DOCSLIB.ORG

THE MEDIEVAL PERIOD​ (A.K.A Middle Ages) C. 500-1400 (Began

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THE MEDIEVAL PERIOD​ (A.K.A Middle Ages) C. 500-1400 (Began Name_____________________________ HR Teacher_________________________ THE MEDIEVAL PERIOD (a.k.a Middle Ages) ​ C. 500-1400 (began with with fall of the Roman Empire) WORDS TO KNOW chant/plainchant unaccompanied, monophonic music used in liturgy of the western church monophony (monophonic, adj. ) (mono=one) ​ ​ a single melody played, written, or sung with no harmony polyphony (polyphonic, adj.) (poly=many) ​ ​ music featuring two or more independent melodies played, written, or sung simultaneously homophony (homophonic, adj.) (homo=same) ​ ​ music in which the accompanying parts have the same rhythm as the melody; secular music music not related to religion or religious services sacred music music used for religious service or purpose Gregorian Chant named after Pope Gregory I) is monophonic, plainchant music ​ ​ neumes symbols representing from one to four notes, used in the musical notation of the Middle Ages/Medieval Era THE RENAISSANCE PERIOD 1400-1600 renaissance literally means “re-birth”; rebirth of education, science, art, literature, music ​ motet a sacred, polyphonic vocal composition, usually unaccompanied (a cappella) madrigal a secular, polyphonic song based on poems, often about love consort a small group of instruments playing together MEDIEVAL COMPOSERS TO KNOW GUIDO of AREZZO c. 991-1033 ​ ♫ Guido was an Italian monk ♫ He created a set of syllables to help singers remember melodies designed after the human hand ♫ Guido also developed staff notation; a change from neumatic notation, which only gave a general outline of the melody HILDEGARD VON BINGEN 1098-1179 ​ ♫ Hildegard von Bingen was born in Germany. ♫ She was a writer, philosopher, visionary, nun, and composer ​ ♫ She is one of the earliest known composers and wrote many monophonic chants RENAISSANCE COMPOSERS TO KNOW GIOVANNI PALESTRINA 1525-1594 ​ ♫ Italian composer and organist ♫ Palestrina was one of the most well-known sacred composers of the time WILLIAM BYRD 1540-1623 ​ ♫ Byrd was the greatest English composer of his time ♫ He wrote sacred and secular music, including consort music MEDIEVAL/RENAISSANCE INSTRUMENTS TO KNOW lute hurdy gurdy recorder sackbut viol plucked instrument a musical instrument that a wooden/plastic an early form of bowed string having a makes music by rotation of a wind inst. with trombone used instrument; pear-shaped body, cylinder studded with pegs finger holes and a in Renaissance ancestor of and often a bent mouthpiece music cello neck Renaissance Inventions Printing Press compass pocket watch telescope wallpaper flush toilet violin thermometer microscope submarine .
Load more

Recommended publications
  • The Trecento Lute
    UC Irvine UC Irvine Previously Published Works Title The Trecento Lute Permalink https://escholarship.org/uc/item/1kh2f9kn Author Minamino, Hiroyuki Publication Date 2019 License https://creativecommons.org/licenses/by/4.0/ 4.0 Peer reviewed eScholarship.org Powered by the California Digital Library University of California The Trecento Lute1 Hiroyuki Minamino ABSTRACT From the initial stage of its cultivation in Italy in the late thirteenth century, the lute was regarded as a noble instrument among various types of the trecento musical instruments, favored by both the upper-class amateurs and professional court giullari, participated in the ensemble of other bas instruments such as the fiddle or gittern, accompanied the singers, and provided music for the dancers. Indeed, its delicate sound was more suitable in the inner chambers of courts and the quiet gardens of bourgeois villas than in the uproarious battle fields and the busy streets of towns. KEYWORDS Lute, Trecento, Italy, Bas instrument, Giullari any studies on the origin of the lute begin with ancient Mesopota- mian, Egyptian, Greek, or Roman musical instruments that carry a fingerboard (either long or short) over which various numbers M 2 of strings stretch. The Arabic ud, first widely introduced into Europe by the Moors during their conquest of Spain in the eighth century, has been suggest- ed to be the direct ancestor of the lute. If this is the case, not much is known about when, where, and how the European lute evolved from the ud. The presence of Arabs in the Iberian Peninsula and their cultivation of musical instruments during the middle ages suggest that a variety of instruments were made by Arab craftsmen in Spain.
    [Show full text]
  • Medieval Studies
    College of Liberal Arts | Fall 2021-22 Minor - Medieval Studies ● Minor - Medieval Studies Minor - Medieval Studies Description The minor in medieval studies is an interdisciplinary course of study that covers the period from 476 to 1517. Students will be encouraged to take courses from a wide range of disciplines, which makes this minor well-suited to many majors. They will come to understand that "the Middle Ages" in fact includes a wide variety of cultures, artistic trends, literatures, languages, philosophies, and religious practices. In developing a deeper appreciation for the past, students will come to a better understanding of the foundation of our fast-paced, ever- changing present-day world. Course Requirements The minor in medieval studies consists of 18 semester hours, including Hst 309 or Eng 316 or Mlll 375. Students must complete 15 hours at the 300 level or above from the approved list of courses below. The 18 semester hours must be taken in at least three different areas (e.g., English, Spanish, German), with 15 hours in an area different from the student's major. The same course may not satisfy requirements for both the major and the minor. Medieval Studies Coursework AH 330 Medieval Art AH 332 Early Christian, Byzantine & Islamic Art AH 334 Early Medieval Art and Archaeology AH 336 Viking Art and Archaeology AH 338 Romanesque and Gothic Art AH 530 Topics in Medieval Art Eng 317 Chaucer Eng 318 Medieval Romance Eng 319 Medieval Drama Eng 320 The Heroic Age Eng 321 Literature of Medieval Europe Eng 322 Studies in Medieval
    [Show full text]
  • 000 (London, 2009)
    Aristotle from York to Basra An investigation into the simultaneous study of Aristotle’s Categories in the Carolingian, the Byzantine and the Abbasid worlds by Erik Hermans A dissertation submitted in partial ful@illment of the requirements for the degree of Doctor of Philosophy Institute for the Study of the AnCient World New York University May, 2016 _________________________ Robert Hoyland © Erik Hermans All Rights Reserved, 2016 ACKNOWLEDGEMENTS This dissertation is the produCt of a new and interdisCiplinary graduate program at the Institute for the Study of the AnCient World (ISAW) at New York University. Without the vision and generosity of Leon Levy and Shelby White ISAW would not have existed and this dissertation would not have been written. I am therefore greatly indebted to these philanthropists. At ISAW I was able to Create my own graduate CurriCulum, whiCh allowed me to expand my horizon as a ClassiCist and explore the riChness of Western Europe, Byzantium and the Middle East in the early medieval period. My aCademiC endeavors as a graduate student would not have been successful without the reliable, helpful and impeCCable guidanCe of Roger Bagnall. Without him AmeriCan aCademia would still be a labyrinth for me. I Consider myself very fortunate to have an interdisCiplinary Committee of supervisors from different institutions. Helmut Reimitz of PrinCeton University and John Duffy of Harvard University have voluntarily Committed themselves to the supervision of both my Comprehensive exams and my dissertation. I would like to thank them deeply for their time and assistanCe. However, I am most indebted to my primary advisor, Robert Hoyland.
    [Show full text]
  • Courses Taught in Foreign Languages in Academic Year 2020/21 Content
    Courses taught in foreign languages in academic year 2020/21 Content Winter Term ............................................................................................................................................ 2 Heresy in Medieval Society ................................................................................................................. 2 Modern Architecture ........................................................................................................................... 3 Ancient Political Thought .................................................................................................................... 4 Education for Democratic Citizenship ................................................................................................. 5 English Language ................................................................................................................................. 6 Methods and Application of Historical Geography ............................................................................. 7 History of Long 19th Century .............................................................................................................. 8 Czechs and Germans in the Bohemian Lands 1848-1947 ................................................................. 10 Health and Disease in the Middle Ages and Early Modern Period ................................................... 11 Summer term .......................................................................................................................................
    [Show full text]
  • The Origins of the Musical Staff
    The Origins of the Musical Staff John Haines For Michel Huglo, master and friend Who can blame music historians for frequently claiming that Guido of Arezzo invented the musical staff? Given the medieval period’s unma- nageable length, it must often be reduced to as streamlined a shape as possible, with some select significant heroes along the way to push ahead the plot of musical progress: Gregory invented chant; the trouba- dours, vernacular song; Leoninus and Perotinus, polyphony; Franco of Cologne, measured notation. And Guido invented the staff. To be sure, not all historians put it quite this way. Some, such as Richard Hoppin, write more cautiously that “the completion of the four-line staff ...is generally credited to Guido d’Arezzo,”1 or, in the words of the New Grove Dictionary of Music, that Guido “is remembered today for his development of a system of precise pitch notation through lines and spaces.”2 Such occasional caution aside, however, the legend of Guido as inventor of the staff abides and pervades. In his Notation of Polyphonic Music, Willi Apel writes of “the staff, that ingenious invention of Guido of Arezzo.”3 As Claude Palisca puts it in his biography of Guido, it was that medieval Italian music writer’s prologue to his antiphoner around 1030 that contained one of the “brilliant proposals that launched the Guido legend, the device of staff notation.”4 “Guido’s introduction of a system of four lines and four spaces” is, in Paul Henry Lang’s widely read history, an “achievement” deemed “one of the most significant in
    [Show full text]
  • IJHS Newsletter 07, 2008
    NNeewwsslleetttteerr ooff tthhee IInntteerrnnaattiioonnaall JJeeww’’ss HHaarrpp SSoocciieettyy BoardMatters FeatureComment The opening of the Museum in Yakutsk Franz Kumpl An interview with Fred Crane Deirdre Morgan & Michael Wright RegionalNews PictureGallery Images from the opening of the Museum in Yakutsk Franz Kumpl WebWise IJHS website goes ‘live’ AndFinally… Correspondence NoticeBoard Membership August 2008 Spring / Summer Issue 7 Page 1 of 14 August 2008 Issue 7 BoardMatters – From the President Page 2 FeatureComment – The new Khomus Museum in Yakutsk & Interview with Frederick Crane Page 3 RegionalNews Page 5 PictureGallery Page 12 WebWise Page 13 AndFinally… Page 13 NoticeBoard Page 15 To contribute to the newsletter, send your emails to [email protected] or post to: Michael Wright, General Secretary, IJHS Newsletter, 77 Beech Road, Wheatley, Oxon, OX33 1UD, UK Signed articles or news items represent the views of their authors only. Cover photograph & insert courtesy of Franz Kumpl & Michael Wright Editorial BoardMatters NEWS HEADLINES From the president THE NEW KHOMUS MUSEUM OPENS IN Dear friends, YAKUTSK. The Journal of the International Jew‟s Harp Society, IJHS LAUNCHES ITS FIRST WEBSITE. besides this Newsletter, is indispensable to our work FRED CRANE STEPPING DOWN AS JOURNAL and an integral part the paying members get for their EDITOR. yearly membership fee. Given that the Society basically runs on goodwill, it History has shown that the difference between Journal never ceases to amaze me how much we manage to and Newsletter are as follows: achieve. Sometimes it may seem that nothing is The Journal is published ideally once per year in a happening much, but, just like the swan swimming printed version and with the objective of providing (above) majestically along on the water, the legs are paddling opportunities for the publication of scientific Michael Wight, like mad beneath.
    [Show full text]
  • The Bandistan Ensemble, Music from Central Asia
    Asia Society and CEC Arts Link Present The Bandistan Ensemble, Music From Central Asia Thursday, July 14, 7:00 P.M. Asia Society 725 Park Avenue at 70th Street New York City Bandistan Ensemble Music Leaders: Alibek Kabdurakhmanov, Jakhongir Shukur, Jeremy Thal Kerez Berikova (Kyrgyzstan), viola, kyl-kiyak, komuz, metal and wooden jaw harps Emilbek Ishenbek Uulu (Kyrgyzstan), komuz, kyl-kiyak Alibek Kabdurakhmanov (Uzbekistan), doira, percussion Tokzhan Karatai (Kazakhstan), qyl-qobyz Sanjar Nafikov (Uzbekistan), piano, electric keyboard Aisaana Omorova (Kyrgyzstan), komuz, metal and wooden jaw harps Jakhongir Shukur (Uzbekistan), tanbur Ravshan Tukhtamishev (Uzbekistan), chang, santur Lemara Yakubova (Uzbekistan), violin Askat Zhetigen Uulu (Kyrgyzstan), komuz, metal jaw harp The Bandistan Ensemble is the most recent manifestation of an adventurous two-year project called Playing Together: Sharing Central Asian Musical Heritage, which supports training, artistic exchange, and career enhancement for talented young musicians from Central Asia who are seeking links between their own musical heritage and contemporary languages of art. The ensemble’s creative search is inspired by one of the universal axioms of artistic avant-gardes: that tradition can serve as an invaluable compass for exploring new forms of artistic consciousness and creativity inspired, but not constrained, by the past. Generously supported by the United States Department of State’s Bureau of South and Central Asian Affairs, Playing Together was established and has been
    [Show full text]
  • Downloaded from Brill.Com10/01/2021 10:41:08PM Via Free Access
    erudition and the republic of letters 2 (2017) 359-395 brill.com/erl Universal History and the Origin Narrative of European Modernity: The Leiden Lectures of Jacob Perizonius (1651–1715) on Historia Universalis Frederic Clark Department of Classics, University of Southern California, Los Angeles, ca 90089 [email protected] Abstract This article explores a central facet of humanist scholarship and pedagogy—namely, the writing and teaching of universal history—in the decades around 1700. In does so by examining one of the most prominent humanists of the European Republic of Let- ters: the Leiden classical scholar Jacob Perizonius (1651–1715). Through analysis of Peri- zonius’s unpublished lectures on universal history, it explores how ‘classicists’ (long before they commonly identified as such) could command geographies and tempo- ralities far distant from Greco-Roman antiquity. Late humanist classical scholars like Perizonius used the ancient genre of universal history or historia universalis to com- bine everything from the fall of Rome to the emergence of Renaissance Europe into a single continuous narrative. In so doing, Perizonius helped forge a via media between antiquity and modernity at a moment when self-identified “ancients” and “moderns” * I wish to thank Mordechai Feingold for inviting me to write this article and for his generous assistance throughout the process. I am also most grateful to Anthony Grafton for his many insights into Perizonius and his expert guidance through the world of humanist scholarship. As I was finishing this article I greatly benefited from participation in a discussion group with Anton Matytsin and Thomas Wallnig on the history of early modern historiography.
    [Show full text]
  • Galileo's Eyeglass: an Orchestral Work Celebrating the Discovery of The
    GALILEO’S EYEGLASS: AN ORCHESTRAL WORK CELEBRATING THE DISCOVERY OF THE MOONS OF JUPITER AND THE RINGS OF SATURN Jay Alan Walls, B.M.E., M.M. Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS August 2011 APPROVED: Joseph P. Klein, Major Professor and Chair of the Division of Composition Stephen F. Austin, Committee Member Cindy McTee, Committee Member Lynn Eustis, Director of Graduate Programs in the College of Music James C. Scott, Dean of the College of Music James D. Meernik, Acting Dean of the Toulouse Graduate School Walls, Jay Alan. Galileo's Eyeglass: An Orchestral Work Celebrating the Discovery of the Moons of Jupiter and the Rings of Saturn. Doctor of Philosophy (Composition), August 2011, 149 pp., 2 figures, 2 tables, 47 examples, 3 appendices, bibliography, 43 titles. Galileo's Eyeglass is a celebratory work for full orchestra with standard instrumentation commemorating Galileo Galilei's discoveries of the four largest moons of Jupiter and the rings of Saturn in 1610. The composition is approximately 14 minutes in duration, and although divided thematically into four parts, the music is continuous. The work exhibits primarily a blend of contemporary styles and compositional elements, yet it is rooted in traditional tonality; furthermore, the piece is interspersed with references to Galileo's life and times, including quotations of a toccata composed by the scientist's brother, Michelangelo Galilei, transcribed from lute tablature. Chapter 1 of Part 1 investigates relevant historical threads extracted from the backdrop of Galileo's life, from reflections on the events that shape the musical program, to the selection and preparation of the period music composed by Galileo's brother.
    [Show full text]
  • Medieval World, 2018-2019
    COURSES THAT COUNT Medieval World, 2018-2019 Key to Requirements: HIS: Courses on the History of the Medieval World TIS: Courses on Texts, Images, and/or Sound SPR: Courses on Science, Philosophy, and/or Religion IC: HL90s on Pre-Modern Topics and Other Introductory Courses Aesthetic and Interpretive Understanding 40. Monuments of Islamic Architecture. Necipoglu- Kafadar and Roxburgh. (TIS) Aesthetic and Interpretive Understanding 64. Chaucer: The Canterbury Tales. Watson. (TIS) Celtic Languages and Literatures 101. [Irish Heroic Saga]. Nagy. (TIS) Celtic Languages and Literatures 103. [The Celts]. McKenna. (HIS) Celtic Languages and Literatures 105. The Folklore of Gaelic Ireland. Sumner.(TIS) Celtic Languages and Literatures 106. The Folklore of Gaelic Scotland. Sumner. (TIS) Celtic Languages and Literatures 109. [Finn: The Great Gaelic Hero]. TBA. (TIS) Celtic Languages and Literatures 111. Shapeshifters and Manbeasts in Celtic Traditions. McKenna. (TIS) (SPR) Celtic Languages and Literatures 120. [Food and Fantasy in Irish Tradition]. TBA. (TIS) Celtic Languages and Literatures 121. The Art of Storytelling in Medieval Ireland. Nagy. (TIS) Celtic Languages and Literatures 137. [Celtic Mythology]. TBA. (TIS) (SPR) Celtic Languages and Literatures 138. [The Mabinogion: Stories from Medieval Wales]. TBA. (TIS) Celtic Languages and Literatures 187. [Literature of the Dispossessed: Gaelic Ireland, c.1600- 1900]. TBA. (TIS) Celtic Languages and Literatures 188. [Songs of the Highlander]. TBA. (TIS) Celtic Languages and Literatures 194. The World of the Celtic Bard. McKenna. (HIS) (TIS) Chinese History 185. [The Historiography of the Middle Period]. Bol. (HIS) Chinese Literature 114. Introduction to Premodern Chinese Literature. Tian.(TIS) Classical Studies 119. Augustine the North African. Trettel. (SPR) Comparative Literature 114.
    [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]
  • Renaissance Terms
    Renaissance Terms Cantus firmus: ("Fixed song") The process of using a pre-existing tune as the structural basis for a new polyphonic composition. Choralis Constantinus: A collection of over 350 polyphonic motets (using Gregorian chant as the cantus firmus) written by the German composer Heinrich Isaac and his pupil Ludwig Senfl. Contenance angloise: ("The English sound") A term for the style or quality of music that writers on the continent associated with the works of John Dunstable (mostly triadic harmony, which sounded quite different than late Medieval music). Counterpoint: Combining two or more independent melodies to make an intricate polyphonic texture. Fauxbourdon: A musical texture prevalent in the late Middle Ages and early Renaissance, produced by three voices in mostly parallel motion first-inversion triads. Only two of the three voices were notated (the chant/cantus firmus, and a voice a sixth below); the third voice was "realized" by a singer a 4th below the chant. Glogauer Liederbuch: This German part-book from the 1470s is a collection of 3-part instrumental arrangements of popular French songs (chanson). Homophonic: A polyphonic musical texture in which all the voices move together in note-for-note chordal fashion, and when there is a text it is rendered at the same time in all voices. Imitation: A polyphonic musical texture in which a melodic idea is freely or strictly echoed by successive voices. A section of freer echoing in this manner if often referred to as a "point of imitation"; Strict imitation is called "canon." Musica Reservata: This term applies to High/Late Renaissance composers who "suited the music to the meaning of the words, expressing the power of each affection." Musica Transalpina: ("Music across the Alps") A printed anthology of Italian popular music translated into English and published in England in 1588.
    [Show full text]