DOCSLIB.ORG

PDF Download Religious Elements in the Secular Lyrics of The

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
PDF Download Religious Elements in the Secular Lyrics of The RELIGIOUS ELEMENTS IN THE SECULAR LYRICS OF THE TROUBADOURS 1ST EDITION PDF, EPUB, EBOOK Raymond Gay-Crosier | 9780807891117 | | | | | Religious Elements in the Secular Lyrics of the Troubadours 1st edition PDF Book The development of polyphonic forms, with different voices interweaving, is often associated with the late Medieval Ars nova style which flourished in the s. Sometimes the nobleman forces his attentions on her, and other times she outwits him. Sebastian Antoine Busnois wrote a motet in honor of Ockeghem. One of the most important extant sources of Goliards chansons is the Carmina Burana. Italian music has always been known for its lyrical or melodic character, and this goes back to the 14th century in many respects. From Wikipedia, the free encyclopedia. Request a better price Seen a lower price for this product elsewhere? Of greater sophistication was the motet , which developed from the clausula genre of medieval plainchant. The clausula, thus practised, became the motet when troped with non-liturgical words, and this further developed into a form of great elaboration, sophistication and subtlety in the fourteenth century, the period of Ars nova. The earliest innovations upon monophonic plainchant were heterophonic. Its distinguishing factor is that the parts did not have to move only in parallel motion, but could also move in oblique, or contrary motion. Originally, the tenor line from the Latin tenere , "to hold" held a preexisting liturgical chant line in the original Latin, while the text of the one, two, or even three voices above, called the voces organales , provided commentary on the liturgical subject either in Latin or in the vernacular French. Already discussed under Ars Nova has been the practice of isorhythm, which continued to develop through late-century and in fact did not achieve its highest degree of sophistication until early in the 15th century. The Monroe Institute. Many of the songs in this later period are quite humorous and earthy. Robert Taylor. The bowed lyra of the Byzantine Empire was the first recorded European bowed string instrument. Listen to it interpreted. Named after the French word for "shepherdess," these poems usually told the story of a noble visitor to the countryside who catches sight of a pretty rustic girl, approaches her, and offers her gifts in exchange for her acceptance of his advances. Table of Contents. Bardcore , which involves remixing famous pop songs to have a medieval instrumentation, became a popular meme in The Monkey's Paw by W. This development is called organum and represents the beginnings of counterpoint and, ultimately, harmony. The theorist who is most well recognized in regard to this new style is Philippe de Vitry , famous for writing the Ars Nova "New Art" treatise around These earliest types were known as the chanson de geste song of deeds and were popular amongst the traveling jongleurs and minstrels of the time. Religious Elements in the Secular Lyrics of the Troubadours 1st edition Writer Namespaces Article Talk. Cultural and regional genres. The authentic modes have a range that is about an octave one tone above or below is allowed and start on the final, whereas the plagal modes, while still covering about an octave, start a perfect fourth below the authentic. The roughly two thousand medieval lyrics now known, many preserved in only one version, were no doubt only a fraction of the total number sung, recited, and inscribed, and although they have been long known to students of the period, an understanding of their cultural importance and their literary artistry is of relatively recent date. The English religious lyric retained from its earliest appearances elements of instruction, learning, and joy, and these qualities came to inform later production, thus remaining central to its identity. Since the s, however, the depth, complexity, and beauty of these extraordinary works of art have been widely accepted, and, though their study was somewhat curtailed by the advent of literary theory, it has now begun again and continues with interest, learning, and vigor. The most significant of these developments was the creation of "florid organum" around , sometimes known as the school of St. Although the most important were Rome , Hispania , Gaul , Milan , and Ireland , there were others as well. For a singer who already knew a song, seeing the written neume markings above the text could help to jog his or her memory about how the melody went. Victor , and Petrus de Cruce Pierre de la Croix. Some have colored miniatures showing pairs of musicians playing a wide variety of instruments. Main article: Geisslerlieder. These poems contain clever rhyme-schemes, varied use of refrain-lines or words, and different metric patterns. Buy what you want today, pay for it over time. Built on the Johns Hopkins University Campus. Polyphony, in use since the 12th century, became increasingly elaborate with highly independent voices throughout the 14th century. This new style was clearly built upon the work of Franco of Cologne. Bernart de Ventadorn in the twelfth century, is a good example of the musical style of troubadour melodies. Maney, The medieval religious lyric has now been widely examined, and many tools are available to the student. Major forms. The Monster and the Girl. Music, sung by a priest, choir, and soloists, was used to evoke awe and to carry words through large, resonant worship spaces. For the duration of the medieval period, most music would be composed primarily in perfect tempus, with special effects created by sections of imperfect tempus; there is a great current controversy among musicologists as to whether such sections were performed with a breve of equal length or whether it changed, and if so, at what proportion. This rhythmic plan was codified by the music theorist Johannes de Garlandia , author of the De Mensurabili Musica c. Ockeghem is a direct link from the Burgundian style to the next generation of Netherlanders, such as Obrecht and Josquin. The Geisslerlieder were the songs of wandering bands of flagellants , who sought to appease the wrath of an angry God by penitential music accompanied by mortification of their bodies. Liturgical drama developed possibly in the 10th century from the tropes—poetic embellishments of the liturgical texts. Sometimes the context of the mode would require a group of only two semibreves, however, these two semibreves would always be one of normal length and one of double length, thereby taking the same space of time, and thus preserving the perfect subdivision of the tempus. Chapter IV. This second period corresponds to the spread of the Black Death in Europe, and documents one of the most terrible events in European history. Adam de la Halle c. Views Read Edit View history. The music theory of the Medieval period saw several advances over previous practice both in regard to tonal material, texture, and rhythm. For information about specific composers or poets writing during the early medieval period, see Pope Gregory I , St. The flowering of the Notre Dame school of polyphony from around to corresponded to the equally impressive achievements in Gothic architecture : indeed the centre of activity was at the cathedral of Notre Dame itself. The period of the troubadours wound down after the Albigensian Crusade , the fierce campaign by Pope Innocent III to eliminate the Cathar heresy and northern barons' desire to appropriate the wealth of the south. Main article: Music of the Trecento. Another musical tradition of Europe originating during the early Middle Ages was the liturgical drama. The most significant of these is the development of a comprehensive music notational system which enabled composers to write out their song melodies and instrumental pieces on parchment or paper. Composers Manufacturers Players. Used by permission. Religious Elements in the Secular Lyrics of the Troubadours 1st edition Reviews Students also have available to them a concordance in Preston , annotated bibliographies in Greentree , and a recorded collection in Switten — , which takes into account many not all of the lyrics. This new style was not note against note, but was rather one sustained line accompanied by a florid melismatic line. The Galician-Portuguese school, which was influenced to some extent mainly in certain formal aspects by the Occitan troubadours, is first documented at the end of the twelfth century and lasted until the middle of the fourteenth. English manuscripts include the Worcester Fragments , the Old St. Country of Publication United States. These neumes eventually evolved into the basic symbols for neumatic notation, the virga or "rod" which indicates a higher note and still looked like the acutus from which it came; and the punctum or "dot" which indicates a lower note and, as the name suggests, reduced the gravis symbol to a point. Part of this connection was established through music. Get Help If you have a question or problem with this product, visit our Help section. Music historians do not agree on when the Renaissance era began, but most historians agree that England was still a medieval society in the early fifteenth century see periodization issues of the Middle Ages. The rhythmic mode can generally be determined by the patterns of ligatures used. This quickly led to one or two lines, each representing a particular note, being placed on the music with all of the neumes relating to the earlier ones. Main article: Liturgical drama. A singer reading a chant text with neume markings would
Load more

Recommended publications
  • A Propos Meter and Rhythm in the Ars Antiqua
    THEORYFORUM: REGARDING "A PROPOS METER AND RHYTHM IN THE ARS ANTIQUA"' Leo Treitler Hans Tischler very generouslyrates my ideas in the paper2 that he has reviewed as "basically sound," notwithstanding the fault that he finds with the details of my argument.But I fear that he has taken in only one aspect of what I tried to show in that paper, the idea that "metric accent is an essential feature of the music of [the School of Notre Dame]," as he puts it. I did indeed make such a claim (and there is nothing particularlyoriginal in it), but as only part of the description of a total music-historicalsituation that entails aspects of style, nota- tion and transmission,and the explanationsof musical theorists. My aim was to look at the severalinteractive facets of that situation all at once and to try to show something of its significancefor a very large-scale historicalmovement in our tradition. A reply is called for in order to place the historical theme back in the center, not to carry on the dispute over transcriptions.For it is transcriptionsthat are once again at issue in Tischler'sreview.Yes, one should make them as good as one can. But as Tischlerhimself recognizes, the differences over transcriptionshardly affect the view that one takes of the "central issues." Yet these disagreementshave continually ob- scured the view toward any issues beyond themselvesin this subject. To measure the historical significanceof the establishmentof what 215 This content downloaded from 159.149.103.9 on Sat, 6 Apr 2013 18:45:09 PM All use subject to JSTOR Terms and Conditions we know as "modal rhythm" we must see in it at least these achieve- ments: -Conceiving and explainingrhythm as the successionof durations.
    [Show full text]
  • Early Fifteenth Century
    CONTENTS CHAPTER I ORIENTAL AND GREEK MUSIC Section Item Number Page Number ORIENTAL MUSIC Ι-6 ... 3 Chinese; Japanese; Siamese; Hindu; Arabian; Jewish GREEK MUSIC 7-8 .... 9 Greek; Byzantine CHAPTER II EARLY MEDIEVAL MUSIC (400-1300) LITURGICAL MONOPHONY 9-16 .... 10 Ambrosian Hymns; Ambrosian Chant; Gregorian Chant; Sequences RELIGIOUS AND SECULAR MONOPHONY 17-24 .... 14 Latin Lyrics; Troubadours; Trouvères; Minnesingers; Laude; Can- tigas; English Songs; Mastersingers EARLY POLYPHONY 25-29 .... 21 Parallel Organum; Free Organum; Melismatic Organum; Benedica- mus Domino: Plainsong, Organa, Clausulae, Motets; Organum THIRTEENTH-CENTURY POLYPHONY . 30-39 .... 30 Clausulae; Organum; Motets; Petrus de Cruce; Adam de la Halle; Trope; Conductus THIRTEENTH-CENTURY DANCES 40-41 .... 42 CHAPTER III LATE MEDIEVAL MUSIC (1300-1400) ENGLISH 42 .... 44 Sumer Is Icumen In FRENCH 43-48,56 . 45,60 Roman de Fauvel; Guillaume de Machaut; Jacopin Selesses; Baude Cordier; Guillaume Legrant ITALIAN 49-55,59 · • · 52.63 Jacopo da Bologna; Giovanni da Florentia; Ghirardello da Firenze; Francesco Landini; Johannes Ciconia; Dances χ Section Item Number Page Number ENGLISH 57-58 .... 61 School o£ Worcester; Organ Estampie GERMAN 60 .... 64 Oswald von Wolkenstein CHAPTER IV EARLY FIFTEENTH CENTURY ENGLISH 61-64 .... 65 John Dunstable; Lionel Power; Damett FRENCH 65-72 .... 70 Guillaume Dufay; Gilles Binchois; Arnold de Lantins; Hugo de Lantins CHAPTER V LATE FIFTEENTH CENTURY FLEMISH 73-78 .... 76 Johannes Ockeghem; Jacob Obrecht FRENCH 79 .... 83 Loyset Compère GERMAN 80-84 . ... 84 Heinrich Finck; Conrad Paumann; Glogauer Liederbuch; Adam Ile- borgh; Buxheim Organ Book; Leonhard Kleber; Hans Kotter ENGLISH 85-86 .... 89 Song; Robert Cornysh; Cooper CHAPTER VI EARLY SIXTEENTH CENTURY VOCAL COMPOSITIONS 87,89-98 ...
    [Show full text]
  • Aspects of Tempo and Rhythmic Elaboration in Hindustani Music: a Corpus Study
    ORIGINAL RESEARCH published: 31 October 2017 doi: 10.3389/fdigh.2017.00020 Aspects of Tempo and Rhythmic Elaboration in Hindustani Music: A Corpus Study Ajay Srinivasamurthy 1*†, Andre Holzapfel 2, Kaustuv Kanti Ganguli 3 and Xavier Serra 1 1Music Technology Group, Universitat Pompeu Fabra, Barcelona, Spain, 2Media Technology and Interaction Design Department, KTH Royal Institute of Technology, Stockholm, Sweden, 3Department of Electrical Engineering, Indian Institute of Technology Bombay, Mumbai, India This article provides insights into aspects of tempo and rhythmic elaboration in Hindustani music, based on a study of a large corpus of recorded performances. Typical tempo developments and stress patterns within a metrical cycle are computed, which we refer to as tempo and rhythm patterns, respectively. Rhythm patterns are obtained by aggregating spectral features over metrical cycles. They reflect percussion patterns Edited by: Eleanor Selfridge-Field, that are frequent in the corpus and enable a discussion of the relation between such Center for Computer Assisted patterns and the underlying metrical framework, the tal.¯ Tempo patterns, on the other Research in the Humanities, Stanford University and Packard Humanities hand, are computed using reference beat annotations. They document the dynamic Institute (PHI), United States development of tempo throughout a metrical cycle and reveal insights into the flexibility Reviewed by: of time in Hindustani music for the first time using quantitative methods on a large set of Alberto Pinto, performances. Focusing on aspects of tempo and rhythm, we demonstrate the value of a CESMA Centro Europeo per gli Studi in Musica e Acustica, Switzerland computational methodology for the analysis of large music corpora by revealing the range Narayanan Srinivasan, of tempi used in performances, intra-cycle tempo dynamics and percussion accents at Allahabad University, India different positions of the tal¯ cycle.
    [Show full text]
  • JANKOWSKY Final Corrected
    Rhythmic Elasticity and Metric Transformation in Tunisian Sṭambēlī Richard C. Jankowsky he study of musical microtiming, that is, the analysis of the actual durations of T rhythmic events in performance, has gained considerable momentum over the past decade.1 Of particular interest to scholars working among a diversity of global musical traditions has been the issue of non-isochronous beat subdivision. This issue has brought music theorists and ethnomusicologists into productive discussion and has produced a corpus of case studies ranging from jazz (Benadon 2006), Viennese waltz (Gabrielsson, Bengtsson, and Gabrielsson 1983), and Scandinavian dance music (Kvifte 2007) to Brazilian samba (Gerischer 2006), Baluchi folk music (During 1997), and Malian jembe drumming (Polak 2010). These case studies put considerable pressure on the widespread assumption that an isochronous “common fast pulse” must serve as the lowest metric referent level (see Kvifte 2007). As the data on rhythmic timing accumulates, it is becoming clear that many styles of music around the world rely on rhythmic structures that do not subdivide the beat into nominally equidistant pulses. Rather, they are based on timing patterns that, although structurally consistent, are not reducible to rational binary and ternary subdivisions. Rainer Polak’s (2010) quantitative study of Malian jembe rhythms, for instance, shows that jembe timing patterns do not conform to the kind of isochronous beat subdivisions advanced by much of the literature on West African meter. 1 An earlier, condensed version of this article was presented at the conference “Musical Metre in Comparative Perspective,” April 4–6, 2013, in Köln, Germany. I would like to thank Rainer Polak and Richard Cohn for their insightful feedback on the written version.
    [Show full text]
  • From Neumes to Notation: a Thousand Years of Passing on the Music by Charric Van Der Vliet
    From Neumes to Notation: A Thousand Years of Passing On the Music by Charric Van der Vliet Classical musicians, in the terminology of the 17th and 18th century musical historians, like to sneer at earlier music as "primitive", "rough", or "uncouth". The fact of the matter is that during the thousand years from 450 AD to about 1450 AD, Western Civilization went from no recording of music at all to a fully formed method of passing on the most intricate polyphony. That is no small achievement. It's attractive, I suppose, to assume the unthinking and barbaric nature of our ancestors, since it implies a certain smugness about "how far we've come." I've always thought that painting your ancestors as stupid was insulting both to them and to yourself. The barest outline of a thousand year journey only hints at the difficulties our medieval ancestors had to face to be musical. This is an attempt at sketching that outline. Each of the sub-headings of this lecture contains material for lifetimes of musical study. It is hoped that outlining this territory may help shape where your own interests will ultimately lie. Neumes: In the beginning, choristers needed reminders as to which way notes went. "That fifth note goes DOWN, George!" This situation was remedied by noting when the movement happened and what direction, above the text, with wavy lines. "Neume" was the adopted term for this. It's a Middle English corruption of the Greek word for breath, "pneuma." Then, to specify note's exact pitch was the next innovation.
    [Show full text]
  • Vestiges of Midsummer Ritual in Motets for John the Baptist
    Early Music History (2011) Volume 30. Cambridge University Press doi:10.1017/S0261127911000027 M A A Email: [email protected] FIRE, FOLIAGE AND FURY: VESTIGES OF MIDSUMMER RITUAL IN MOTETS FOR JOHN THE BAPTIST The thirteenth-century motet repertory has been understood on a wide spectrum, with recent scholarship amplifying the relationship between the liturgical tenors and the commentary in the upper voices. This study examines a family of motets based on the tenors IOHANNE and MULIERUM from the feast of the Nativity of John the Baptist (24 June). Several texts within this motet family make references to well-known traditions associated with the pagan festival of Midsummer, the celebration of the summer solstice. Allusions to popular solstitial practices including the lighting of bonfires and the public criticism of authority, in addition to the cultural awareness of the sun’s power on this day, conspicuously surface in these motets, particularly when viewed through the lens of the tenor. The study suggests the further obfuscation of sacred and secular poles in the motet through attentiveness to images of popular, pre-Christian rituals that survive in these polyphonic works. In the northern French village of Jumièges from the late Middle Ages to the middle of the nineteenth century, a peculiar fraternal ritual took place. Each year on the evening of the twenty-third of June, the Brotherhood of the Green Wolf chose its new chief. Arrayed in a brimless green hat in the shape of a cone, the elected master led the men to a priest and choir; Portions of this study were read at the Medieval and Renaissance Conference at the Institut für Musikwissenschaft, University of Vienna, 8–11 August 2007 and at the University of Chicago’s Medieval Workshop on 19 May 2006.
    [Show full text]
  • PÉROTIN and the ARS ANTIQUA the Hilliard Ensemble
    CORO hilliard live CORO hilliard live 1 The Hilliard Ensemble For more than three decades now The Hilliard Ensemble has been active in the realms of both early and contemporary music. As well as recording and performing music by composers such as Pérotin, Dufay, Josquin and Bach the ensemble has been involved in the creation of a large number of new works. James PÉROTIN MacMillan, Heinz Holliger, Arvo Pärt, Steven Hartke and many other composers have written both large and the and small-scale pieces for them. The ensemble’s performances ARS frequently include collaborations with other musicians such as the saxophonist Jan Garbarek, violinist ANTIQUA Christoph Poppen, violist Kim Kashkashian and orchestras including the New York Philharmonic, the BBC Symphony Orchestra and the Philadelphia Orchestra. John Potter’s contribution was crucial to getting the Hilliard Live project under way. John has since left to take up a post in the Music Department of York University. His place in the group has been filled by Steven Harrold. www.hilliardensemble.demon.co.uk the hilliard ensemble To find out more about CORO and to buy CDs, visit www.thesixteen.com cor16046 The hilliard live series of recordings came about for various reasons. 1 Vetus abit littera Anon. (C13th) 3:47 At the time self-published recordings were a fairly new and increasingly David James Rogers Covey-Crump John Potter Gordon Jones common phenomenon in popular music and we were keen to see if 2 Deus misertus hominis Anon. (C13th) 5:00 we could make the process work for us in the context of a series of David James Rogers Covey-Crump John Potter Gordon Jones public concerts.
    [Show full text]
  • Troubadour Poetry: an Intercultural Experience
    Troubadour Poetry: An Intercultural Experience By Said I. Abdelwahed Professor of English Literature English Department Faculty of Arts, Al-Azhar University Gaza - Palestine ABSTRACT: This is a reading of the intercultural experience of the medieval poetry known as the Troubadour poetry. It’s a study of the origin, meaning, music and structure of the lyric love poetry which appeared in medieval Spain, in the period from (3rd to 7th centuries A.H / 9th to 13th centuries AD), with special reference to the Muwwashah and the Kharja. It expanded to southern France, then to northern France. The early troubadour was a wondering singer or minstrel who traveled from place to place singing for gaining his living. But the French troubadours were mostly of noble birth that wrote and sang for the upper-class audience. The troubadours wrote their songs and poems of a metrical form mainly on themes of courtly love. Their poetry was influenced by Arabic poetry and it became a literary phenomenon that historians of Western literature and culture could not ignore. This paper highlights the primary role played by the Arabs in medieval poetry issues and it alludes to some salient elements of intercultural communication between the East and the West. INTRODUCTION: Generally speaking, scholars and historians of medieval Arabic literature divided the Arabic and Islamic culture and literature of medieval Spain into three major components. Scholars made divisions of that culture but Gerard Wiegers made the clearest division as follows: I. Works on religion (fiqh, tafsir, prayer books, pious miscellanies, religious polemics magic, popular medicine, and treatises).
    [Show full text]
  • Memory, Music, Epistemology, and the Emergence of Gregorian Chant As Corporate Knowledge
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 12-2012 "Sing to the Lord a new song": Memory, Music, Epistemology, and the Emergence of Gregorian Chant as Corporate Knowledge Jordan Timothy Ray Baker [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Epistemology Commons, Medieval Studies Commons, and the Musicology Commons Recommended Citation Baker, Jordan Timothy Ray, ""Sing to the Lord a new song": Memory, Music, Epistemology, and the Emergence of Gregorian Chant as Corporate Knowledge. " Master's Thesis, University of Tennessee, 2012. https://trace.tennessee.edu/utk_gradthes/1360 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Jordan Timothy Ray Baker entitled ""Sing to the Lord a new song": Memory, Music, Epistemology, and the Emergence of Gregorian Chant as Corporate Knowledge." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Rachel M. Golden, Major Professor We have read this thesis and recommend its acceptance:
    [Show full text]
  • Chapter 2: Secular and Cathedral Music in the High Middle Ages I
    Chapter 2: Secular and Cathedral Music in the High Middle Ages I. Introduction – Chapter 1 dealt primarily with sacred music, influenced by the fact that initially only sacred music was available for observation. Chapter 2 turns to secular music. II. Troubadours and Trouvères A.Troubadours 1. The first European vernacular poet whose work survives was William IX (7th count of Poitiers and 9th duke of Aquitaine). b. The tradition of these poets is known as the troubadour. c. The troubadour tradition was a “top down” as those of the highest social ranks were the main participants. Their poetry celebrated feudal ideals. d. Different types of troubadour verse dealt with various aspects of the feudal system, including songs of alliance, knightly decorum, exploits, challenges, and death. 2. Courtly love lay at the heart of the troubadour tradition. a. The canso was a song about love. b. Courtly love songs celebrated the same high ideals as other types of songs. c. The lady about whom a poet wrote usually outranked him, making her theoretically unattainable. d. Courtly love was generally more about veneration than physical love. e. The poetic style matches the lofty ideals of courtly love, as demonstrated in Can vei la lauzeta mover. B. Performance and Oral Culture 1. We do not know the rhythm of troubadour songs, but most likely the loftier style of the troubadour songs approximated that of contemporary chant. 2. Some troubadour songs matched a lower-class style; these were not based on chant style. a. Pastorela is one such genre. b. L’autrier jost’ una sebissa by Marcabru is an example.
    [Show full text]
  • Course Information Music 331 (Music History I: Music of the Middle Ages and Renaissance) - Winter 2004 Professor: Dr
    Cal Poly SLO - Department of Music - Course Information Music 331 (Music History I: Music of the Middle Ages and Renaissance) - Winter 2004 Professor: Dr. Alyson McLamore Office Phone: 756-2612 Office: 132 Davidson Music Center Email: [email protected] Web Site: http://cla.calpoly.edu/~amclamor Office Hours: Mon 1:30-3; Tues 3-4; Wed 1:30-3; Thurs 3-4; other times by appointment—just ask! Course Description: During this course, we'll look at western Medieval and Renaissance art music from several perspectives: as individual masterworks, as representatives of various composers, as examples of particular styles and forms, as analytic 'problems,' and as artworks derived from changing social milieus. We'll emphasize the development of skills in talking and writing 'about' music. The course will include lectures and class discussions, assigned readings, written assignments, and periodic examinations. Required Course Materials: Books and Scores: Stolba, K Marie. The Development of Western Music: A History. Third Edition. Boston: McGraw-Hill, 1998. Stolba, K Marie, ed. The Development of Western Music: An Anthology - Volume I (From Ancient Times through the Baroque Era). Third Edition. Boston: McGraw-Hill, 1998. Course Reader - available for a small fee from Dr. McLamore (from MU 320): Hacker, Diana. A Writer's Reference. 5th ed. Boston: Bedford Books, 2003. Listening Materials: Compact Disks to accompany The Development of Western Music: An Anthology - Volume I (From Ancient Times through the Baroque Era) (Third Edition), edited by K Marie Stolba, Boston: McGraw-Hill, 1998. Supplemental Listening CD –a master recording will be available for listening in the Music Department Office.
    [Show full text]
  • 2Music of the Middle Ages
    M usic of the Middle Ages 2Elizabeth Kramer 2.1 OBJECTIVES 1. Demonstrate knowledge of historical and cultural contexts of the Middle Ages 2. Recognize musical styles of the Middle Ages 3. Identify important genres and uses of music of the Middle Ages 4. Identify aurally, selected compositions of the Middle Ages and critically evaluate its style 5. Compare and contrast music of the Middle Ages with today’s contemporary music 2.2 KEY TERMS AND INDIVIDUALS • a cappella • drone • Alfonso the Wise • gothic • bubonic plague • Guillaume de Machaut • cadence • Hildegard of Bingen • cathedrals • hymn • Catholic Church • mass • chant • melisma • classical Greece and Rome • Middle Ages (450-1400 CE) • clergy • nobility • commoners • Perotin • courtly love • polyphony • courts • Pope • Crusades • Pythagoras Page | 34 UNDERSTANDING MUSIC MUSIC OF THE MIDDLE AGES • refrain • syllabic • rhythm according to the text • university • Roman Empire (27 BCE – 476 CE) • vernacular literatures • song • verse • strophes • Virgin Mary 2.3 INTRODUCTION AND HISTORICAL CONTEXT 2.3.1 Musical Timeline Events in History Events in Music 2nd millennia BCE: First Hebrew Psalms are written 7th Century BCE: Ancient Greeks and Romans use music for entertainment and religious rites 6th Century BCE: Pythagoras and his experi- ments with acoustics From the 1st Century CE: Spread of Christianity through the Roman Empire 4th Century BCE: Plato and Aristotle write 4th Century CE: Founding of the monastic about music movement in Christianity c. 400 CE: St Augustine writes about church c. 450 CE: Fall of Rome music 4th – 9th Century CE: Development/Codification of Christian Chant c. 800 CE: First experiments in Western Music 11th Century CE: Rise of Feudalism & the Three Estates 11th Century CE: Guido of Arezzo refines of mu- 11th Century: Growth of Marian Culture sic notation and development of solfège 1088 CE: Founding of the University of Bolo- gna 12th Century CE: Hildegard of Bingen writes c.
    [Show full text]