Teacher's Book 2

Schemes of work and teaching suggestions 1 INTRODUCTION AND TEACHING SUGGESTIONS THE MIDDLE AGES

INTRODUCTION TO THE UNIT

We start this book with the Middle Ages, an unstable period that lasted for almost one thousand years of history and marked the beginning of formal music and musical notation in the Western World. Music theory in this unit covers the concepts of texture, scale and rhythm, which are necessary to understand the birth of polyphony and the use of Gregorian modes and rhythmic modes. We also compare the characteristics of liturgical music and secular music, through an active listening activity with one piece of music representing each type. The students also have the opportunity to be present-day minstrels, creating a chanson de geste in the form of a rap inspired by a story in a newspaper. Finally, the recent history of the Codex Calixtinus offers a chance to reflect on our valuable artistic heritage and the importance of conserving it.

CONTENTS

MUSICAL CONTEXT • Historical context of the Middle Ages. • Medieval society, religion and culture.

MUSIC THEORY • Review of the concepts of scale, tonic, interval, tone and semitone. • Major and minor scales. Modal scales. • Main rhythmic modes: trochee, iamb and dactyl. • Medieval textures: monophony and polyphony. • Performance of Como Poden per Sas Culpas (anonymous) and Tant M'Abelis (B. de Palou).

MUSICAL CULTURE • Religious vocal music: Gregorian chant and liturgical polyphony. • Secular vocal music: minstrels and goliards. Songbooks. • Instrumental music and medieval instruments. • Music in al-Andalus. • Biographies: Guido d'Arezzo, Hildegard von Bingen and Bernart de Ventadorn. • Active listening to Can Vei la Lauzeta (B. de Ventadorn) and Adorate Deum (anonymous).

GOING FURTHER • Creation of a present-day chanson de geste over the backing track and topic provided. • The robbery of the Codex Calixtinus in the cathedral of Santiago de Compostela.

ASSESSMENT CRITERIA

• To know the historical, social and cultural context of the • To know the characteristics, styles and forms of Gregorian Middle Ages. chant and medieval liturgical polyphony, and to identify them aurally. • To understand the concepts of scale, tonic, interval, tone and semitone. • To know who the minstrels and the goliards were, and what songbooks contained. • To build major and minor diatonic scales. • To know some of the most important musicians of the period. • To know the medieval modal scales and the main rhythmic • To know some medieval instruments and identify them modes, and to create melodies based on them. aurally. • To identify polyphonic and monophonic textures visually • To compare secular vocal music with Gregorian chant. and aurally. • To identify the main characteristics of Andalusian classical • To perform medieval pieces vocally and instrumentally. music. • To participate actively in group performances, taking on • To write lyrics for a rap over the backing track provided. different roles and coordinating one's own performance • To become aware of the importance of conserving our with that of one's classmates. artistic heritage.

Linguistic competence. Knowing the origins of Cultural awareness and expression. Listening to, Western musical notation will make the students analysing and performing melodies from the medieval aware that today's music theory is the result of a long repertoire involves gaining a deeper knowledge of process lasting many centuries. The analysis of the artistic expression in other historical periods. This is lyrics of a minstrel's song and an excerpt from a mass essential for the students to appreciate and enjoy the will reveal the relationship that exists between music musical heritage of different cultures, and be aware and literature. In addition, the reading activity at of the importance of conserving it. the end of the unit develops reading comprehension Initiative and entrepreneurship. Creating skills and encourages the habit of reading. melodies based on the scales and rhythmic modes Competence in mathematics, science and provided requires the students to put their previous technology. Building major, minor and modal scales knowledge into practice and develop their creativity, starting from a given note and maintaining personal initiative and the search for originality. It also a particular rhythmic mode means working with brings into play the ability to criticise one's own work units of measurement, such as tones and semitones, in order to reach conclusions and assess ways to or the long and breve note values. This specifically improve in similar activities in the future. contributes to the development of mental arithmetic Digital competence. Information technology skills. is an excellent tool for the students to find more information about codices and medieval instruments, Social and civic competences. The project and to learn about the lives of composers or suggested in the development of key competences well-known figures of the period, such as Kassia. In section, where the students create a present-day this way, the students develop the necessary skills chanson de geste in the form of a rap about racism to obtain, process and share information, in the classroom, encourages them to think about transforming it into knowledge. this serious problem and allows them to appreciate music as a powerful tool to increase social awareness. Learning to learn. The activities, know how to and In addition, group performances involve teamwork key concepts sections reinforce the content studied and require the students to develop their skills to put and encourage reflection on what the students have themselves in someone else's place. learnt and what they still need to learn.

RESOURCES

• Student's Book, pages 6 to 23. • End-of-unit test, Teacher's Book, pages 23 and 24. • Class Audio CD 1, tracks 2 to 14. • Answer keys, Teacher's Book, pages 25 to 28. • LibroMedia: digital resources for the unit. • Scores, Teacher's Book, pages 29 to 31. • Recorder.

MUSICAL CONTEXT

Once the students have read the opening text, ask them the questions from the STARTING POINTS section: • Extend the first question about musical notation with questions like: Do you think that people have always written music on five lines?; Do you think that people have always used the note values and rests that you know? • After the students say what they know about medieval music, ask them if they have ever had the opportunity to listen to this type of music. Then ask if they think that it's important for musical ensembles dedicated to spreading and conserving this music to exist. • According to the text, the purpose of music in the Middle Ages was to promote the Christian faith and pious feelings among the faithful. Ask the students for their opinions about the role music should have in today's world. • The picture shows a psaltery, a chordophone played by plucking the strings with the fingers (like in the picture) or striking them with a mallet.

1 The Middle Ages

On a map, show the students the area covered by the Roman Empire during the 4th century A.D. Then show them its later division into the Western Roman Empire and the Byzantine Empire (395 A.D.). Ask the students which type of music they think developed more in this period: religious or secular, and ask them to justify their answers. Remind them that the Roman Catholic Church's position as the most powerful cultural institution in medieval times meant that social, scientific and artistic development were closely linked to it.

Society and culture

As a supplementary activity, ask the students to find information about some of the universities that were founded in this period. Some examples are the universities of Bologna (1088), Oxford (1096), Palencia (1208), Salamanca (1218), Padua (1222) and Paris (1275). Then ask the students to find pictures of Romanesque and Gothic architecture, sculpture and painting. Here are some examples that you can show them:

Romanesque Gothic

• Santo Domingo de Silos Abbey. • Notre-Dame Cathedral. • Church of San Martín de Frómista • Burgos Cathedral. Architecture in Palencia. • Avignon Cathedral.

• Façade of the Church Notre-Dame • Tomb of Juan de Cervantes la Grande, Poitiers. in Seville cathedral. Sculpture • Tympanum of the Puerta del • The Smiling Angel in Reims Cordero in the Basilica of San Cathedral. Isidoro de León.

• Royal Pantheon in the Basilica of • The Descent from the Cross San Isidoro de León. by Rogier van der Weyden. Painting • Fresco paintings in the Church of • Saint Mary Magdalene in the Saint Clement of Tahull. Church of Santa María la Mayor in Alcañiz.

14 History of Music. Teacher's Book. Photocopiable material © 2016 Richmond Publishing/Santillana Educación, S. L. Before starting the topic of medieval music, you can give a brief introduction to the origins of music: 1. Prehistory (2.5 million years ago): Archaeological evidence proves that music started in this period. It's believed that music had superstitious, magic or religious functions, and that it accompanied everyday life. At first only the human voice or body percussion was used, but later on rudimentary instruments appeared, made from natural materials (sticks and stones, stretched animal skins, shells, bones, horns, hunting bows, etc.) used in different ways (hit together, rubbed, struck, blown, plucked, etc.). 2. Mesopotamia (8,000 years ago): The oldest inscriptions, from over 4,000 years ago, show that Mesopotamia was the first civilisation to develop writing and a system of musical notation. People appear to have used scales with five or seven notes. The main instruments were the lyre, vertical pipes without embouchure holes, trumpets and drums. 3. Egypt (3100 B.C. to the 4th century B.C.): Thanks to depictions in reliefs and paintings, we know that music was fundamental to celebrations linked to the swelling of the Nile and harvest. It also had particular importance in funeral ceremonies and offerings to the gods, and it was sometimes used as a therapeutic remedy to purify the soul and heal the body. Archaeological evidence also shows that dance had an important role in Egypt, closely linked to religion. The main Egyptian instruments were the harp, the shawm, the vertical pipes and the sistrum. 4. China (2500 B.C.): We know that music was used in religious ceremonies, as well as in the public events of the court, ritual theatre and other group celebrations. The Chinese had a system of twelve scales and eight types of instruments. It seems that they also used musical notation. 5. Ancient Greece (between the 5th century B.C. and the 5th century A.D.): The music-related evidence that exists from this period is mainly literary and artistic, although some of the first written music has also survived (the Seikilos Epitaph). For the Greeks, music had moral qualities; for this reason it formed an essential part of education. It was also used in religious ceremonies. The main instruments were the lyre, the zither, the aulos, the panpipe and the finger cymbals. You can tell the students to get into groups and prepare a short talk about the general characteristics of each of the ancient civilisations mentioned. You can also suggest specific topics to research, such as Hurrian Hymn to Nikkal, the Seikilos Epitaph, the Greek concepts of mousike¯ and ethos, the contributions to music by figures like Pythagoras of Samos or Plato, or the musical instruments used in each culture.

MUSIC THEORY

2 Types of scales and rhythmic modes

Major and minor scales Use the four scales in the Student's Book to reinforce the concepts of scale, tonic, interval, tone and semitone. Ask the students to find one diatonic scale in particular, for example the G major scale. Then ask the following questions: • What is the tonic note of this scale? (Sol or G). • What do we call the distance between the note La or A and the note Fa or F#? (interval). • How many tones and semitones are there between the notes La or A and the note Fa or F#? (four tones and one semitone); And between the notes Re or D and Sol or G? (two tones and one semitone). Once the students have a clear understanding of the tone distances in the major and minor diatonic scales, call individual students to the board and ask them to write other scales, different to those already studied, like F major and G minor.

Modal scales

The Gregorian modes, also called church modes because of their use in liturgical plainsong compositions, had their origins in the Greek modes and defined the range of the melody, the note it ended on and the central note of the song. To explore this topic in more depth, write the eight Gregorian modes on the board and point to the final note (F) and tenor note (T) in each of them. Then write a melody in Phrygian mode on the board and ask the students to guess the mode by looking at the final note.

I. Dorian III. Phrygian V. Lydian VII. Mixolydian w www wwww wwwww wwwww & wwwww wwww www ww FT FT T FT FT

II. Hypodorian IV. Hypophrygian VI. Hypolydian VIII. Hypomixolydian w ww www wwww & wwww wwww wwww wwww w w w FT T w w FT T w FT FT T

KNOW HOW TO 1: This is an example of a possible answer:

3 œ Œ &4 ˙ œ ˙ œ ˙ œ ˙ ˙ œ ˙ œ ˙ œ ˙ KNOW HOW TO 2: Ask the students to put all their compositions together to make one big group piece. The compositions must follow immediately one after the other, without stopping the beat. To do this, each student must count the eight bars of the performance before his or her own, to be able to come in as soon as it ends and maintain the continuity of the piece.

3 Medieval textures

Make sure that the students understand the term 'unison'. Explain that the text refers to the simultaneous performance of the same melody by several voices. Extend the information given about the movement of voices with some simple scores like these:

• Voices that move in parallel motion:

4 œ œ &b4 œ œ œ œ™ J œ ˙ œ ˙ Ó 4 &b œ œ œ œ Ó 4 œ œ œ ™ J ˙ œ ˙ • Voices that move in contrary motion:

4 œ œ &b4 œ œ œ œ™ J œ ˙ œ ˙ Ó 4 &b4 œ j ˙ œ ˙ Ó œ œ œ™ œ œ œ

Musical repertoire: performance First do the warm-up exercises on pages 29 and 31 of this Teacher's Book. Take the following points into account when leading the performance over the backing tracks numbered 4 and 5 on CD 1: • Como Poden per Sas Culpas has a seven-bar introduction, the last bar with a click-track to help the students to come in. The structure of this piece is as follows:

introduction A B A A coda

7 bars 16 bars 16 bars 16 bars 16 bars 4 bars

• Tant M'Abelis has a four-bar introduction, the last bar with a click-track. The structure of this piece is as follows:

introduction A bridge A' coda

4 bars 14 bars 2 bars 14 bars 4 bars

Both pieces are designed for vocal as well as instrumental performance. Find more detailed scores for these pieces on pages 29 to 31 of this Teacher's Book. Record the performances as an audio file so that the students can listen to themselves and analyse their performance, picking out the positive aspects and identifying those that can be improved. Finally, ask the students to identify the texture of the pieces that they have just performed (monophony with instrumental accompaniment). Take into account, as will be explained later, that this texture should not be confused with melody-dominated homophony.

MUSICAL CULTURE

4 Vocal music

Gregorian chant

Ensure that the students become familiar with the terms used in the text (liturgical, secular, plainsong, neumes, neumatic notational system and four-line stave). Search for scores written in the neumatic notational system on a four-line stave and analyse the elements with the students. You could add that the small mark that appears at the end of each four-line stave on many of these scores is due to the fact that Gregorian chant was written in very big books called songbooks. It was very easy to get lost when reading the music and miss a line. These small marks prevented this, showing the note that the next four-line stave started on. There were also some small bar lines in the middle of the four-line staves, of different lengths, which showed different types of pauses in the performance. To illustrate the texts about Gregorian chant and the Guidonian hand in the did you know? section, you can watch the following videos: • Performance of Gregorian chant by Soong Sil OB Male Choir: https://youtu.be/KhEeZChXy5E. • Example of the use of the Guidonian hand: https://youtu.be/RlleweQuq14.

Before reading the IMPORTANT MUSICIANS section, ask the students for the name of a female composer from any time in history (not just medieval). Remind them that for centuries, women have been excluded from artistic professions and have been severely criticised when they did enter these professions. However, throughout history some women have managed to develop their vocation for music, defying the rigid social conventions of the time, even in the Middle Ages. Social and cultural pressure made the dissemination of their work more difficult, but, despite this, there are records of over 4,000 female composers from the Middle Ages until the present day. For this reason, we have decided to collect and present some of their work in the Student's Book, since they are an essential part of the history of music. KNOW HOW TO 3: Point out the way that the first syllable of each verse of the hymn Ut Queant Laxis (each two bars) coincides with the names of the musical notes. Once the students have performed the piece vocally or instrumentally, ask them to listen to it on any Internet video as they follow the original score (you can play the following video: https://youtu.be/SugtS3tqsoo?list=PLk4VK_hrfVpktwJlBr1ipGbbuotZ2oCEW). Then ask the questions from the Student's Book. • The melody has seven musical phrases that correspond with the verses of the hymn. • The translation of the text into English is as follows: So that these your servants can, Forgive the offence With all their voices, Of our impure lips, Sing your wonders, Saint John. The consonant at the end of the syllable 'Ut' made it difficult to sing. Because of this, in the 18th century, the Italian musicologist Giovanni Battista Doni changed it to 'Do' (from dominus vobiscum, Latin for 'the Lord be with you'), ending in a vowel. As for the note Si or B, it was added to the scale in the 16th century, combining the initials of Saint John (Sancte Ioannes). D'Arezzo had not included it before since this note was considered to belong to the devil. You can take the opportunity to explain that, during the Middle Ages, the Church maintained that the devil perverted music with the tritone, meaning a three-tone interval, which became known as diabolus in musica ('the devil in music'). It was thought that the tritone invoked the devil due to the tension that its sound generated (dissonance). This superstition lasted several centuries, during which the use of the tritone was prohibited. This is why Guido d'Arezzo avoided using the note Si or B in the scale, because between the note Fa or F and Si or B there was a tritone; three whole tones. (The rest of the intervals of a fourth in the musical scale are formed of two tones and a semitone.) Today, the tritone is a very frequently-used interval in heavy metal.

Liturgical polyphony

Use this text to review the concept of texture from the beginning of the unit: 'Texture is the way in which the different voices are combined in a composition.' Highlight the fact that polyphony appeared in the Middle Ages, but reached its peak later on. Specify that although the term polyphony is commonly used in a broad sense to refer to any musical texture with several parts, in this method we use it in its more limited sense, to refer to textures with several parts that are independent from each other. There are more types of textures with several parts, depending on the interaction between each of their melodic lines, but these types did not develop fully until the Renaissance and the Baroque period, as we will explain later. Here are the textures that we will deal with in the Student's Book. The students have a similar diagram in the KEY CONCEPTS section on page 27 of the Student's Book, in Unit 2.

ONE PART

Monophony: One melodic line.

Polyphony: Homorhythmic Melody-dominated Several independent melodic lines. homophony: homophony: Several similar A main melodic line Imitative counterpoint: melodic lines with a harmonic Several melodic lines imitate each that move accompaniment. other, but start at different times. simultaneously. The simplest form is the canon.

After presenting the liturgical polyphonic forms, you can point out that the conductus was a type of composition that used the polyphonic techniques of both the organum and the discantus. In ACTIVITY 15 the students might have difficulty in identifying both these polyphonic techniques when they listen to track 7 on CD 1. Help them to notice that the organum is easier to identify, because we can hear the parallel movement of the voices in it. Finally, you can extend the information in the DID YOU KNOW? section with this table that shows the relationship between note values in mensural notation and the note values that we use today.

Note value Today's notation Mensural notation Rest

semiquaver

quaver 텡

crotchet 텠

minim 텟

semibreve 텞 텝 톹 breve 템 Secular vocal music

Of the secular music of this period, some melodies remain with us but not their accompaniment, because it was not written down. However, we can imagine that the music was accompanied or introduced with similar melodies (variants or ornaments as well as the main voice or a melody parallel to it), but not clear harmonic accompaniments like at the end of the Renaissance. In the Middle Ages, polyphony was in its early stages and the only harmony that existed was the harmony that appeared when different parts arranged horizontally overlapped. For this reason, the Student's Book makes reference to 'monophony' and not 'melody-dominated homophony'. Bear in mind that the characteristics mentioned in this text are general, but may not apply to all the music of the period. For example, secular vocal music was also sung in Latin, not just in the vernacular, as is the case of compositions by the goliards or some of the pieces included in the Llibre Vermell de Montserrat. It is also worth noting that this manuscript mainly included monophonic pieces, but it also had numerous polyphonic works. After doing ACTIVITY 16, draw the students' attention to the fact that in both excerpts in track 8 on CD 1, we can hear female voices. Ask the students to research the women in the Middle Ages who performed the role of minstrels. Then ask them to name some of the most important ones (Alamanda de Castelnau, Beatriz de Diá, María Balteira, María de Ventadorn, etc.). To illustrate this section, you can play the following videos: • Performance of Le Jeu de Robin et de Marion by the minstrel Adam de la Halle in the Ravenna Festival: https://youtu.be/UCIx07t14jw.

• Performance of goliard songs from Carmina Burana by Artefactum with medieval instruments: https://youtu.be/DY5ef_tPHyU. • Performance of the Cantiga de Santa María No. 217 by Quarteto Medieval de Urueña with medieval instruments: https://youtu.be/x38VhCPRLps. • Performance of Ad Mortem Festinamus from Llibre Vermell de Montserrat by La Capella Reial de Catalunya-Hespèrion XXI, conducted by Jordi Savall: https://youtu.be/xzAqfYVp9mg. KNOW HOW TO 4: Perform the song with the names for the notes and then incorporate the text. A good tempo to use would be = 80. Then include the following ostinatos: 텟 Hand drum 3 / 4 œ œ œ œ œ™ œ œ™ œ ™ Bells 3 j j j j / 4 ‰ œ ‰ œ ‰ œœ ‰ œ ‰ œ ‰ œœ ™ Then do a brief analysis of the score, using the following questions: • What is the metre of the piece? ( ); How many bars does it have? (ten). • Which note values appear in the score? (semiquavers, quavers, crotchets, a dotted minim and quaver rests); And musical notes? (Fa or F, Sol or G, La or A, Si or B, Do' or C' and Re' or D'). • Are there any sound-lengthening signs? (a dot). • Is there any syncopation? (yes, in the first bar and in the eighth bar). • Is there any syllable in the text that lasts for longer than one note? (yes, in all the bars except the fourth); How is this shown on the score? (with an underscore to the right of the syllable that is lengthened).

5 Instrumental music

To illustrate this section, you can watch the following video of the performer of medieval instruments, Clare Salaman, playing a medieval song on the hurdy-gurdy: https://youtu.be/Wq-MUNw5i9Q. Finally, ask the students to find other medieval instruments (such as the jaw harp, the sackbut, the spinet or the olifant) and to prepare a short presentation on them, similar to the ones in the Student's Book.

6 Music in al-Andalus

Tell the students about the relationship that exists between the types of music presented in the text and flamenco. Many musicologists believe that a part of the melody and the vocal and instrumental rhythms of the flamenco musical forms is derived from the vocal and instrumental sequences of Morisco nu¯bas, zajals or villancicos. Many studies reveal melodic and rhythmic connections between some palos of flamenco, like fandangos or malagueñas, and certain Sephardic songs, whose musical tradition started in al-Andalus. To illustrate this section, you can watch the following videos: • Performance of Andalusian classical music by Zejel: https://youtu.be/poHBqoTG0p8. • Performance of Sephardic music by Mara Aranda in the Teatro Principal of Zamora: https://youtu.be/EcL9o6Q8mso. After reading the section entitled FROM GREGORIAN CHANT TO NEW AGE MUSIC, start a discussion by asking the students what the relation is between the musical styles. Ask them to find other examples where medieval music has been combined with popular urban music.

The scores for both pieces of music are adaptations and some of the symbols on the original scores have been omitted to make it easier for the students to read them (for example, the clefs and the symbols that show rests). Explain to the students that the first letter that appears in both scores, to the left of the four-line stave ('C' in the case of Can Vei la Lauzeta and 'A' in the case of Adorate Deum), does not represent any musical symbol, but is the first letter of the first word in the song. Draw their attention to the difference between the neumes that represent just one note, corresponding to one syllable in the text, and the neumes that represent different notes, but correspond to the same syllable. Here is a table with the answers to the questions on the information card in the Student's Book about each of the pieces:

Can Vei la Lauzeta Adorate Deum

Composer Bernart de Ventadorn anonymous Type of notation neumatic notation neumatic notation Type of music secular liturgical Language of the text Provençal Latin Theme of the piece love religious Function of the music to entertain to serve a text Rhythm in a particular metre in free time Type of texture monophonic with accompaniment monophonic Type of ensemble solist choir Type of accompaniment instrumental (psaltery and rebec) none Styles of Gregorian chant – syllabic and neumatic

Finally, help the students to answer the rest of the questions in the Student's Book: a) The characteristics of these pieces are closely linked to the venues they were performed in. So we can say that Can Vei la Lauzeta, a piece of secular music about love, written in a particular rhythm, was probably performed in the court. Adorate Deum, a liturgical piece with a religious theme, was probably performed in monasteries, churches and cathedrals. b) Can Vei la Lauzeta was probably performed by minstrels for an audience of monarchs, nobles and other members of the court. Adorate Deum was probably performed by monks for the congregation of a church. c) According to Greek mythology, Narcissus was a handsome man who many women fell in love with. This included the nymph Echo, but he rejected her cruelly. Nemesis, the goddess of revenge, decided to punish him by making him fall in love with his own reflection in the water. Narcissus became so obsessed with his image that he ended up throwing himself into the water. Just as Narcissus lost himself in the water, the author of the verses of Can Vei la Lauzeta loses himself when he sees his beloved. d) A lark is a bird with a melodic song. It has always been considered a symbol of happiness and good luck.

GOING FURTHER

Development of key competences

Talk to the students about the percentage of foreign students in the school and the places most of them come from. Ask them if they all agree with the ideas presented in the article and ask them to consider whether the differences in opinion have anything to do with where each student

is from. Tell them that this news story was published in the United Kingdom and ask about the situation in their countries of origin. Before the students start to work on their creations, play the backing track numbered 14 on CD 1 several times. Make sure that the students have a clear sense of the quadruple metre, the strong beats, the musical structure and the length of each of the parts. Remind them of the differences between the verses and the chorus: each verse must have different lyrics, but the chorus always has the same lyrics.

Reading

Start a quick discussion about the importance of conserving our artistic and musical heritage. Then ask the students to find news stories related to the robbery of the Codex Calixtinus. Tell them that they should also collect information on the monophonic and polyphonic compositions that it contains, as well as the notation used to write them. Finally, explain that after the event described, there was such renewed interest in this codex that the authorities programmed various educational exhibitions to teach people about its history and contents.

Name: Class: Date:

MUSICAL CONTEXT 1 Answer the questions.

• What was the capital of the Western Roman Empire?

And the Byzantine Empire?

• Which event marked the start of the Middle Ages?

And the end?

• Which was the most powerful institution in Europe in the Middle Ages?

• Which classes was medieval society divided into?

MUSIC THEORY 2 Do the crossword. 1 The smallest interval possible between 1 two notes. 2 3 2 First note of a scale, it gives the scale its name.

3 A series of notes organised in ascending 4 or descending order that we use to compose music.

4 Distance between two consecutive notes.

5 5 An interval equivalent to two semitones.

3 Write the ascending diatonic D-major and D-minor scales. Then write the intervals between the notes.

& &

4 What is musical texture? What is the difference between monophony and polyphony?

5 Write T for true or F for false.

Medieval scales are also called Gregorian modes and there are eight of them. The main rhythmic modes are the long and the breve. The simplest medieval polyphonic texture consists of several voices in parallel motion.

Name: Class: Date:

MUSICAL CULTURE 6 Match each type of music with its system of notation. Then explain the main difference between both systems of notation.

mensural notation Gregorian chant

neumatic notation Liturgical polyphony

7 Complete the text with the missing words.

Secular vocal music and Gregorian chant were based on scales.

Secular vocal music was written by a known , had a

texture with instrumental accompaniment and used rhythmic . It was sung in

the language by in public spaces and in palaces.

Gregorian chant was also monophonic but without instrumental and

in time. The composer was and the music was

composed to support a liturgical in Latin performed by

voices in churches.

8 Find the odd-one-out. a) melismatic, minstrel, neumatic, syllabic b) zajal, conductus, organum, dicantus c) Cantigas de Amigo, Llibre Vermell de Montserrat, Cantigas de Santa María, Codex Calixtinus

9 Answer the questions.

• Who were the minstrels?

What two functions did they have?

What type of instruments did they use to accompany their songs?

• Who were the goliards?

10 Write the names of these medieval instruments.

STUDENT'S BOOK 8 a) Four-four time. b) Long and breve. Minim and crotchet. 1 • Domine, Audivi: modal scale. c) Dactyl. • Main theme from the soundtrack of Star Wars: major scale. • Für Elise: minor scale. d) Four (Fa or F-Sol or G, La or A-Sol or G, Mi or E-Re or D, Re or D-Mi or E). Three (Mi or E-Fa or F, Do or C-Si or B, 2 A major: Si or B-Do or C). w e) #w w w #w #w & w w 4 1 1 1/2 1 1 1 1/2 &4 œ ˙ œœ ˙ œœ Ó D minor: ˙ œ ˙ œ œ ˙ f ) A drone. w 9 Musical texture: The way in which the different melodic w bw w lines are combined in a composition. & w w w w 1 1/2 1 1 1/2 1 1 Monophony: Texture that consists of one melodic line performed by one voice or instrument, or by several in 3 • Viderunt Omnes: polyphonic texture with one voice unison. moving over a drone. Polyphony: Texture that consists of several independent • Lux Aeterna: monophonic texture. melodic lines that are performed by several voices 4 a) A series of notes organised in ascending or descending simultaneously. order that we use to compose music. 10 b) Interval. #2 œ œ œ œ œœ c) In tones and semitones. & 4 Œ œœ œ œ œ œ ˙ d) Seven. e) The order of the intervals. # f) Series of notes that the melodies of Gregorian chant were 2 Œ based on. There were eight in total. & 4 œœ œ œœ œ œœ œ œœœ ˙ 5 D minor: The intervals between the two parts are: 3rd, 5th, 9th, 7th, 5th, 3rd, 5th, 7th, 11th, 9th, 7th, 5th and 3rd.

bw w w 11 Model answer: & w w w w w ˙ 1 1/2 1 1 1/2 1 1 F major: 4 œ œ &4 ˙ œ ˙ œ œ œ ˙ œ œ w w w w 12 In the Middles Ages, the first polyphonic textures were very & w w w bw simple, but they became more complex over time and the 1 1 1/2 1 1 1 1/2 different voices became more independent. In the main 6 D major (Fa or F and Do or C sharp): types of medieval polyphony: • The voices move in parallel motion, keeping the same #w w interval between them. & w w w • One voice moves and the other, called the drone, remains w #w static. w 1 1 1/2 1 1 1 1/2 • The voices move in contrary motion or in the opposite B minor (Fa or F and Do or C sharp): direction to each other. w 13 a) Correct. & w #w w w b) Wrong: In the Middle Ages, modal scales were used. w #w w c) Correct. 1 1/2 1 1 1/2 1 1 d) Wrong: Musical texture is the way in which the different melodic lines are combined in a composition. 7 trochee iamb dactyl e) Wrong: Monophony is the simplest texture and it's typical of medieval music.

텞 텟 텟 텞 텞 텟 텟 f) Correct.

14 • Adorabo: melismatic style; choir. Texture: Way in which the different melodic lines are combined. • Epistula: syllabic style; soloist. Monophony: Only one melodic line. • Domine, Convertere: neumatic style; choir. Polyphony: Several independent melodic lines that are 15 • Organum (Rex Caeli, Domine Maris, anonymous). performed simultaneously.

• Discantus (Die Christi Veritas, anonymous). 23 • Modal scale: Series of notes that were used to organise 16 1. Both compositions are examples of secular vocal music music in the Middle Ages. There are eight types, or and belong, respectively, to a manuscript (the Llibre Gregorian modes, which determined the note that started Vermell de Montserrat) and a songbook (Carmina Burana). and ended a melody (final note) and the central note They both have text in Latin, monophonic textures and of the melody (tenor note). instrumental accompaniment. However, Fas et Nefas is • Rhythmic mode: Each of the six rhythmic patterns that performed by one voice, while Ad Mortem Festinamus is appeared in the Middle Ages from the combination sung by several voices in unison. of the long and the breve note values. The main modes 2. Both pieces use modal scales and rhythmic modes, and were trochee, iamb and dactyl. have a playful character. Ad Mortem Festinamus has also 24 Monophony: Drone. a clear dance rhythm. 3. Both pieces are performed by male and female voices, which alternate or sing together.

17 Harp, psaltery, rebec, hurdy-gurdy, shawm, cornamuse, Melody in parallel motion: Melody in contrary motion: portative organ, square hand drum, tabor, tejoletas, carillon.

18 • Nu¯ba: Twisya: This is Andalusian classical music for the 25 court. The vocal and instrumental improvisation stands out, based on certain melodic structures. The male voice 3 & œ Œ œ is accompanied by a lute. 4˙ ˙œ ˙œ ˙ ˙ ˙œ ˙ œ ˙ • Zajal: Este Amor: This is a poetic genre that developed ™ into song form. The music is performed by a female voice 3 œ in Arabic with instrumental accompaniment. It has ˙ ˙œ ˙œ ˙Œ ˙ ˙œ ˙ ˙™ a strong, lively rhythm. &4 œ œ • Sephardic song: La Galana y el Mar: This has clear 26 a) Wrong: Secular music was for the court and popular Arab influences in its rhythm and instrumentation. It is contexts. performed in Spanish by a soprano with instrumental b) Wrong: Liturgical music was exclusively for religious accompaniment. events. 19 They have added a rhythmic base, some vocal and c) Correct. instrumental ornaments and a simple melodic d) Correct. accompaniment that can be heard at the end of the excerpt. These additions change the character of the piece, which e) Wrong: The neumatic notational system was written goes from meditative and spiritual to a more dynamic on four-line staves. and modern feel, although the calm and evocative mood 27 • Score 1: melismatic chant. remains. • Score 2: neumatic chant. 20 a) The years 476 and 1453, respectively. • Score 3: syllabic chant. b) The Roman Catholic Church. 28 a) In the 9th century, polyphony was born when a second c) The clergy, the nobility and the common people. voice was added to plainsong. d) Monasteries, cathedrals and universities. b) At the end of the 13th century mensural notation e) Romanesque and Gothic. appeared. It included the first symbols related to metre and assigned different note values depending on the 21 a) Romanesque. duration of the note. b) Diatonic. c) Organum is the earliest polyphonic form. It consisted of c) Practical music. adding a second voice in parallel motion to a Gregorian melody. d) Theoretical music. d) Discantus appeared later. It consisted of adding a new 22 Major scale: tone-tone-semitone-tone-tone-tone-semitone. voice to a Gregorian melody that moved in contrary Minor scale: tone-semitone-tone-tone-semitone-tone-tone. motion to the other voice.

26 History of Music. Teacher's Book. Photocopiable material © 2016 Richmond Publishing/Santillana Educación, S. L. e) Conductus was a new composition for two to four voices. 32 In the picture we can see the following instruments The same text was sung by all the voices, with the same (from left to right and top to bottom): shawm, psaltery, rhythm, in the syllabic style. The main characteristic rebec, carillon, organ (played with a keyboard and actioned of this form was its strong and solemn rhythm, because by bellows). it was created to be performed in processions. 33 • Kassia was an abbess who lived in the 9th century. 29 Secular vocal music Gregorian chant • She was born in Constantinople, now Istanbul, in Turkey. The composer is known. Anonymous. • She lived during the iconoclast period, in which all the Monophonic texture, Monophonic texture, images of Christ, the Virgin Mary and the saints were with instrumental without instrumental ordered to be destroyed. She was exiled because she accompaniment. accompaniment. opposed iconoclasm and helped monks and believers to continue their worship although it was prohibited. It uses modal scales and It uses modal scales • She is one of the first medieval composers whose works rhythmic modes. in free time. are still with us. She mainly composed hymns, which are still used today in the orthodox liturgy. Composed to entertain, • Open answer. about secular or religious It serves a liturgical topics, and in text in Latin. 34 It is a book from before the invention of the printing press, the vernacular. written by hand and consisting of a set of booklets that are sewn together. Performed by ministrels in Performed by male 35 public spaces and voices (choir or soloist) In a security case in the cathedral of Santiago. The book in palaces. in a liturgical context. owes its name to Pope Callixtus II, because it is thought that he compiled it, although we cannot be entirely sure of this. 30 Vernacular: Local language of each region. 36 It contains liturgical texts, sermons, homilies, stories Songbook: Book that contains a collection of the songs about James the Apostle and information about Saint of the minstrels. James' route. From a musical point of view, it contains 22 Minstrel: Musician who played secular music in city polyphonic compositions, some of the oldest that exist in squares or in palaces, using string or wind instruments Spain. for accompaniment. 37 Goliard: Wandering cleric or mendicant student who wrote Congaudeant Catholici is the first known piece for three songs and poems in Latin that were satirical or critical voices in the whole Western repertoire. of the Church and those who had more power. 38 Model answer: Although notation is still important in the 31 learning and practice of music, we now have devices to Chordophones Aerophones record and play back sound. For this reason, writing music Psaltery: plucked or struck string Shawm: is not the only way to preserve our musical heritage.

instrument consisting of a flat sound woodwind 39 Model answer: In the Middle Ages, songs and literary works box with strings on it. instrument with were kept in codices that often received the specific name of a double reed, the work that they contained. This is the case of the Cantigas Rebec: bowed string instrument predecessor of de Santa María, kept in four codices that contain numerous of Arab origin with between the present-day pieces dedicated to the Virgin Mary and written in Galician- one and five strings. oboe. Portuguese by King Alfonso X the Wise and his court musicians. The Las Huelgas Codex also contains music, and Hurdy-gurdy: bowed string Portative is kept in the Cistercian convent of Santa María la Real de instrument that is played with a organ: wind Las Huelgas, near Burgos. It was copied at the beginning of handle that turns a wheel. This wheel instrument with the 14th century and contains works of polyphonic music rubs against the strings in the sound a keyboard and that belong to Ars Antiqua. box. The keys are used to change different-sized

the sound of the notes. pipes. END-OF-UNIT TEST Membranophones Idiophones 1 • Rome. Constantinople. Square hand drum: a type Carillon: instrument • The fall of the Western Roman Empire in the year 476. of square drum that is hit consisting of a series The fall of the Byzantine Empire in the year 1453. with the hand. of bells that are struck • The Roman Catholic Church. with a hammer. • The clergy, the nobility and the common people.

Neumatic notation showed the pitches of the notes, but not 2 1 their duration. Mensural notation included the first symbols 2 S 3 related to metre and assigned different note values T E S depending on the duration of the notes. O M C 7 Secular vocal music and Gregorian chant were based on N I A modal scales. Secular vocal music was written by a known composer, had a monophonic texture with instrumental 4 I N T E R V A L accompaniment and used rhythmic modes. It was sung in C 0 E the vernacular language by minstrels in public spaces and N in palaces. 5 T O N E Gregorian chant was also monophonic but without instrumental accompaniment and in free time. The 3 D major: composer was anonymous and the music was composed to support a liturgical text in Latin performed by male voices w in churches. w #w 8 & w w #w w w a) Minstrel. 1 1 1/2 1 1 1 1/2 b) Zajal. D minor: c) Codex Calixtinus. 9 • Musicians who played secular music. Some minstrels were bw w w a mixture of acrobats, mime artists, reciters and musicians & w w w who performed in village and city squares to entertain the w w common people. Court minstrels were part of the court in 1 1/2 1 1 1/2 1 1 palaces and they performed their own songs. Wind or 4 Musical texture is the way in which the different melodic string instruments. lines are combined in a composition. • Wandering clerics or mendicant students who sang songs Monophony consists of one melodic line performed by one that were satirical or critical of the Church and those that voice or instrument, or by several in unison. Polophony had more power. consists of several independent melodic lines that are performed by several voices simultaneously. 10 Shawm, tejoletas, hurdy-gurdy. 5 T, F, T. 6 Gregorian chant mensural notation

Liturgical poliphony neumatic notation

Warm-up exercise 1

3 œœœ ™ ™œ™œœ Œ ™ ™˙ œ œœ ™ ™ ™ ™ ™ &4 ˙ œ ™ ™ J ˙ ™ ™ œ ™ ™œœœ ˙™ œœœ ˙™ ™ ™œ ˙ œ ˙ ™

Como Poden per Sas Culpas, anonymous, from the Cantigas de Santa María

Presto Voice / Recorder 1 3 Œ ˙ œ Œ œ œ œ œ œ œ™ œ œ ˙ œ &4 œ œ œ œ œ ˙ œ J mf Co -pmo od-pen er sascul -opas so- mes se - er cont-trei - os,

Recorder 2 3 &4 Ó™ ˙™ ˙™ œ œ œ œ ˙ ˙™ ˙™ œ œ œ

Bass xylophone 3 Ó™ Œ Œ Œ Œ Œ Œ Œ &4 ˙ ˙ ˙ ˙ ˙ ˙ ˙ j j Guiro 3 / 4 œ™ œ œ ˙Œ˙ œ œ œ œ œ™ œ œ ˙Œ˙ œ œ œ œ Fine Œ œ ˙ œ Œ œ & œ œ œ œ ˙ œ œ œ œ œ œ œ ˙ œ as -psi od-pen el-Va ir -dgen ep-sois ee-sr ão-fœs ei - tos. & œ ˙ ˙ ˙ œ œ œ ˙ ˙ ˙™ ™ ™ œ ™ ˙™ & ˙ Œ ˙ Œ ˙ Œ ˙ Œ ˙ Œ ˙ Œ ˙ Œ ˙ Œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ j j / œ™ œ œ ˙Œ˙ œ œ œ œ œ™ œ œ ˙Œ˙ œ œ œ œ œ & ™ Œ œ œ œ œ œ ˙ œ ˙ œ Œ œ œ œ œ ˙ œ ˙ œ ™ Ond' a -ove - a un o - me, por pe -dca - os que fe - ze - ra, que foi to - llei - to dos nem - bros du - a do - or que ou - ve - ra,

& ™ Ó™ ˙™ ˙™ œ œ œ œ ˙ ˙™ ˙™ œ œ œ ™ & ™ Ó™ ˙ ŒŒ˙ Œ Œ Œ Œ ˙ Œ ™ ™ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ™ j j / ™ œ™ œ œ ˙Œ˙ œ œ œ œ œ™ œ œ ˙Œ˙ œ œ œ œ ™

Œ œ œ œ œ™ œ œ & Œ œ œ œ œ ˙ œ ˙ œ œ œ J ˙ œ edur- ou asœ -csi inc' a -qnos, ue mo -sver -ne on po -rde - a, & Ó™ ˙™ ˙™ œ œ œ œ ˙ ˙™ ˙™ œ œ œ

Ó™ ˙ Œ ˙ Œ ˙ Œ ˙ Œ ˙ Œ ˙ Œ ˙ Œ & ˙ ˙ ˙ ˙ ˙ ˙ ˙ j j / œ™ œ œ ˙Œ˙ œ œ œ œ œ™ œ œ ˙Œ˙ œ œ œ œ

D. C. al Fine Œ œ ˙ œ Œ œ & œ œ œ œ ˙ œ œ œ œ œ œ œ ˙ œ as -asi -avi -osnem -tbros o -ddos o corp-mo œal -ttrei - os. & œ ˙ ˙ ˙ œ œ œ ˙ ˙ ˙ ™ ™ œ ™ ™ ˙™ & ˙ Œ ˙ Œ ˙ Œ ˙ Œ ˙ Œ ˙ Œ ˙ Œ ˙ Œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ j j / œ™ œ œ ˙Œ˙ œ œ œ œ œ™ œ œ ˙Œ˙ œ œ œ œ

b4 ™ ™ œ œ œ œ ™ ™ ™ ™ œ œ œ œ ™ ™ œ œ œ œ œ ™ & 4 œ œ œ ˙ ™ ™ œ œ ™ ™ œ œ œ ˙ ™ ™ œ œ ™ ™ œ ™

Tant M'Abelis, B. de Palou Moderato Moderato b4 Moderato œ ‰ j Voice / &b4 œ œ œ œ œ œ œ œ œ œ ‰ œj œ œ œ œ œ Recorder & mf4 œ œ œ œ œ œ œ œj œ œ œ œ œ bmf Taœnt m'œab-le -jis oyseœtaœ -emorsœ tcœhans ‰ etœ al-gœe -eri -dr, œe-porœt & 4 Taœnt m'ab-lœe -jœis oyœseta-emors œtchans œ et œal-ge -eœri -dœr, e-port mf œ œ œ œ œ Tant m'ab-lej-jis oyseta-emors tcj hans et al-gej-eri -dr, e-port 4 œ œj œ œ œj œ œ œj œ Bass b4 œ œ œ œ œ œ œ œ œ &b4 œ œ œj œ œ œ œ œj œ œ œ œ œj œ œ xylophone &b4 œJ œ œ œ œ œJ œ œ œ œ œJ œ œ œ œ 4 Jj j Jj j Jj j / 4 œj œ œj œ œ œ œ œj œ œj œ œ œ œ œj œ œj œ œ œ œ Hand drum / 4 œj œ œj œ œ œ œ œj œ œj œ œ œ œ œj œ œj œ œ œ œ / 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j &b œ œ ‰ œj œ œ œ œ œ œ œ œ œœœ ‰ j &b œ œ œ œ œœ ‰ œj œ œ œ œ œ œ œ œ œœœœ ‰ œj œ œ œ œ œ &b œecœor-zteœ -œi œa, ‰ queœlmœon noœna œri -ncoœr œimœan-tœen-œi œœ ad‰ œonj miœelhs d'aiœss-tom œen-guesœ œecœor-zteœ - i œ a, quelmon nona ri -ncor iman-ten- i œadœon miœelhs d'aiœss-tomœ œen-guesœ ecor-ztej- i a, quelmon nonaj ri -ncor iman-tenj- i adon mielhs d'aijss-tom en-gues b œ œj œ œ œj œ œ œj œ œ œj œ &b œ œ œj œ œ œ œ œj œ œ œ œ œj œ œ œ œ œj œ œ &b J œ œ œ J œ œ œ J œ œ œ J œ œ œ Jœj j œ Jœj j œ Jœj j œ Jœj j œ œj œ œj œ œœœ œj œ œj œ œ œœ œj œ œj œ œœœ œj œ œj œ œ œœ / œj œ œj œ œœœ œj œ œj œ œ œœ œj œ œj œ œœœ œj œ œj œ œ œœ / œ œ œ œ œœœ œ œ œ œ œ œœ œ œ œ œ œœœ œ œ œ œ œ œœ &b Œ œ œ Œ œ œ œ œ œ œ &b œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ &b peœrbœen-nœa- ans;œ Œ dons,sœai hieuœ benœ queœ mi -tdonsœ en laœsclausœ Œ deœ totzœ loœsbens qu'ieœ uaœ - peœrbœen-nœa- ans;œ donsœ ,sœai hieuœ benœ queœ miœ -tdons œen laœsclaus de totz losbens qu'ieua - perben-naj- ans; dons,sai hieuj ben que mi -tdons en lascj laus de totz losbj ens qu'ieua - b œ œj œ œ œj œ œ œj œ œ œj œ &b œ œ œj œ œ œ œ œj œ œ œ œ œj œ œ œ œ œj œ œ &b J œ œ œ œ Jœ œ œ œ œ Jœ œ œ œ œ Jœ œ œ œ œ Jœj j Jj j Jj j Jj j œj œ œj œ œ œœ œj œ œj œ œ œœ œj œ œj œ œ œœ œj œ œj œ œ œœ / œj œ œj œ œ œœ œj œ œj œ œ œœ œj œ œj œ œ œœ œj œ œj œ œ œœ / œ œ œ œ œ œœ œ œ œ œ œ œœ1.œ œ œ œ œ œœ œ œ2. œ œ œ œœ 1. 2. 1. 2. &b œ œ œ œ œ ‰ j ∑∑™ &b œ œ œ œ œ œ œ ‰ œj œ œ œ œ œ œ œ œ ˙ ∑∑™ œ œ œ ˙ &b teœnnœiesp- œer,œ œ ‰ œerj œen d'aiœ -sso enœslieysœ nonœ puescœ œav- ˙er. ∑∑™ nonœ puescœ œav- ˙er. tennieœsp- er, œ œerœen d'aiœ -ssoœ enœslieysœ nonœ puescœ œav- ˙er. ™ nonœ puescœ œav- ˙er. tenniespj- er, eren d'aij-sso enslieys non puesc avj- er. non puesc avj- er. b∑œ œj œ œ œj œ œ œj Œ ∑ ™ œ œj Œ &b∑œ œ œj œ œ œ œ œj œ œ œ œ œ œ Œ ∑ ™ œ œ œj œ Œ &b∑œJ œ œ œ œ œJ œ œ œ œ œJ œ Œ ∑ ™ œJ œ œ œ Œ Jj j Jj j Jj j ™ Jj j œj œ œj œ œ œœ œj œ œj œ œ œœ œj œ œj œŒ ™ œj œ œj œŒ / œj œ œj œ œ œœ œj œ œj œ œ œœ œj œ œj œŒ ∑∑™ œj œ œj œŒ / œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œŒ ∑∑™ œ œ œ œŒ History of Music. Teacher's Book. Photocopiable material © 2016 Richmond Publishing/Santillana Educación, S. L. 31