUM ORGANALIS

VOX TENOR PRINCIPALIS St. Martial School, Limoges (c.930-1130) 2 Distinct Styles Melismatic (“florid”) organum where the duplum voice has many notes to that of the tenor. Also called the “sustained note” style in reference to the long held notes of the tenor. organum, a syllabic note-against- note style that evolves into a - against-neume style St. Martial School, Limoges (c.930-1130)

Ad Organum Faciendum (“How to Make Organum”) c1100 SCHOOL of NÔTRE-DAME

Late 1100-1200s

(Twelfth-Thirteenth centuries)

-Musicians associated with the Cathedral and University of Nôtre-Dame de Paris

Nôtre-Dame in 1630, On the Île-de-la-Cité

! The cathedral is one of the grandest cathedrals in the Gothic style and took almost a century to complete Foundations for the cathedral were laid in 1160 The first Mass was celebrated in 1183 The façade was completed in 1250

The School of Nôtre-Dame’s polyphonic decoration of the Chant paralleled the intricate decoration of the cathedral The new repertory was the first as a whole to be composed and read from notation rather than improvised.

SCHOOL of NÔTRE-DAME

Nôtre-Dame composers important for the notational development of the Rhythmic Modes In the 1200s composers begin to write in rhythmic modes

SCHOOL of NÔTRE-DAME

Described in a thirteenth-century treatise attributed to Johannes de Garlandia SCHOOL of NÔTRE-DAME

Based on poetry—quantitative meter, i.e. longs and shorts LONGA and BREVIS SCHOOL of NÔTRE-DAME

“Arma virumque cano, Troiae qui primus ab oris Italiam, fato profugus, Laviniaque venit” —Opening lines of Virgil’s Aeneid SCHOOL of NÔTRE-DAME

“Arma virumque cano, Troiae qui primus ab oris Italiam, fato profugus, Laviniaque venit”

“Virgilian” hexameter SCHOOL of NÔTRE-DAME

Mode I: —long short

Mode II: —short long

Mode III: —Long, short long

Mode IV: Anapest—short, long, Long

Mode V: —Long, Long, Long

Mode VI: Pyrrhic—short short short SCHOOL of NÔTRE-DAME

Based on a triple-meter system as symbol of perfection The basic time unit (a sort of protos chronos) is the tempus, pl. tempora

SCHOOL of NÔTRE-DAME SCHOOL of NÔTRE-DAME

Each is signaled by a starting and ending group of neumes… SCHOOL of NÔTRE-DAME

Mode I 3 – 2 ( - 2)

Mode II 2 – 2 ( - 3)

Mode III 1 – 3 ( - 3)

Mode IV 3 – 3 ( - 2)

Mode V 1 – 1 ( - 1)

Mode VI 4 – 4 ( - 3)

Ending Starting group group SCHOOL of NÔTRE-DAME

Modal rhythm gives the non-metrical neumes of chant rhythmic value SCHOOL of NÔTRE-DAME

The system also included signs for rests SCHOOL of NÔTRE-DAME

Phrases of a particular rhythmic mode are organized into a group (ordo) SCHOOL of NÔTRE-DAME

The ordo is number of times a pattern is done uninterrupted The end of an ordo is signaled by a rest. SCHOOL of NÔTRE-DAME

A treatise from about 1285 by an author known as Anonymous IV names two musicians associated with creating Nôtre-Dame polyphony

SCHOOL of NÔTRE-DAME

LEONINUS (1150–ca. 1201) Canon at Nôtre-Dame affiliated with a nearby monastery of St.Victor SCHOOL of NÔTRE-DAME

Anonymous IV credits Leoninus with compiling a “great book of polyphony” used at Nôtre-Dame

MAGNUS LIBER ORGANI

“The Great Book of Organum” ORGANI

The “great book” no longer exists. Its contents survive in several later manuscripts.

MAGNUS LIBER ORGANI

The MLO contained two-voice organum settings of the solo sections in responsorial chants for great feast days MAGNUS LIBER ORGANI

Organum in the style of Leoninus

Only the solo portions of responsorial chant set polyphonically. The choir sang the remaining portions in unison.

MAGNUS LIBER ORGANI

Organum in the style of Leoninus

Responsorial Chant

MAGNUS LIBER ORGANI

Organum in the style of Leoninus

Polyphonic sections features two types of polyphony: discant and organum purum

MAGNUS LIBER ORGANI

ORGANUM PURUM

The tenor sustains the chant melody in long notes

The duplum, sings expansive melismas, moving mostly stepwise.

MAGNUS LIBER ORGANI

ORGANUM PURUM

Cadences arrive on an octave, fifth, or unison, and are followed by a rest.

Dissonances sometimes occur and are even prolonged by the duplum.

MAGNUS LIBER ORGANI

ORGANUM PURUM

The notation doesn’t suggest any rhythmic mode, but some performers and scholars have tried to apply the rhythmic modes to this style.

MAGNUS LIBER ORGANI

DISCANT

Discant style is generally composed on the long melismas of source chant.

Tenor and Duplum move in modal rhythm (neume against neume) MAGNUS LIBER ORGANI

LEONIUS,

Organum duplum setting of

MAGNUS LIBER ORGANI

MAGNUS LIBER ORGANI

CLASULA

Clasula (pl. clasulae) = “Phrase”

MAGNUS LIBER ORGANI

CLASULA

Clasula (pl. clasulae) = “Phrase”

Sections of discant polyphony MAGNUS LIBER ORGANI

CLASULA

A clasula was a self-contained section of discant organum that closed with a .

MAGNUS LIBER ORGANI

CLASULA

Substitute clausulae replaced one polyphonic settings of a segment of chant with another polyphonic setting-- a substitute clasula…

MAGNUS LIBER ORGANI

CLASULA

MAGNUS LIBER ORGANI

CLASULA SETTINGS

The tenor repeats a short rhythmic motive based on a rhythmic mode.

The tenor may also repeat the melody

MAGNUS LIBER ORGANI

CLASULA

PEROTINUS edited the Magnus Liber Organi and according to Anonymous IV “made many better clausulae.”

PEROTINUS

Perotinus and his contemporaries created organa for three or even four voices.

PEROTINUS

Organum duplum = 2-voice Organum triplum = 3-voice Organum quadruplum = 4-voice

PEROTINUS

Voice names in ascending score order from the tenor QUADRUPLUM (4) TRIPLUM (3) DUPLUM (2) TENOR (Chant)

PEROTINUS

All upper voices use rhythmic modes, enabling exact coordination among them. They move in similar ranges, crossing repeatedly

PEROTINUS Viderunt omnes

Organum quadruplum setting of gradual PEROTINUS

Anonymous IV attributes this work to Perotinus

And an 1198 letter from bishop of Paris requests a four-voice organum for the Feast of the Lord’s circumcision (January 1).

PEROTINUS

Begins with organum style The tenor sustains very long notes. The upper voices move in modal rhythm.

Passages in discant style (tenor moving quickly) alternate with sections of organal style (tenor moving slowly)

PEROTINUS

• Repeated phrases, with restated phrases at different pitch levels • (trading places) • Complementary phrases • Dissonances precede consonances • Each section uses distinct techniques.

PEROTINUS

• Organum at Nôtre-Dame performed from memory • Upper parts (Duplum, Triplum, Quadruplum) performed 1-voice per part • Tenor = 2-3 voices

PEROTINUS

• Organum at Nôtre-Dame performed from memory • Upper parts (Duplum, Triplum, Quadruplum) performed 1-voice per part • Tenor = 2-3 voices

originally consisted of newly written Latin words added to the upper voices of discant clausulae. The earliest texts were often a textual tropes (replacing or inserting texts) of clausulae.

MOTET The French word for “word” MOT inspired the name for the genre.

MOTET The Thirteenth-Century Motet is a polyphonic works with one or more texted voices added to a pre-existing tenor, which is set in a modal rhythm.

MOTET Motets are identified by a compound title comprising the first words of each voice from highest to lowest.

MOTET Motets are identified by a compound title comprising the first words of each voice from highest to lowest. Factume est salutare / Dominus

MOTET The motet became the leading polyphonic genre for both sacred and secular music.

EARLY MOTET Based on the discant clausula

EARLY MOTET Based on the discant clausula The new text tropes the original chant text Phrasing of original clausula shapes = phrases of added text

MOTET Sung during the Mass or as independent entertainment

MOTET 2.0 These existing motets were reworked New texts added to duplum in the Latin or French language no longer linked to liturgical context

MOTET These existing motets were reworked New texts added to duplum in the Latin or French language no longer linked to liturgical context Other voices (triplum) added with texts of their own MOTET Early Motets (to ca. 1250) Double Motet: a motet with two added texts above the tenor (Double motet = three voices)

MOTET Early Motets (to ca. 1250) Triple motet: a motet with three added texts above the tenor (Triple motet = four voices)

MOTET The “Additive” Motet Original kept, original duplum discarded, and another one (or more) voices composed.

MOTET “Original” Motets composed “from scratch” Chant tenor melisma set in modal rhythm Duplum / Triplum added above tenor

MOTET on “Dominus” of “Viderunt omnes”

MOTET melisma

MOTET Motets in later thirteenth century By 1250 three voices are typical Upper voices with texts in Latin or French, or French & Latin

MOTET By 1270 the TENOR is now called the = A pre-existing melody Melody predominantly CHANT

FRANCONIAN NOTATION (c. 1280) Innovations in notating RHYTHM

FRANCONIAN NOTATION Noteshape signifies relative duration

FRANCONIAN NOTATION Noteshapes are: + Double long FRANCONIAN NOTATION The tempus (pl. tempora) is still the basic unit Long = 2 or 3 tempora Breve = 2 or 3 tempora Franconian system included signs for rests

FRANCONIAN NOTATION

FRANCONIAN NOTATION

FRANCONIAN NOTATION With Franconian notation score notation not needed voices written in parts rather than score format

FRANCONIAN NOTATION

DUPLUM TRIPLUM

TENOR

FRANCONIAN MOTETS Motets written in Franconian Notation Written in style made possible by Franconian Notation Each voice has distinctive rhythm Rhythm no longer shaped by Modal Rhythm

FRANCONIAN MOTETS allows thirds and other dissonances P4 now being treated like a dissonance still demand “perfect” consonances Cadence patterns developing

ROTA English culture was tied to that of France after the Norman Conquest in 1066 Although they adopted French culture, English musicians created a distinct musical style

ROTA Prominent “imperfect consonances” Improvised partsinging in close harmony documented as early as 1200

ROTA Prominent “imperfect consonances” Improvised partsinging in close harmony documented as early as 1200 Emphasis on harmonic thirds and triads including the final sonority

ROTA Voice-exchange evolved into elaborate techniques The RONDELLIUS two or three phrases are heard simultaneously, with each voice singing each one in turn

ROTA Rondellus Triplum: a b c Duplum: c a b Tenor: b c a

ROTA A ROTA is a perpetual canon or round at the unison

ROTA Sumer is icumen in Two voices sing a voice-exchange pes (Latin for “” or “ground”). Four upper voices in canon producing alternating triadic sonorities of F–A–C and G–B-flat–D

POLYPHONY By 1300, “composition” meant creating polyphony, not .

POLYPHONY Writing down music of multiple parts in coordinating vertical sonorities to create a sense of direction that would be a hallmark of Western tradition and set it apart from almost all other musical traditions.

FOURTEENTH CENTURY Difficult conditions in Europe

FOURTEENTH CENTURY Difficult conditions in Europe “Mini Ice Age” Floods

FOURTEENTH CENTURY Difficult conditions in Europe “Mini Ice Age” Floods The BLACK DEATH

FOURTEENTH CENTURY BUBONIC PLAGUE killed one third of the Europe’s population 1347-1350

FOURTEENTH CENTURY BUBONIC PLAGUE killed one third of the Europe’s population 1347-1350 Victims died within days Survivors fled urban areas

FOURTEENTH CENTURY GREAT SCHISM 1378-1417 King Philip IV of France French Pope in Avignon Corrupt clergy bureaucracy

FOURTEENTH CENTURY SCIENCE & SECULARISM William of Ockham (c.1285-1349) Knowledge from experience and the senses Eyeglasses, Mechanical clocks, Magnetic compass

FOURTEENTH CENTURY compass William of Ockham FOURTEENTH CENTURY VISUAL ARTS The Florentine painter GIOTTO achieved more naturalistic representation and a sense of depth and symmetry PERSPECTIVE

FOURTEENTH CENTURY VISUAL ARTS

Giotto, Arena Chapel, Padua FOURTEENTH CENTURY LITERATURE Increased literacy led to more literature in the vernacular. Dante Alighieri and Giovanni Boccacio in Italian in English

FOURTEENTH CENTURY MUSIC Increased attention to secular song, though much sacred music continued to be composed.

(1291-1361) Ars Nova (c. 1320) “This completes the ars nova of Magister Philippe de Vitry”

ARS NOVA Philippe de Vitry (1291-1361) Ars Nova (c. 1320) “This completes the ars nova of Magister Philippe de Vitry” Vitry compositions among the 169 pieces of music in Fauvel

FOURTEENTH CENTURY Flatterie (Flattery) Avarice (Greed) Villanie (Villany) Variété (Fickleness) Envie (Envy) Lâcheté (Cowardice)

FOURTEENTH CENTURY ROMAN de FAUVEL Flatterie (Flattery) Avarice (Greed) Villanie (Villany) Variété (Fickleness) Envie (Envy) Lâcheté (Cowardice)

ROMAN de FAUVEL Flatterie (Flattery) Avarice (Greed) Villanie (Villany) Variété (Fickleness) Envie (Envy) Lâcheté (Cowardice)

Fond Français 146, Paris, Bibliothèque Nationale ARS NOVA MENSURATION SIGNS MODE = Division of the Long TIME = Division of the Breve PROLATION= Division of the Semibreve Major / Minor

ARS NOVA Shifting emphasis to duple meters was criticized by Jacque de Liège “Perfection [triple] is brought low, and imperfection [duple] exalted.”

Motets of Philippe de Vitry some of the earliest uses of ISORHYTHM Rhythmic structure of the tenor of motet

ISORHYTHM TALEA “cuttings” (pl. taleae) Rhythmic pattern COLOR “color” (pl. colores) The melodic notes of the tenor

ISORHYTHM TALEA “cuttings” (pl. taleae) Rhythmic pattern The tenor is laid out in segments of identical rhythm.

ISORHYTHM TALEA “cuttings” (pl. taleae) Rhythmic pattern Taleae in tenors in 1200s = short patterns Taleae in tenors in 1300s = longer patterns

ISORHYTHM TALEA “cuttings” (pl. taleae) Rhythmic pattern The slow pace of the tenor makes it less a melody and more of a foundational structure.

ISORHYTHM COLOR “color” (pl. colores) The melodic notes of the tenor The color and may repeat, but not necessarily with the rhythm.

ISORHYTHM “In arboris / Tuba sacre fidei / Virgo sum” attributed to Vitry The tenor includes two statements of the color 6 repetitions of the talea

ISORHYTHM “In arboris / Tuba sacre fidei / Virgo sum” attributed to Vitry Coloration indicates changes from duple to triple Introitus

HOCKET “Hiccup” Two voices alternating in rapid succession, each resting while the other sings The device was developed in the thirteenth century

ARS NOVA HARMONIC PRACTICES Greater prominence of “imperfect” consonances Cadences required perfect consonances, but their resolution could be sustained Parallel octaves and fifths continued to be used

(c. 1300-1377)

GUILLAUME de MACHAUT (c. 1300-1377) The leading composer of the French Ars Nova Born in northeastern France, middle-class family Educated as a cleric and took Holy Orders

GUILLAUME de MACHAUT (c. 1300-1377) 1323–1340, worked as secretary for John of Luxembourg, King of Bohemia, Resided in Reims after 1340 Royal patrons supported him, including the kings of Navarre and France

GUILLAUME de MACHAUT (c. 1300-1377) First composer to compile his complete works and to discuss his working method He wrote his poems first, then the music

GUILLAUME de MACHAUT (c. 1300-1377) First composer to compile his complete works and to discuss his working method He wrote his poems first, then the music Liked music “sweet and pleasing”

GUILLAUME de MACHAUT (c. 1300-1377) He paid for the preparation of several illuminated manuscripts of his works He composed many major musical works and numerous narrative poems

GUILLAUME de MACHAUT (c. 1300-1377) 23 motets, most from early in his career 20 are isorhythmic, 3 which use secular songs as tenors. Often include hockets

GUILLAUME de MACHAUT (c. 1300-1377) “Mass of Our Lady”

GUILLAUME de MACHAUT (c. 1300-1377) Probably the earliest polyphonic setting of the Mass Ordinary to be composed by a single composer and conceived as a unit Kyrie, Gloria, Credo, Santus, Agnus Dei & Ite missa est

GUILLAUME de MACHAUT (c. 1300-1377) In the fourteenth century, anonymous composers in France, England, and Italy set individual movements polyphonically. A few mass “cycles” were assembled from individual movements

GUILLAUME de MACHAUT (c. 1300-1377) Composed for the cathedral in Reims Performed at a Mass for the Virgin Mary celebrated every Saturday After Machaut’s death, an oration for Machaut’s soul was added to the service, and performed until fifteenth century

GUILLAUME de MACHAUT (c. 1300-1377) UNIFYING DEVICES Recurring motives Tonal focus on D in the first three movements and on F in the last three

GUILLAUME de MACHAUT (c. 1300-1377) UNIFYING DEVICES All six movements are for four voices, including a contratenor (“against the tenor”) that moves in the same range as the tenor.

GUILLAUME de MACHAUT (c. 1300-1377) UNIFYING DEVICES Kyrie, Sanctus, Agnus Dei, and Ite, missa est are isorhythmic.

GUILLAUME de MACHAUT (c. 1300-1377) KYRIE Chant Kyrie Cunctipotens Genitor

GUILLAUME de MACHAUT (c. 1300-1377) KYRIE TENOR: 28 notes (color) of chant, 4-note talea (rhythmic pattern) x 7

GUILLAUME de MACHAUT (c. 1300-1377) KYRIE TENOR: 28 notes of chant, 4-note talea x 7 Contratenor also isorhythmic

GUILLAUME de MACHAUT (c. 1300-1377) KYRIE TENOR: 28 notes of chant, 4-note talea x 7 Contratenor also isorhythmic Upper voices partially isorhythmic

GUILLAUME de MACHAUT (c. 1300-1377) Kyrie I: Polyphony, Chant, Polyphony Christe: Chant, Polyphony, Chant Kyrie II: Polyphony, Chant, Polyphony

GUILLAUME de MACHAUT (c. 1300-1377) Polyphonic songs (chansons, “songs”) in the trobadour formes fixes

GUILLAUME de MACHAUT (c. 1300-1377) “Treble-dominated” songs major innovation of the Ars Nova The treble or cantus carries the text Slower untexted tenor supports the cantus. A contratenor may be added, Triplum in same range as cantus

GUILLAUME de MACHAUT (c. 1300-1377) RONDEAUX Two musical phrases ( A and B) Text includes a “refrain” (AB) Form: ABaAabAB

GUILLAUME de MACHAUT (c. 1300-1377) RONDEAUX “Rose, liz, printemps, verdure”

A Rose, liz, printemps, verdure, Fleur, baume et tres douce odour, B Bele, passés en douçour, a Et tous les biens de Nature, Avez dont je vous aour. A Rose, liz, printemps, verdure, Fleur, baume et tres douce oudour. a Et quant toute creature Seurmonte vostre valour, b Bien puis dire et par honnour: A Rose, liz, printemps, verdure, Fleur, baume et tres douce oudour, B Bele, passés en douçour.

ARS NOVA … Composers at the court of the Avignon pope across southern France and northern Italy cultivated complex secular music.

ARS NOVA … ARS SUBTILIOR ARS SUBTILIOR a continuation of Ars Nova in secular polyphonic songs in the formes fixes and developing the complexities of Ars Nova notation

ARS NOVA … ARS SUBTILIOR Love songs intended for an elite audience Pieces notated in fanciful shapes Rhythmically complex

“Belle, bonne, sage”

“Tout par compas” Baude Cordier

Performing Fourteenth-Century Music There was no uniform way to perform polyphonic music. Pictorial and literary sources indicate vocal, instrumental, and mixed groups. All vocal performance were common.

INSTRUMENTS Instruments separated into 2 categories: HAUT and BAS

INSTRUMENTS HAUT (“high”) instruments were loud, for outdoors and dancing.

INSTRUMENTS BAS (“low”) instruments were soft in volume and were played indoors Stringed instruments: , , and Portative organs Transverse Recorders

INSTRUMENTS Percussion instruments were common in all kinds of ensembles

“FALSE MUSIC” MUSICA FICTA, or Chromatic Alterations

“FALSE MUSIC” Raising or lowering a note by a half-step to avoid the tritone Pitches altered to make a smoother melodic line, especially at cadences.

“FALSE MUSIC” Raising or lowering a note by a half-step to avoid the tritone Pitches altered to make a smoother melodic line. The resulting pitches lay “outside the gamut” and were thus “false” or ficta

“FALSE MUSIC” Medieval singers were trained to recognize situations in which a ficta were needed, so accidentals were rarely notated. (Modern editions ficta accidentals above the staff, to indicate editorial intervention)

WHITE NOTATION White Notation uses a five-line staff, and three clefs—G, C, and F. Usually the only accidental notated as a ‘key’ signature is B-flat, though later composers experimented with more

WHITE NOTATION MEASURES AND BARLINES There are no barlines or measures But the length of the breve usually acted as a time unit analogous to the modern concept of a measure

WHITE NOTATION NOTE VALUES and RESTS

WHITE NOTATION MENSURATION Mensuration deals with the division of the Breve (called Tempus or “time”) and the Semibreve (Prolationis Species or “prolation”)

WHITE NOTATION MENSURATION Breve divisions (Tempus) are either “perfect” (division into 3s) or “imperfect (division into 2s). Semibreve divisions (Prolation) are either “major” (3) or “minor” (2)

WHITE NOTATION MENSURATION A line through the mensuation symbol indicates that all note values are cut in half (alla breve).

WHITE NOTATION COLORATION The value of a note in a mensuration can be changed by coloring in the white space of breve, semibreve, or minim and by dotting. In determining a note’s value, coloring is calculated before dotting.

WHITE NOTATION In Perfect Time —where a breve has the value of 3 semibreves— coloring a breve will subtract a 1/3 or its value and imperfects its value and makes a breve equal to 2 semibreves (a duplet)

WHITE NOTATION In Imperfect Time —where a breve has the value of 2 semibreves— coloring 3 consecutive semibreves creates a triplet and perfects their value, momentarily making 3 semibreves equal the value of 1 breve

WHITE NOTATION Josquin uses coloration for all the notes in his lament on the death of Ockeghem, to create “” where the blackened notes indicate mourning.

WHITE NOTATION Josquin uses coloration for all the notes in his lament on the death of Ockeghem, Nymphes des Bois to create “eye music” where the blackened notes indicate mourning. In doing so, Josquin limits himself to longs, breves, semibreves, and minims, since semiminim and fusa values are already “black

WHITE NOTATION LIGATURES White Notation is complicated by several factors, one of them being the continued use of the LIGATURES (multiple-note units) and the conventions associated with their use carried over from neumes.

WHITE NOTATION “BREVE” ligatures At the tempus level, each two-note ligatures has the value of a breve followed by a long (indicated by the downward tail).

WHITE NOTATION “BREVE” ligatures

WHITE NOTATION “BREVE” ligatures

WHITE NOTATION “SEMIBREVE” ligatures The two-note ligatures that begin with an upward tail are semibreves, and each two-note pes or clivis has the value of two semibreves, both the square or oblique forms.

WHITE NOTATION “SEMIBREVE” ligatures

WHITE NOTATION CANONS

WHITE NOTATION In his Missa ‘L’homme armè’ Dufay writes “Cancer eat plenus et redeat medius” (Let the crab proceed full, and let it return by half) in the tenor part of the third section of the “Agnus Dei.”

WHITE NOTATION

WHITE NOTATION This indicates that the singers perform this part retrograde (crabs where thought of as walking “backwards”) with full rhythmic value, and then forward (or “returning” for the crab) with the notes at half value.

WHITE NOTATION Dufay composes his motet “Nuper rosarum flores” as an isorhythmic motet, built on two tenors

WHITE NOTATION Dufay composes his motet “Nuper rosarum flores” as an isorhythmic motet, built on two tenors

WHITE NOTATION Dufay notates each tenor part with four mensuration signs and a repeat, indicating that each performer plays their tenor line four times, each time with a different mensuration

WHITE NOTATION Dufay notates each tenor part with four mensuration signs and a repeat, indicating that each performer plays their tenor line four times, each time with a different mensuration

WHITE NOTATION The numerical value of the breve changes from 6 : 4 : 2 : 3

WHITE NOTATION The numerical value of the breve changes from 6 : 4 : 2 : 3 WHY?

WHITE NOTATION Dufay wrote this motet for the consecration of the Duomo in Florence.

WHITE NOTATION

WHITE NOTATION Filippo Brunelleschi (1377-1446) S. Maria del Fiore, begun 1296 Dome (1420-1436) consecrated by Pope Eugenius IV on March 25, 1436

WHITE NOTATION

WHITE NOTATION

WHITE NOTATION

WHITE NOTATION The numbers refer to the dimensions of Solomon’s temple described in the Third Book of Kings, 6:1-20 (reduced to their lowest common denominators).

WHITE NOTATION 2 And the house, which king Solomon built to the Lord, was threescore (60) cubits in length, and twenty cubits in breadth, and thirty cubits in height… 16 And he built up twenty cubits with boards of cedar at the hinder part of the temple, from the floor to the top: and made the inner house of the oracle to be the holy of holies.

WHITE NOTATION 2 And the house, which king Solomon built to the Lord, was threescore (60) cubits in length, and twenty cubits in breadth, and thirty (30) cubits in height… 16 And he built up twenty (20) cubits with boards of cedar at the hinder part of the temple, from the floor to the top: and made the inner house of the oracle to be the holy of holies.

WHITE NOTATION 2 And the house, which king Solomon built to the Lord, was threescore (60) cubits in length, and twenty cubits in breadth, and thirty cubits in height… 16 And he built up twenty cubits with boards of cedar at the hinder part of the temple, from the floor to the top: and made the inner house of the oracle to be the holy of holies.

WHITE NOTATION 6 : 4 : 2 : 3 6 (the Temple’s total length) 4 (the length of the nave) 2 (the length of the sanctuary and width of the building) 3 (the height of the building)

WHITE NOTATION 6 : 4 : 2 : 3 6 (the Temple’s total length) 4

WHITE NOTATION 6 : 4 : 2 : 3 6 (the Temple’s total length) 4 (the length of the nave) 2 (the length of the sanctuary and width of the building) 3 (the height of the building)

!

INFLUENCE of ENGLISH MUSIC Kings of England held territory in northwest and southwest France. Hundred Years’ War (1337–1453): England and France fighting for control of France. English rulers traveled with English musicians especially to Flanders and Burgundy.

England Flanders

England Flanders

(“English guise” or “quality”) French poet Martin Le Franc used this phrase to describe the pleasing sound of English music about 1440

CONTENANCE ANGLOISE (“English guise” or “quality”) Le Franc praises and Binchois for creating beautiful music influenced by the English sound as heard in the music of John Dunstable

CONTENANCE ANGLOISE (“English guise” or “quality”)

CONTENANCE ANGLOISE (“English guise” or “quality”) Theorist Tinctoris, writing a generation later, looked to these three composers as creators of a NEW ART

CONTENANCE ANGLOISE Characteristics of the English sound Frequent use of harmonic thirds and sixths, often in parallel motion (Fa-Burden) Few dissonances Simple melodies Syllabic text setting Homophonic textures

CONTENANCE ANGLOISE Characteristics of the English sound Chant voice in the middle of texture Lowest voice a third below Top voice a parallel fourth above the chant Stream of parallel “6-3” sonorities.

CONTENANCE ANGLOISE FABURDEN Practice of improvised “6-3” sonorities

JOHN DUNSTABLE (c.1390-1453) The most highly regarded English composer of the first half of the fifteenth century Served many noble patrons, including the Duke of Bedford, who was Regent of France in 1422 Probably spent part of his career in France

JOHN DUNSTABLE (c.1390-1453) The English composer most often cited as influencing continental composers His compositions are preserved chiefly in manuscripts copied on the continent. His works include settings of the Mass, isorhythmic motets, and other sacred works

JOHN DUNSTABLE (c.1390-1453) His most numerous and important works are his three-part sacred pieces Some have a cantus firmus in the tenor, serving as the foundation for the other voices

JOHN DUNSTABLE (c.1390-1453) Others elaborate the cantus firmus in the top voice using paraphrase technique. Chant (cantus firmus) is placed in the top voice. Cantus firmus is given a rhythmic structure and melodically ornamented by adding notes around those of the chant.

JOHN DUNSTABLE (c.1390-1453) “Quam pulchra es” Marian Motet

JOHN DUNSTABLE (c.1390-1453) Freely composed, not based on an existing melody The three voices nearly equal in importance. Homorhythmic The form is based on the phrases of the text. Naturalistic rhythmic declamation Faburden appears in a few phrases, leading to cadences.

MOTET 2.0 Previously in the Ars Nova: any work with different texted voices above about an cantus firmus

MOTET 2.0 The Ars Nova Isorhythmic motet Old-fashioned by ca. 1400 Disappeared by ca. 1450

MOTET 2.0 New definition by 1450: Any musical setting of a sacred extra-liturgical text, whether an original chant was used or not

MOTET 2.0 From 1500 onwards: Any sacred polyphonic Latin-texted piece Sometimes also applied to using texts in other languages

MUSIC in BURGUNDIAN LANDS The duke of Burgundy’s influence was equal to that of the king of France. From 1419–35 Burgundy was allied with England during the Hundred Years’ War. Burgundy held many territories, including Flanders and northeastern France.

England Flanders

MUSIC in BURGUNDIAN LANDS Dukes also formed the Band of Minstrels Instrumentalists imported from France, Italy, Germany, Portugal Instruments included trumpets, shawms, vielles, drums, harps, organ, and

MUSIC in BURGUNDIAN LANDS Philip the Bold (r. 1363–1404), the first duke of Burgundy, established a chapel in 1384. By 1445 the chapel had 23 singers under Philip the Good (r. 1419–67). Most of the singers came from Flanders

Philip the Bold (r. 1363–1404)

Philip the Good (r. 1419–67)

MUSIC in BURGUNDIAN LANDS Four principal types of genres: 1. Secular chansons 2. Motets 3. Magnificats () 4. Mass Ordinary

BINCHOIS & the BURGUNDIAN CHANSON in the fifteenth century 1. Any polyphonic setting of a French secular poem 2. Stylized love poems in the courtly tradition 3. Rondeau (ABaAabAB) was the most popular form.

CONTENANCE ANGLOISE (“English guise” or “quality”)

BINCHOIS & the BURGUNDIAN CHANSON Gilles de Bins (ca. 1400–1460) Known as “Binchois” In the service to the English occupying forces Worked for Philip the Good at the Burgundian court, 1427–1453

BINCHOIS & the BURGUNDIAN CHANSON His works include mass movements and motets, but best-known for his chansons His works were widely copied and imitated by other composers

BINCHOIS & the BURGUNDIAN CHANSON “De plus en plus” [“More and more”] Composed around 1425

BINCHOIS & the BURGUNDIAN CHANSON 6/8 meter that employs a Neumatic cantus, with melismas near cadences Tenor forms a thirds and sixths. The disjunct contratenor fills in harmony

1450-1520 FRANCE Defeated England in the Hundred Years’ War The came under control of the king of France. By 1525, France was a strong, centralized state.

1450-1520 SPAIN Expel Jews from Spain Sponsor Columbus’s journey, beginning the era of European colonization

1450-1520 HAPSBURG EMPIRE German lands united with Spain through marriage in the sixteenth century Ruled Austria, the Low Countries, southern Italy, Spain, and Spanish America

1450-1520 ITALY Invaded by France in 1494 Continued to be composed of independent city- states and dominated by foreigners until the nineteenth century Wealthy Italian courts continued to hire musicians trained in the north.

(c. 1420-1497) Sang in the cathedral choir Served Charles I, duke of Bourbon Served the kings of France from the to his retirement

JOHANNES OCKEGHEM (c. 1420-1497) Traveled, and had contact with Du Fay and Binchois, but was not as cosmopolitan as Du Fay

JOHANNES OCKEGHEM (c. 1420-1497) Composed relatively few works: Masses, motets, chansons Developed his own style, synthesizing past, present, and his own style elements Known for his unique masses

JOHANNES OCKEGHEM MASSES Ockeghem influenced by Dufay Bassus lower than in Dufay All voices span range of a twelfth or thirteenth. Exploits contrast of 2-, 3-, and 4-voice textures Phrases are long, with few cadences

JOHANNES OCKEGHEM MASSES Missa Cuiusvis Toni “Mass in any mode” Written without clefs Can be sung in all Authentic Modes: 1, 3, 5, 7 by inflecting with musica ficta

JOHANNES OCKEGHEM MASSES : Kyrie “Prolation Mass”

Chi JOHANNES OCKEGHEM MASSES Missa Prolationum “Prolation Mass” Technical tour-de-force

JOHANNES OCKEGHEM MASSES Notated as two voices, but sung by four

CANTUS Imperfect Time Minor Prolation ALTUS Perfect Time Minor Prolation

JOHANNES OCKEGHEM MASSES KYRIE Two simultaneous 2-voice canons at the unison Uses four mensuration signs, a different one for each voice

JOHANNES OCKEGHEM MASSES Superius and Altus sing the same melody but in different meters Tenor and bass sing another melody, also in different meters.

JOHANNES OCKEGHEM MASSES CHRISTE Duet which is repeated a tone higher “Pausans ascendit per unum tonum”

JOHANNES OCKEGHEM MASSES KYRIE (2) 4 different mensurations of Kyrie 1 plus… two different clefs, resulting in canons at the third

JOHANNES OCKEGHEM MASSES KYRIE (2) 4 different mensurations of Kyrie 1 plus… two different clefs, resulting in canons at the third

RENAISSANCE The Renaissance “Rebirth” of Classical Culture (1855, French historian Michelet) Different times for different aspects Renaissance culture 1300s-1500s

RENAISSANCE An international style developed due to composers from northern Europe working in Italy New rules for counterpoint controlled dissonance and elevated thirds and sixths in importance The predominant textures were imitative counterpoint and .

RENAISSANCE Printing made notated music available to a wider public, including amateurs. The Reformation generated changes in music for both Protestant and Catholic churches.

RENAISSANCE The Great Schism in the church ended in 1417 The Hundred Years’ War concluded in 1453

RENAISSANCE Constantinople fell to the Ottoman Turks, ending the Byzantine Empire in 1453 Turks conquered the Balkans and Hungary. The Reformation splintered the Roman Church.

RENAISSANCE Columbus’s 1492 trip led to Spanish and Portuguese colonies in the Americas, followed by colonies established by other countries

HUMANISM Byzantine scholars fled to Italy from Ottoman attacks, taking ancient Greek writings with them Italian scholars learned Greek and translated Greek texts into Latin The works of Plato and the Greek plays and histories became available to Western Europeans for the first time

HUMANISM Humanism (from the Latin studia humanitatis, “the study of the humanities,” things pertaining to human knowledge)

HUMANISM Humanism (from the Latin studia humanitatis, “the study of the humanities,” things pertaining to human knowledge)

MUSIC Expansion of range, allowing contrast between high and low registers and fuller textures Clarity of musical structure through frequent cadences and stylistic contrasts

MUSIC Focus on a single tonal center Interest in individuality is reflected in unique personal styles and memorial works.

MUSIC Rulers, aristocrats, and church leaders had their own chapel musicians on salary Musicians worked for the ruler, not the Church, they could be called upon for secular entertainment as well as sacred functions. Most musicians had other duties as servants, administrators, clerics, or church officials

MUSIC Most prominent composers of the fifteenth century came from northern Europe, which was home to the most renowned centers for musical training: , , Antwerp, Paris, and Lyons In the sixteenth century, Rome and Venice became centers of musical training, and more composers were Italian

MUSIC Women in convents received musical instruction Instrumentalists were trained in the apprentice system

MUSIC English, French, and Italian styles merged into one international style in the fifteenth century Composers were able to compose in regional vernacular song styles because of their travels

MUSIC Thirds and sixths, now seen as consonances, required new approaches to counterpoint All voices became equal by the second half of the fifteenth century. Composers stopped basing works on the cantus- tenor relationship and began composing all voices

MUSIC Two textures emerged: imitative counterpoint and homophony Imitative Counterpoint Voices echo each other, repeating a motive or phrase.

MUSIC Two textures emerged: imitative counterpoint and homophony Homophony All voices move together in essentially the same rhythm. The lower parts accompany the cantus line with consonant sonorities.

MUSIC The Pythagorean ratio for a major third 5:4 (80:64) shifting to 81:64

MUSIC The formes fixes fell out of fashion; texts became more varied Composers paid increasing attention to accents and meter in setting texts

MUSIC Heinrich Glareanus (1488–1563) Swiss theorist adds four new modes in his book Dodekachordon (The Twelve-String , 1547). Aeolian and Hyperaeolian, with the final on A Ionian and Hypoionian with the final on C

MUSIC Printing from movable type began around 1450 for text and in the 1450s for chant notation Pieces of type contained the printed staff, notes, and the text together

(c. 1450-1521)

JOSQUIN DES PREZ Most influential composer of his time His given name was Josquin Lebloitte “des Prez” was a nickname. Probably born in northern France

JOSQUIN DES PREZ Served in the chapel of the duke of Anjou in the 1470s Ca. 1484–89: singer in the duke’s chapel in 1489–95 or later: singer for the in Rome

JOSQUIN DES PREZ (c. 1450-1521)

JOSQUIN DES PREZ 1501–03: worked in France, possibly for King Louis XII 1503: appointed maestro di cappella in earned the highest salary in that court’s history 1504: Provost at the church of Notre Dame at Condé-sur-l’Escaut, where he remained until his death.

JOSQUIN DES PREZ WORKS Around eighteen masses Over fifty motets Sixty-five chansons (ten instrumental)

JOSQUIN DES PREZ FAME called him “Master of Notes” Composers emulated his style, and his works were performed for almost a century after his death. Publishers falsely attributed works to him in order to boost sales of their books.

JOSQUIN DES PREZ FAME Martin Luther called him “Master of Notes” Composers emulated his style, and his works were performed for almost a century after his death. Publishers falsely attributed works to him in order to boost sales of their books.

JOSQUIN DES PREZ STYLE Texts drawn from Mass Proper or other sources Music freely composed Clarity in phrasing, form, and total organization Textures include imitation and monophony Careful declamation of text

JOSQUIN DES PREZ STYLE Text depiction and expression Josquin was the first major composer to use music to depict the meaning of the text

JOSQUIN DES PREZ Ave Maria . . . virgo serena motet One of his earliest motets (1485) and one of his most popular

JOSQUIN DES PREZ Ave Maria . . . virgo serena Opens with several overlapping points of imitation. Variety is created through changing the number of voices Homophonic passages alternate with imitation.

JOSQUIN DES PREZ Ave Maria . . . virgo serena Each segment of the text is given a unique musical treatment that concludes with a cadence on the tonal center C (Ionian) Words are declaimed naturally

JOSQUIN DES PREZ Ave Maria . . . virgo serena Each segment of the text is given a unique musical treatment that concludes with a cadence on the tonal center C (Ionian) Words are declaimed naturally Intercessory close

POINTS of IMITATION Polyphonic compositions, including 16th-century motets, are fashioned as Points of Imitation, which are usually formed with voices that present a soggetto

SOGGETTI A soggetto is a melodic subject for a point of imitation and the basis of a module (harmonic relationship between two voices). In a motet soggetti usually take their impetus from each phrase or line of text.

MODULES Periodic entries (P-En) usually consist of 3 or more voices that enter in succession with the subject

MODULES Periodic entries (P-En) usually consist of 3 or more voices that enter in succession with the subject

MODULES Imitative Duos (ID) A duo may be imitative (con fuga): imitative duos (ID) will have staggered entrances of the subject between 2 voices as in P-En, but only two voices

MODULES Imitative Duos (ID) A duo may be imitative (con fuga): imitative duos (ID) will have staggered entrances of the subject between 2 voices as in P-En, but only two voices

MODULES Non-Imitative Duos (N-Im) A duo may be nonimitative duo (sin fuga) (N- Im), i.e. a melody with a countermelody. “Non-imitation” refers to the relationship between two voices in the duo, not duo’s relationship to other duos. Thus a nonimitative duo may be imitated by another nonimitative duo.

MODULES Non-Imitative Duos (N-Im)

MODULES Free Polyphony (FP) Free polyphony (FP) is also used, many times at phrase or cadential extensions. Free polyphony may be use some kind of imitation, usually without the formal entries of Periodic Entries, or may be without imitation.

MODULES Free Polyphony (FP)

MODULES (Hom-R) Homorhythm (Hom-R) is used to stress textually important material in polyphonic compositions

MODULES Homorhythm (Hom-R) Homorhythm (Hom-R) is used to stress textually important material in polyphonic compositions

JOSQUIN Des PREZ

Josquin’s Motets

Ave Maria Periodic Entry gratia plena Periodic Entry Dominus tecum Periodic Entry Virgo serena Free Polyphony (Cadence)

Josquin’s Motets

Ave, cuius Conceptio Non-Imitative Duos Solemni plena gaudio Homorhythm Caelestia, Terrestria Free Polyphony Nova replet laetitia. Free Polyphony

Josquin’s Motets

Ave, cuius Nativitas Imitative Duo Nostra fuit solemnitas Imitative Duo Ut lucifer lux oriens Periodic Entry Verum solem praeveniens. Free Polyphony

Josquin’s Motets

Ave pia humilitas Non-Imitative Duo Sine viro fecunditas Non-Imitative Duo Cuius Annuntiatio Non-Imitative Duo Nostra fuit salvatio. Non-Imitative Duo

Josquin’s Motets

Ave vera virginitas Homorhythm Immaculata castitas Homorhythm Cuius Purificatio Homorhythm Nostra fuit purgatio Homorhythm

Josquin’s Motets

Ave, praeclara omnibus Non-Imitative Duo Angelicis virtutibus Non-Imitative Duo Cuius Assumptio Non-Imitative Duo Nostra fuit glorificatio Non-Imitative Duo

Josquin’s Motets

O Mater Dei Homorhythm Memento mei Homorhythm Amen Homorhythm

JOSQUIN Des PREZ Mille Regretz New post -1470s Chanson style Uses strophic texts No forme fixes 4-5 voices, all sung Equal Parts Mixture of contrapuntal and homophonic textures

JOSQUIN Des PREZ Mille Regretz Style c. 1520 Each line receives its own treatment

JOSQUIN Des PREZ Mille Regretz Style c. 1520 Each line receives its own treatment

MUSIC in BURGUNDIAN LANDS The duke of Burgundy’s influence was equal to that of the king of France. From 1419–35 Burgundy was allied with England during the Hundred Years’ War. Burgundy held many territories, including Flanders and northeastern France.

England Flanders

MUSIC in BURGUNDIAN LANDS Dukes also formed the Band of Minstrels Instrumentalists imported from France, Italy, Germany, Portugal Instruments included trumpets, shawms, vielles, drums, harps, organ, and bagpipes

MUSIC in BURGUNDIAN LANDS Philip the Bold (r. 1363–1404), the first duke of Burgundy, established a chapel in 1384. By 1445 the chapel had 23 singers under Philip the Good (r. 1419–67). Most of the singers came from Flanders

Philip the Bold (r. 1363–1404)

Philip the Good (r. 1419–67)

MUSIC in BURGUNDIAN LANDS Four principal types of genres: 1. Secular chansons 2. Motets 3. Magnificats (Vespers) 4. Mass Ordinary

BINCHOIS & the BURGUNDIAN CHANSON CHANSON in the fifteenth century 1. Any polyphonic setting of a French secular poem 2. Stylized love poems in the courtly tradition 3. Rondeau (ABaAabAB) was the most popular form.

CONTENANCE ANGLOISE (“English guise” or “quality”)

BINCHOIS & the BURGUNDIAN CHANSON Gilles de Bins (ca. 1400–1460) Known as “Binchois” In the service to the English occupying forces Worked for Philip the Good at the Burgundian court, 1427–1453

BINCHOIS & the BURGUNDIAN CHANSON His works include mass movements and motets, but best-known for his chansons His works were widely copied and imitated by other composers

BINCHOIS & the BURGUNDIAN CHANSON “De plus en plus” [“More and more”] Composed around 1425

BINCHOIS & the BURGUNDIAN CHANSON 6/8 meter that employs a hemiola Neumatic cantus, with melismas near cadences Tenor forms a counterpoint thirds and sixths. The disjunct contratenor fills in harmony

WHITE NOTATION White Notation uses a five-line staff, and three clefs—G, C, and F. Usually the only accidental notated as a ‘key’ signature is B-flat, though later composers experimented with more

WHITE NOTATION MEASURES AND BARLINES There are no barlines or measures But the length of the breve usually acted as a time unit analogous to the modern concept of a measure

WHITE NOTATION NOTE VALUES and RESTS

WHITE NOTATION MENSURATION Mensuration deals with the division of the Breve (called Tempus or “time”) and the Semibreve (Prolationis Species or “prolation”)

WHITE NOTATION MENSURATION Breve divisions (Tempus) are either “perfect” (division into 3s) or “imperfect (division into 2s). Semibreve divisions (Prolation) are either “major” (3) or “minor” (2)

WHITE NOTATION MENSURATION A line through the mensuation symbol indicates that all note values are cut in half (alla breve).

WHITE NOTATION COLORATION The value of a note in a mensuration can be changed by coloring in the white space of breve, semibreve, or minim and by dotting. In determining a note’s value, coloring is calculated before dotting.

WHITE NOTATION In Perfect Time —where a breve has the value of 3 semibreves— coloring a breve will subtract a 1/3 or its value and imperfects its value and makes a breve equal to 2 semibreves (a duplet)

WHITE NOTATION In Imperfect Time —where a breve has the value of 2 semibreves— coloring 3 consecutive semibreves creates a triplet and perfects their value, momentarily making 3 semibreves equal the value of 1 breve

WHITE NOTATION Josquin uses coloration for all the notes in his lament on the death of Ockeghem, Nymphes des Bois to create “eye music” where the blackened notes indicate mourning.

WHITE NOTATION Josquin uses coloration for all the notes in his lament on the death of Ockeghem, Nymphes des Bois to create “eye music” where the blackened notes indicate mourning. In doing so, Josquin limits himself to longs, breves, semibreves, and minims, since semiminim and fusa values are already “black

WHITE NOTATION LIGATURES White Notation is complicated by several factors, one of them being the continued use of the LIGATURES (multiple-note units) and the conventions associated with their use carried over from neumes.

WHITE NOTATION “BREVE” ligatures At the tempus level, each two-note ligatures has the value of a breve followed by a long (indicated by the downward tail).

WHITE NOTATION “BREVE” ligatures

WHITE NOTATION “BREVE” ligatures

WHITE NOTATION “SEMIBREVE” ligatures The two-note ligatures that begin with an upward tail are semibreves, and each two-note pes or clivis has the value of two semibreves, both the square or oblique forms.

WHITE NOTATION “SEMIBREVE” ligatures

WHITE NOTATION CANONS

WHITE NOTATION In his Missa ‘L’homme armè’ Dufay writes “Cancer eat plenus et redeat medius” (Let the crab proceed full, and let it return by half) in the tenor part of the third section of the “Agnus Dei.”

WHITE NOTATION

WHITE NOTATION This indicates that the singers perform this part retrograde (crabs where thought of as walking “backwards”) with full rhythmic value, and then forward (or “returning” for the crab) with the notes at half value.

WHITE NOTATION Dufay composes his motet “Nuper rosarum flores” as an isorhythmic motet, built on two tenors

WHITE NOTATION Dufay composes his motet “Nuper rosarum flores” as an isorhythmic motet, built on two tenors

WHITE NOTATION Dufay notates each tenor part with four mensuration signs and a repeat, indicating that each performer plays their tenor line four times, each time with a different mensuration

WHITE NOTATION Dufay notates each tenor part with four mensuration signs and a repeat, indicating that each performer plays their tenor line four times, each time with a different mensuration

WHITE NOTATION The numerical value of the breve changes from 6 : 4 : 2 : 3

WHITE NOTATION The numerical value of the breve changes from 6 : 4 : 2 : 3 WHY?

WHITE NOTATION Dufay wrote this motet for the consecration of the Duomo in Florence.

WHITE NOTATION

WHITE NOTATION Filippo Brunelleschi (1377-1446) S. Maria del Fiore, begun 1296 Dome (1420-1436) consecrated by Pope Eugenius IV on March 25, 1436

WHITE NOTATION

WHITE NOTATION

WHITE NOTATION

WHITE NOTATION The numbers refer to the dimensions of Solomon’s temple described in the Third Book of Kings, 6:1-20 (reduced to their lowest common denominators).

WHITE NOTATION 2 And the house, which king Solomon built to the Lord, was threescore (60) cubits in length, and twenty cubits in breadth, and thirty cubits in height… 16 And he built up twenty cubits with boards of cedar at the hinder part of the temple, from the floor to the top: and made the inner house of the oracle to be the holy of holies.

WHITE NOTATION 2 And the house, which king Solomon built to the Lord, was threescore (60) cubits in length, and twenty cubits in breadth, and thirty cubits in height… 16 And he built up twenty cubits with boards of cedar at the hinder part of the temple, from the floor to the top: and made the inner house of the oracle to be the holy of holies.

WHITE NOTATION 2 And the house, which king Solomon built to the Lord, was threescore (60) cubits in length, and twenty cubits in breadth, and thirty cubits in height… 16 And he built up twenty cubits with boards of cedar at the hinder part of the temple, from the floor to the top: and made the inner house of the oracle to be the holy of holies.

WHITE NOTATION 6 : 4 : 2 : 3 6 (the Temple’s total length) 4 (the length of the nave) 2 (the length of the sanctuary and width of the building) 3 (the height of the building)

WHITE NOTATION 6 : 4 : 2 : 3 6 (the Temple’s total length) 4

WHITE NOTATION 6 : 4 : 2 : 3 6 (the Temple’s total length) 4 (the length of the nave) 2 (the length of the sanctuary and width of the building) 3 (the height of the building)

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