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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 -
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. -
A Conductor's Guide to the Music of Hildegard Von
A CONDUCTOR’S GUIDE TO THE MUSIC OF HILDEGARD VON BINGEN by Katie Gardiner Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University July 2021 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Carolann Buff, Research Director and Chair ______________________________________ Christopher Albanese ______________________________________ Giuliano Di Bacco ______________________________________ Dominick DiOrio June 17, 2021 ii Copyright © 2021 Katie Gardiner iii For Jeff iv Acknowledgements I would like to acknowledge with gratitude the following scholars and organizations for their contributions to this document: Vera U.G. Scherr; Bart Demuyt, Ann Kelders, and the Alamire Foundation; the Librarian Staff at the Cook Music Library at Indiana University; Brian Carroll and the Indiana University Press; Rebecca Bain; Nathan Campbell, Beverly Lomer, and the International Society of Hildegard von Bingen Studies; Benjamin Bagby; Barbara Newman; Marianne Pfau; Jennifer Bain; Timothy McGee; Peter van Poucke; Christopher Page; Martin Mayer and the RheinMain Hochschule Library; and Luca Ricossa. I would additionally like to express my appreciation for my colleagues at the Jacobs School of Muisc, and my thanks to my beloved family for their fierce and unwavering support. I am deeply grateful to my professors at Indiana University, particularly the committee members who contributed their time and expertise to the creation of this document: Carolann Buff, Christopher Albanese, Giuliano Di Bacco, and Dominick DiOrio. A special debt of gratitude is owed to Carolann Buff for being a supportive mentor and a formidable editor, and whose passion for this music has been an inspiration throughout this process. -
Guido of Arezzo and His Influence on Music Learning
Musical Offerings Volume 3 Number 1 Spring 2012 Article 4 2012 Guido of Arezzo and His Influence on Music Learning Anna J. Reisenweaver Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/musicalofferings Part of the Musicology Commons, Music Pedagogy Commons, and the Music Practice Commons DigitalCommons@Cedarville provides a publication platform for fully open access journals, which means that all articles are available on the Internet to all users immediately upon publication. However, the opinions and sentiments expressed by the authors of articles published in our journals do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees. The authors are solely responsible for the content of their work. Please address questions to [email protected]. Recommended Citation Reisenweaver, Anna J. (2012) "Guido of Arezzo and His Influence on Music Learning," Musical Offerings: Vol. 3 : No. 1 , Article 4. DOI: 10.15385/jmo.2012.3.1.4 Available at: https://digitalcommons.cedarville.edu/musicalofferings/vol3/iss1/4 Guido of Arezzo and His Influence on Music Learning Document Type Article Abstract Throughout the history of Western music, Guido of Arezzo stands out as one of the most influential theorists and pedagogues of the Middle Ages. His developments of the hexachord system, solmization syllables, and music notation revolutionized the teaching and learning of music during his time and laid the foundation for our modern system of music. While previous theorists were interested in the philosophical and mathematical nature of music, Guido’s desire to aid singers in the learning process was practical. -
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 -
A New Look at Ars Subtilior Notation and Style in the Codex Chantilly, Ms. 564
A New Look at Ars Subtilior Notation and Style in the Codex Chantilly, Ms. 564 A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Music Michael C. Evans March 2011 © 2011 Michael C. Evans. All Rights Reserved. 2 This thesis titled A New Look at Ars Subtilior Notation and Style in the Codex Chantilly, Ms. 564 by MICHAEL C. EVANS has been approved for the School of Music and the College of Fine Arts by Richard D. Wetzel Professor of Music History and Literature Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT EVANS, MICHAEL C., M.M., March 2011, Music History and Literature A New Look At Ars Subtilior Notation and Style in the Codex Chantilly, Ms. 564 Director of Thesis: Richard D. Wetzel The ars subtilior is a medieval style period marked with a high amount of experimentation and complexity, lying in between the apex of the ars nova and the newer styles of music practiced by the English and the Burgundians in the early fifteenth century. In scholarly accounts summarizing the period, however, musicologists and scholars differ, often greatly, on the precise details that comprise the style. In this thesis, I will take a closer look at the music of the period, with special relevance to the Codex Chantilly (F-CH-564), the main source of music in the ars subtilior style. In doing so, I will create a more exact definition of the style and its characteristics, using more precise language. -
The Question of Compositional Process in the Music of Hildegard Von Bingen
The question of compositional process in the music of Hildegard von Bingen Catherine jefieys The Symphonia hamzoniae caelestium revelationum by Hildegard's compositions appear. .as proc- Hildegard von Bingen (1098-1179) occupies a unique esses that entail the shaping of the melody in conjunctionwith the delivery of the text, that and uncertain position in music history. This cycle of involve the formal unfolding of each phrase seventy-seven liturgical items and a liturgical drama, and of the piece as a whole.5 the Ordo virtutum,l exists on the periphery of chant scholarship, although it is occasionally, albeit tenta- A study of Hildegard's compositional process tively, included in discussions of the Latin religious should necessarily involve as many areas of considera- song of the twelfth century. For musicologists, two tion as possible. The present assessment will take into consequences of this uncertain position have been the consideration two areas of concern commonly over- continued treatment of the Symphonia as if it existed in looked by scholars: the musical language in which an historical vacuum and the consideration of Hildegard Hildegard was immersed and its relation to contempo- I I the composer as if she were peerless. The uncertainty rary theory; and the most frequently dismissed and , surrounding one issue in particular, that of Hildegard's least understood aspect of the Symphonia, the notation I I compositional process, can only compromise efforts to used to preserve Hildegard's melodies. ! place Hildegard within a musical tradition. Two twelfth-century manuscript copies of the To date, musicological studies of the Symphonia Symphonia cycle survive: Dendermonde St.-Pieters & have depended upon the analysis of musical structure Paulusabdji MS. -
Music in the Western World
MUSIC IN THE WESTERN WORLD A History in Documents Selected and Annotated by PIERO WEISS and RICHARD TARUSKIN Department of Music, Columbia University SCHIRMER BOOKS A Division of MacmiUan, Inc. NEW YORK Collier Macmillan Publishers LONDON Contents Preface xiii PART I THE HERITAGE OF ANTIQUITY 1 Orpheus and the Magical Powers of Music (Ovid) 1 2 Pythagoras and the Numerical Properties of Music (Nicomachus) 3 3 Plato's Musical Idealism 6 4 Aristotle on the Purposes of Music 10 5 The Kinship of Music and Rhetoric (Quintilian) 12 6 Music in Temple and Synagogue: The Judaic Heritage (Bible, Philo of Alexandria) 15 7 Music in the Christian Churches of Jerusalem, c. A.D. 400 (Egeria) 21 PART II THE MIDDLE AGES 8 The Church Fathers on Psalmody and on the Dangers of Unholy Music (St. Basil, St. John Chrysostom, Origen of Alexandria, Eusebius of Caesarea, Honorius of Autun) 25 9 The Testimony of St. Augustine 29 10 The Transmission of the Classical Legacy (Boethius, Shakespeare) 33 11 Music as a Liberal Art (Scholia enchiriadis) 38 12 Before Notation (Isidore of Seville, St. Augustine, John the Deacon, Notker Balbulus, Costumal of St. Benigne) 41 13 Embellishing the Liturgy (Notker Balbulus, Ethelwold) 46 vi Contents 14 Musical Notation and Its Consequences (Odo of Clunv, Guido of Arezzo, Chaucer) 48 15 Music in Courtly Life (Raimbaut de Vaqueiras, Roman de la rose) 55 16 The Emergence of Polyphony (Aldhelm, Scotus Erigena, Hucbald, Regino of Priim, Giraldus Cambrensis, Anon. IV, John of Salisbury) 59 17 The Forms and Practices of Music, c. 1300 -
Heloise and the Question of Religious Authenticity
NEGOTIATIONS AND LOVE SONGS: HELOISE AND THE QUESTION OF RELIGIOUS AUTHENTICITY A Thesis submitted to the Faculty of the Graduate School of Arts and Letters of Georgetown University in partial fulfillment of the requirements for the degree of Master of Arts in English By Sharon Jane Go Chua, B.S. Washington, D.C. July 31, 2009 NEGOTIATIONS AND LOVE SONGS: HELOISE AND THE QUESTION OF RELIGIOUS AUTHENTICITY Sharon Jane Chua, B.S. Thesis Advisors: Sarah McNamer, Ph.D. Kelley Wickham-Crowley, Ph.D. Abstract The letters of Abelard and Heloise have mostly been analyzed and critiqued via the artificial dichotomy of “personal” and “instructional,” resulting in a static and monolithic account of Heloise’s so-called transgressive desires. This thesis argues, however, that the letters by Abelard and Heloise, together with their liturgical works for the Oratory of the Paraclete, constitute an ongoing negotiation for the redefinition of authenticity within the religious life. Heloise’s unflinching devotion to her ideal of love becomes her primary impetus for challenging the blind adherence to St. Benedict’s Rule that was pervasive in twelfth century religious devotion. ii Acknowledgments Professor Kelley Wickham-Crowley Professor Sarah McNamer For not giving up on me. Thank you very much for your patience. Professor Dennis McManus, S.J. For helping me work out my translations for the letters. Catherine Hundley Travis John Collins For conducting my mock oral exam. Kate Elizabeth Middleton For the crash course on Medieval music. Benjamin, Cloverly, and Bryce Chua Carolina Chua Dennis, Ayleen, and Bianca Lao Rupert, Chita, Ryan, and Charlotte Chua For giving me a piece of the Philippines in New York. -
Download Booklet
DISCOVER EARLY MUSIC Contents page Track list 4 Early Music, by Lucien Jenkins 9 I. What were the Middle Ages? 11 II. The Church and Music 13 III. Secular Music 21 IV. Notation 27 V. Instruments 29 VI. Towards the Renaissance 33 VII. What was the Renaissance? 40 VIII. The Renaissance Madrigal 46 IX. Europe Divided 49 X. Europe United 59 Sources of featured panels 64 A Timeline of Early Music (music, history, art and architecture, literature) 66 Further Listening 78 Early Music Composers 81 Map 86 Glossary 87 Credits 92 4 DISCOVER EARLY MUSIC Track List CD 1 Anonymous 1 Antiphona post Evangelium 3.21 In Dulci Jubilo / Alberto Turco 8.553502 Anonymous 2 Versus Alleluiatici: Adorabo 2.21 Nova Schola Gregoriana / Alberto Turco 8.550711 Hildegard of Bingen (1098–1179) 3 Ordo Virtutum: Procession 4.25 Oxford Camerata / Jeremy Summerly 8.550998 Léonin (fl. 1150s–c. 1201) 4 – 9 Viderunt omnes 9.30 Tonus Peregrinus / Anthony Pitts 8.557340 Traditional 10 Gaudete Christus est natus 1.39 Oxford Camerata / Jeremy Summerly 8.550751 5 DISCOVER EARLY MUSIC Anonymous 11 Cantiga de Santa Maria 2.20 Unicorn Ensemble / Michael Posch 8.554256 Anonymous 12 Exiit diluculo 2.47 Oni Wytars Ensemble / Unicorn Ensemble 8.554837 Guiraut Riquier (c. 1230–c. 1300) 13 Humils forfaitz 7.01 Unicorn Ensemble / Michael Posch 8.554257 Guillaume Dufay (1397–1474) 14 Adieu ces bons vins de Lannoys 5.32 Unicorn Ensemble / Michael Posch 8.553458 Francesco Landini (c. 1325–1397) 15 Non avrà ma’pietà questa mia donna 4.19 16 Non ara may pieta questa mia dona 3.35 Unicorn Ensemble / Michael Posch 8.553618 John Dunstable (c. -
A Critical Edition
The Anonymous Musicae artis disciplina: A Critical Edition by Bettina Rachel Ryan A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Music University of Toronto © Copyright by Bettina Rachel Ryan 2013 The Anonymous Musicae artis disciplina: A Critical Edition Bettina Ryan Doctor of Philosophy Graduate Department of Music University of Toronto 2013 ABSTRACT Although Musicae artis disciplina (hereafter Musica) has long been associated with the same Italian musico-theorectical tradition that gave birth to the anonymous Dialogus and the writings of Guido of Arezzo, the treatise itself has received little scholarly attention. Perhaps this is due to the lack of a strong textual basis for the treatise; so far, the only published edition of Musica is found in Martin Gerbert’s Scriptores ecclesiastici de musica, which dates from 1784. This dissertation stands as the first complete critical edition of Musicae artis disciplina. In order to contextualize the treatise, two introductory chapters represent a thorough investigation of Musica’s theories and its rightful place in music theory of the Middle Ages. The first chapter considers notions of pitch, intervals, melodic shape, and musical grammar, as outlined in Musicae artis disciplina. I then situate the treatise within the Italian musico-theoretical school of the early eleventh century by examining the similarities in content, orientation, musical citation, and terminology, and by considering the manuscript tradition of the anonymous Dialogus, the writings of Guido of Arezzo, and Musicae artis disciplina. Contrary to current theories regarding Musica’s origin, I argue that the treatise was likely written in the mid-eleventh century, after the Dialogus and treatises of Guido of Arezzo. -
High Middle Ages: the Search for Synthesis – Unit 8 General Events
High Middle Ages: The Search for Synthesis – Unit 8 General Events: 987 Paris made center of feudal kingdom of Hugh Capet 11th cent. Capetian kings consolidate power and expand French kingdom 1096-1099 First Crusade, capture of Jerusalem by Christians 1141 Saint Nernard of Clairvaux leads condemnation of Abelard c. 1150-1160 Universities of Paris and Bologna founded c. 1163 Oxford University founded 1180 Phillip Augustus assumes throne of France; Promotes Paris as the capital 1202-1204 Fourth Crusade; crusaders sack Constantinople on way to the Holy Land c. 1209 Cambridge University founded (Peterhouse) 1215 Magna Carta signed by King John at Bury St. Edmund’s (England), limiting powers of the king c. 1220 Growth begins of mendicant friars; Franciscans and Dominicans 1258 Robert de Sorbon, founds Paris hospice for scholars, forerunner of the Sorbonne 1270 Eighth Crusade, death of Saint Louis of France c. 1271-1293 Marco Polo travels to China and India 1291 Fall of Acra, last Christian stronghold in the Holy Land 1348-1367 Universities based on Paris model founded in Prague, Vienna, Kracow, Pecs (Hungary) Literature and Philosophy: 12th cent. Golden Age of the University of Paris under scholastic masters 1113 Abelard begins teaching in Paris; meets Heloise 1121 Abelard, Sic et Non, birth of Scholasticism after 1150 Rediscovery of lost texts of Aristotle and others via Arabic translations 13th cent. Era of secular poems; Goliardic verse c. 1224-1226 Saint Francis of Assisi, “Canticle of Brother Sun” c. 1267-1273 Aquinas, Summa Theologica 1300 Dante exiled from Florence c. 1303 -1323 Dante, Divine Comedy c.