History of Music for Secondary Education is a collective work conceived, designed and created by the Secondary Education Department at Richmond-Santillana, under the supervision of Teresa Grence Ruiz.

The following team has collaborated in this book: David Carabias Galindo María Isabel Gil López María Larumbe Martín Inés Reyes Ferrero Cristina Rubio Barba Sabina Sánchez de Enciso Defarge Ester Troncoso Blanco

EDITORS Juan José Castro Díaz Hazel Geatches

PROJECT EDITOR Eva Herrero González

MANAGING DIRECTOR Mercedes Rubio Cordovés

Do not write in this book. Do all the activities in your notebook. Outline of the book

The Student's Book consists of six units organised into three main sections: Musical context, Music theory and Musical culture, as well as an Activity round-up and a Going further section. The accompanying Student's Audio contains the main pieces of music worked on in the Student's Book (the Class Audio for the teacher has a three-CD set with all the music for the course). The presentation of the unit is followed by the Musical context section, which gives a summary of the main historical and sociocultural events of the period being studied.

Find out about and MUSICAL CONTEXT 2 1 DID YOU KNOW? Did you know?: 2 The Renaissance The early Modern period

Know how to: the main The Modern period started with the fall of the Byzantine Empire, in supplementary FIND OUT ABOUT 1453, and ended with the French Revolution, in 1789. The first centuries • Renaissance textures: imitative brought many changes. After the discovery of America in 1492, Europe counterpoint, homorhythmic was no longer an isolated continent. Trading routes and colonies content of the unit. homophony and melody-dominated were established all over the world. Monarchies strengthened their homophony power and laid the foundations of the modern state. Science information on the • Religious vocal music: motet, mass made huge advances and economic growth meant big social and chorale transformations. Internal fighting in the Church divided Europe into • Secular vocal music: madrigal, songs, Protestants and Catholics, and increasing religious intolerance. One of romance, villancico and ensalada the consequences of this division were the wars of religion. content. • Instrumental music The Renaissance was a result of the ideas of humanism. This intellectual • Renaissance dances Society and culture movement, originated in Italy in the 14th century, placed the human KNOW HOW TO At the end of the Middle Ages, a new social class became more and more influential: the bourgeoisie. Its name came from the 'bourgs' being at the centre of everything. • Perform a vocal and instrumental (the new parts of the city) that they lived in. The new class mainly It studied human anatomy, knowledge and history, and repertoire consisted of merchants and artisans. Over time, the bourgeoisie defended the search for the truth. • Do an active listening to Stabat Mater became more independent of the power of the nobility and the clergy. The Italian master, Leonardo da by Giovanni Pierluigi da Palestrina The consolidation of the bourgeoisie was one of the most important Vinci, studied the proportions of • Perform a Renaissance dance: social phenomena of the period. the human body in his work the the pavane The bourgeoisie, the nobility and the Church were interested in Vitruvian Man. This is a good the arts and the sciences. This is how the first patrons appeared; example of the Renaissance ideal powerful people who supported and financed the work of intellectuals form of beauty. and artists. For the first time, both composers and performers were recognised as real artists.

The Renaissance The Renaissance was an influential cultural movement that started in Italy and spread all over Europe during the 15th and 16th centuries. It was characterised by the 'rebirth' of the culture of antiquity. Another change was from the medieval idea that God was at the centre of the universe to a belief that humans were the centre of interest Starting points: (anthropocentrism). The Renaissance also favoured the use of Musical Group reasoning, and not faith, as a basis for everything, including art. on a Balcony, Honthorst. Artists were influenced by humanism and they started to see art as an end in itself. They returned to the artistic taste of the classical world and tried to achieve an ideal form of beauty in their works, based on questions that relate harmony and proportions in man and nature. When the tables were cleared away, the queen ordered STARTING POINTS musical instruments to be brought, because all the ladies Unlike other artists, who had examples from the past, musicians knew how to dance, as did the young men, and some couldn't use compositions from antiquity for inspiration. This • What does Renaissance mean? What do you A text on the musical of them could both play and sing excellently. […] Dioneo was because there were no records of them, and so Renaissance the students' personal know about this cultural movement? took a lute and Fiammetta a viol and they began to play composers developed a new style from medieval music. a dance, softly; […] the queen and the other ladies, • Who were patrons? Are there still people who The invention of the printing press in 1440 made it easier for do this today? together with the other two young men […] struck up knowledge and culture to spread. In 1501, the Italian printer Ottaviano a round and began to dance slowly […]; and when that • What scene does Boccaccio's text describe? Petrucci printed the first music book in history, which meant that experience to the subject period, written by an Can you imagine a similar scene today? ended, they started singing charming and merry songs. compositions of the period could be recorded on paper. However, Cosimo de' Medici (1389–1464) was the first • What instrument is the person in the picture on most manuscripts were still copied by hand and printed scores didn't patron of the arts in this powerful family of Adapted from The Decameron, Giovanni Boccaccio (1353). the left playing? become common until the 17th century. traders and bankers from Florence, Italy.

author from that time. 24 25 covered in the unit.

The Music theory section presents the basic concepts in a clear and simple way. It includes a page of activities and a musical repertoire section.

MUSIC THEORY MUSIC THEORY 3 DID YOU KNOW? Cadences This symbol shows the 2 Scale degrees are also used to build chords: At the end of the Renaissance and Scale degrees and their functions throughout the Baroque period, musical notation changed a lot. w w w The five-line stave came into w w w w w w A scale is a series of notes in order that we use to compose music. & w w w w w audio material for the general use, the rhomboid-shaped There are different types, depending on the number of notes that they wI II III IV V VI VII note heads became round, clefs have and the intervals between them. were standardised, bar lines were tonic chord dominant chord added, and shorter note values To define the position of each note in a diatonic scale, we use scale started to be used (today’s degrees (I, II, III, IV, V, VI and VII). As well as its Roman numeral, We can use chords to make formulas that create a sense of resolution, activity that can be found Know how to: practical crotchets, quavers and each degree has a name according to its function and importance. also called cadences. These are used to divide the parts of a passage semiquavers). The main degrees are: of music. • 1st degree, or tonic, is the note that gives the scale its name, the • Antecedent formula or imperfect cadence: It’s normally built using Musical phrases join together to form tonal centre of the musical composition and the note on which the tonic chord followed by the dominant chord. It gives the feeling themes, which express a complete musical the composition normally ends. idea. These themes combine together to form on the Class Audio. that the passage of music is unfinished and will continue. It’s equi- suggestions to put the musical structures that can be binary • 5th degree, or dominant, is the second most important note valent to a comma in verbal language. (AA or AB), ternary (ABA or ABC), etc. in the scale; many musical phrases end on this note. • Consequent formula or perfect cadence: It’s built using the domin- Handwritten score by Johann • 6th degree, or leading note, is one semitone below the tonic and its ant chord followed by the tonic chord. It gives the feeling that the Sebastian Bach. unfinished character leads it to the conclusive function of the tonic. passage of music has reached a clear end. It’s equivalent to a full theory into practice. stop in verbal language. w & w w w w wI wIIw III IV V VI VII I

tonic dominant leading note 3 Musical ornaments Scale degrees in a musical phrase Scale degrees are very important to define the start and the end of Ornaments are notes that are performed very quickly around a central musical phrases, which are each of the smallest parts of a melody note to make the melody more beautiful. They’re usually shown with that make sense musically. There are two types of musical phrase, symbols on scores to save space and they’re performed on the dura- depending on how conclusively it ends: tion of the note that they’re written on. • Antecedent phrases suggest that the melody hasn’t ended, and will Although ornaments were already used in the Renaissance, they be- continue. They’re equivalent to interrogative phrases in spoken ACTIVITIES came much more popular in the Baroque period, and compositions language and they act as a musical question. Antecedent phrases became overelaborate. Here are the most common ornaments today. Activities to help the usually end on the fifth degree of the scale; or the dominant. 1 Find the trill in the first • Consequent phrases suggest that the melody has reached an end. excerpt, and the They’re equivalent to affirmative phrases in spoken language. appoggiaturas and Name Symbol How it's played mordents in the second Consequent phrases usually follow antecedent phrases and they act excerpt. as a musical answer. In general, they end on the first degree of the students to understand • The Devil’s Trill Sonata scale, or the tonic. appoggiatura j & œ œ & œ œ by G. Tartini

KEEP IN MIND • Saraband for harpsichord,

KNOW HOW TO

œ œ œ œ 'Les sentiments', œ œ œ œ Rhythm is another key element Ÿœ by F. Couperin the theoretical contents. trill to help to define phrases in a 1 Perform the melody based on the diatonic C-major scale. It consists & & Keep in mind: musical passage. Consequent of an antecedent phrase and a consequent phrase. Then answer the phrases often end with long questions. KNOW HOW TO note values on a strong beat, upper mordent while antecedent phrases often 3 œœ œœœ œœ œœ œœœ œ & œ & œœœ™ end with shorter note values. &4 ˙ œ œœœ ˙ œœ ˙ Œ m 2 Practise the ornaments. relevant supplementary The rests at the end of musical With a classmate, perform • Which note and scale degree does the antecedent phrase end on? them at random and guess phrases also help to clearly lower mordent separate them from each other. And the consequent phrase? & œ & œœœ™ which one it is. information. M 44 45

This symbol shows the audio material for the MUSIC THEORY MUSIC THEORY 3

CD

S S T ' Do the activities in your U T ACTIVITIES MUSICAL REPERTOIRE D E N notebook. activity that can also be 2 Answer the questions. 6 Copy the scale and complete. Saraband by G. F. Händel a) What is a scale? Adagio b) What do we use to define the position of the notes in a w scale? & w j j w w w w w b3 ‰ j Œ ‰ œ ‰ œ œ‰œ ‰ œ œ ‰ œ œ# œ Œ found on the Student's c) What type of numerals do we use for the degrees of a & 4 œ œ œ œ œ œ œ œ œ œ œ J a) Build the chords of the diatonic C-major scale. mf œ œ J J More activities to review scale? b) Circle the tonic chord in red, the dominant chord in d) What other names are there for the first, fifth and blue and the leading-note chord in green. 3 œ œ œ j seventh degrees of a scale? &b4 œ œ Œ œ™ œ œ œ œ œ Œ ™ œ œ œ œ Œ œ œ ‰ œ œŒ œ ‰ œ œ 7 œ œ J J œ œ œ œ J œ Audio. e) Which degree gives its name to the scale? In your notebook, write each pair of chords with their œ œ definitions and musical example. and reinforce the content f) Which is the second most important degree in a scale? g) Which degree has an unfinished character that leads it gives the feeling j j j œ œ œ Perfect that the passage of b ‰ Œ ‰ œ ‰ œ œ‰œ œ œ# œ œ œ œ Œ to the conclusive function of the tonic? w & œ œ œ œ œ œ œ œ œ™ œ ™ cadence music will continue & w w œ œ J J h) What is the interval between the leading note and the w studied. tonic? gives the feeling œ œ Imperfect that the passage &b Œ œ œœœ Œ ™ œœ œ œ j œ œ œ œ Œ ™ 3 Copy and complete the score. Then answer the cadence w œ œ ™ œ œ J œ œ œ™ ™ of music ends & w w œ œ J œ œ œ œ œ ˙ questions. w # 8 Copy the correct sentences into your notebook and Adaptation of the Allegro from Spring from The Four Seasons by A. Vivaldi & # w w w w correct the wrong ones. w w w a) Ornaments are notes that make the melody more Allegro a) Number the degrees of the scale. Which note is the beautiful and they should be performed slowly. 3 tonic? b) In scores, ornaments are written with symbols. b œ œ ˙™ ˙ œ ™ œ œ œ™œ ™ œ œ ˙™ ˙ œ ™ œ œ œ™œ & 4 œ™J œ ˙ ™ œ™J J œ ˙™ ˙™ ™œ™J œ ˙ ™ œ™J J œ b) Which scale degree is the note La or A? c) Ornaments already existed in medieval music. fp Musical repertoire: c) NWhich scale degree is the note Do or C sharp? d) Ornaments became more popular in the Renaissance. 3 j j j j &b4 œ œ ˙ ˙ œ ™ œ œ œ œ ™ œ œ ˙ ˙ œ ™ œ œ œ œ 4 Copy and complete the text in your notebook. e) Consequent phrases are equivalent to interrogative œ™ œ ˙ ™ ™ œ™ ™ œ ˙™ ˙™ ™œ™ œ ˙ ™ ™ œ™ ™ œ phrases in verbal language. J J There are two types of , depending on how they : f) Imperfect cadences are equivalent to commas in j j j j scores appropriate to verbal language. b Œ ˙ j œ™ œœ ˙ ˙ j œ™ œœ ˙ œ œ œ™ œ • Antecedent phrases usually end on the , and & ˙ œ œ™ œ J œ œ œ™ œ J œ œ™ œ œ œ™ œ œ™ œ œ suggest that the melody hasn’t , and will g) Perfect cadences are equivalent to full stops in verbal fpœ œ f continue. language. j • phrases usually follow b Œ ˙ Œ ˙ Œ ˙ Œ ˙ Œ ˙ Œ ˙ Œ ˙ Œ ˙ Œ j the students' level, to 9 Copy the ornaments into your notebook and write their & œ œ œ™ œ and they act as a musical . They generally end ˙ œ œ œ™ œ œ™ œ names and how they're played. œ™ J œ on the . JD. C. Musical phrases join together to form , which j j j Ÿ b j œ œ™ œ ˙™ ˙™ ˙™ œ ˙™ ˙™ ˙™ j Ó™ combine together to form structures that are binary œ œ œ & œ™ œ œ œ™ œ œ œ œ™ œ œ™ œ œ™ œ œ ˙ œ ˙™ ( or ), (ABA or ABC), etc. & & œ & & œ pfJ J rit. perform in the classroom. m M 5 In your notebook, write each antecedent phrase with 10 Find the odd-one-out. b j j j ˙ j ˙ Ó their corresponding consequent phrase. & œ œ œ™ œ œ œ œ ™ ˙™ ˙™ œ œ œ ™ ˙™ ˙™ ˙ œ ˙ ™ a) tonic, dominant, homophony, leading note œ™ œ œ œ™ J œ ™ ™ ™ ˙ ™ # j b) musical phrase, counterpoint, imperfect cadence, 3 œ ˙™ œ™ œœ œœ™j ‰ consequent & 4˙ ˙ œ œœœ J œœ c) homophony, monophony, aphony, polyphony Stems for mallet percussion instruments 2 ˙ œ 11 Copy the score into your notebook, writing how the ˙ œ ˙ ornaments are played. Stems are usually written pointing up or down depending on the pitch of the &4 œ œ œ œ œ ™ notes. On a score for mallet percussion instruments this is a bit different. The Recommendations Ÿ j j #4 j œ œœ™œ 3 œ œ ˙ notes with stems pointing down show that these notes should be played with & 4œœ™ œœœ J œ ‰ œ œ &b4 ˙ œ ˙ œ œ œ œ œ ˙ the mallet in the left hand. The notes with stems pointing up show that these J œ œ œ m ™ notes should be played with the right hand.

46 47 for playing instruments.

2 The Musical culture section develops the content related to the history of music, with the composers, instruments, musical forms and characteristics of each period. It also includes a time line with the main historical, sociocultural and musical events. In addition, the musical repertoire includes an active listening activity based on a piece of music that is representative of the period.

MUSICAL CULTURE MUSICAL CULTURE 2

DENT U ' T S MUSICAL REPERTOIRE S This symbol shows the CD

Stabat Mater by Giovanni Pierluigi da Palestrina Adagio ma non troppo Soprano ° 4 ˙ ˙˙ Stabat Mater ('The Mother was There') is a prayer from the Middle &2 w w w ˙ ˙ ˙ ˙ bw w ∑∑ÚÚ∑∑Ó ˙ ˙ ˙ w #˙ w ∑ specifickey competence Stab-Mat at-der o -rlo -so - a dum pend-be - at Fi -uli - s. Ages and we cannot be sure who the author was. Its verses speak of the suffering of the Virgin Mary, the mother of Jesus Christ, during Christ's Contralto 4 ∑ crucifixion. It has inspired many composers throughout the history of &2 w w w ˙ ˙ ˙ ˙ w w ∑∑ÚÚ Ó ˙ ˙˙ ˙ ˙ ˙ ˙ ww Ú European music, from the times of Gregorian chant right up to today. Stab-Mat at-der o -rlo -so - a dum pend-be-Fat il-ui - s.

Of all the versions, the ones by Giovanni Battista Pergolessi, Gioachino Choir 1 being worked on in this Tenor 4 w w ˙ ˙ ˙ ˙ w ˙ ˙ ˙˙ ˙ ˙ ˙™ Rossini and Giovanni Pierluigi da Palestrina stand out. You're going to &2#w #˙ ∑∑ÚÚ Ó œ˙ ˙ w ∑ Ú listen to Palestrina's version. Stab-Mat at-der o -rlo - o sa dum pend-be-Fat il-ui - s. ˙ ˙ Bass ? 4 w w w ˙ ˙ w w ˙ ˙ ˙ ˙ ˙ w w The composer 2 ∑∑ÚÚ Ó ˙ ˙ ∑ Ú ¢ Sta-Mbat at-der o -rlo -so - a dum pend-be-Fat il-ui - s. section or activity. p Giovanni Pierluigi da Palestrina (1525–1594) was one of the best-known composers of the Renaissance. He ˙ was born in a small Italian town called Palestrina, which is where his name comes from. He soon moved to Soprano ° 4 ∑ w w ˙w˙ bw Ó #w ˙ ˙™ œ ˙ Rome, where Pope Julius III appointed him as choir master of the Cappella Giulia in the Vatican. In 1555, Pope &2 ÚÚ ÚÚw w Ú jux -cta ru -lcem ac-mri -so -Ca, ui-aus -mni-gam e- Paul IV dismissed him. It's unknown if this was because Palestrina was married or because he wrote madrigals (a secular type of music). In any case, by 1571 he was one of the most important composers of the period and Contralto 4 ∑ Graphic score, score &2 ÚÚ ÚÚw w w ˙ w ˙ w w Ú Ó w ˙ ˙™ œ ˙ ˙ he was reinstated. jux -cta ru -lcem ac-mri -so -Ca, ui-aus -mni-gam e- Together with Tomás Luis de Victoria and Orlando di Lasso, Palestrina represents Choir 2 Tenor 4 w w ˙ w ˙ w w ˙ ˙™ œ ˙ ˙ the highest point of Renaissance polyphony. His compositions are almost all &2 ÚÚ ÚÚ∑ #w ™ #˙ Ú Ó religious and have no instrumental accompaniment. They stand out for their jux -cta ru -lcem ac-mri -so -Ca, ui-aus -mni-gam e- or other resources to deep spirituality and respect for the strict music rules of the Catholic w ˙™ œ ˙ ˙ Bass ? 4 w w w ˙ ˙ w w w ˙ Church. 2 ÚÚ ÚÚ∑ Ú Ó ¢ jux -cta ru -lcem a -mcri -so - a, Cu -aius -mni-gam e- p About this recording analyse and accompany ° The Stabat Mater for eight parts is one of the composer's most famous & ÚÚ ÚÚÚÚ ÚÚÚ works because of its beauty. Another reason for its fame is that it was part of the repertoire at the Sistine Chapel, where it was often sung in the Palm Sunday mass (Easter). Palestrina wrote it for two choirs. This resource was & ÚÚ ÚÚÚÚ ÚÚÚ the suggested piece known as polychoralism and it started to be used from the end of the Renaissance to add drama to pieces of music and make their sound richer. & ÚÚ ÚÚÚÚ ÚÚÚ Listen to the start of Stabat Mater and do the active listening activity. of music. ? 1.27 ÚÚ ÚÚÚÚ ÚÚÚ • Listen to the excerpt and follow the first bars on the score. Then make an information card in your ¢ notebook about it. Include this information:

– Type of metre. – Tessitura of the voices. ° W ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w œ œ w w Basic characteristics & WwÓ ˙ bw ˙ ˙ #˙ ˙ Ó – Tempo of the music. – Language of the text. ment- em con -ttris -ta -eam tdol-ten - em per -stran - i - vit glad-ui - s. – Dynamics of the music. – Instrumental accompaniment. – Type of ensemble that performs it. – Which symbols that you don't know are there in the score? œ & bW ˙ w ˙ ˙ ˙ ˙ ˙w ˙ œ œw ˙ ˙ w ˙ œ œ œ ˙ ˙ ww w Ó ment- em con -ttris -ta -eam tdol-ten -eem˙ tdol-ten - em per -stran -vi -git la -udi - s. of the piece of music w • Listen to the movement of the four voices in each of the choirs. Which bars have a texture of homorhythmic W ˙ ˙ ˙ ˙ ˙™ œ ˙ ˙ ˙™ œ w w w ˙ ˙ ˙ ˙ #w & w ∑ w ∑ homophony and which bars have an imitative counterpoint texture? ment- em con -ttris -ta am et do -tlen ---em per -stran -vi -git la -udi - s. • Find a translation of the lyrics into English. Write it in your notebook. bW w w ˙ ˙ b˙ b˙ ˙ bw ? w ∑ ˙ w ˙w ˙ w ww w∑ and the context it comes Stabat Mater dolorosa Cuius animam gementem O quam tristis et afflicta Quae maerebat et dolebat. ¢ men - tem con -ttris -ta am et do -tlen - em per -stran -vi - it gla -udi - s. Juxta crucem lacrimosa, Contristatam et dolentem Fuit illa benedicta Et tremebat, cum videbat f p f p f Dum pendebat Filius. Pertransivit gladius. Mater unigeniti. Nati poenas incliti. from. 36 37

The last pages of the unit contain an Activity round-up to help to reinforce and review the content, and a Going further section with one page dedicated to the Development of key competences and another page of Reading.

ACTIVITY ROUND-UP 2 ACTIVITY ROUND-UP Do the activities in your notebook. Activities linked 19 Copy and complete the text. 23 Copy and complete the diagrams. 27 Classify the instruments by instrument family and The Modern period lasted from the year to the describe how they make a sound. 29 Search the Internet and complete the table. VOCAL FORMS year . In this period a new social class became 1 2 more and more influential: the . Tempo Metre to the use This new social class, the nobility and the Church were religious allemande interested in the arts and the . This is how the first madrigal basse danse appeared; powerful people who supported and mass courante

DENT financed the work of intellectuals and . GOING FURTHER 2 U ' T S DEVELOPMENT OF KEY COMPETENCES S tourdion CD The was a cultural movement that spread all over READING of ICT in the Europe during the and centuries. It was ensalada Development of 30 Search the Internet and answer the questions characterised by the 'rebirth' of the culture of . A Renaissance dance: the pavane Another change was from the medieval idea that God Patrons in the 21st century about the Medici family. FORMS was at the centre of the universe to a belief that 3 a) Who were they? A patron is someone who supports and sponsors During the Renaissance, popular dances started to be played in palace halls were the centre of interest. The use of , and not classroom. b) Which works of art did they finance? and at aristocratic events. Popular dances became court dances. They were faith, as a basis for everything. artists and intellectuals so that they can carry out Amanda Palmer key competences danced in pairs with slow and elegant movements. The dancers seemed to their works. Throughout history, monarchs, c) Name three artists that they supported. during a concert. diferencias move across the floor without lifting their feet. 20 Copy the drawings and write the correct concepts next aristocrats, popes and other influential people have 31 Search the Internet and answer the questions The pavane was one of the best-known dances of the 16th century and was to them. Then define them in your own words. had a decisive role in the creation of European 28 Answer the questions about Renaissance 24 Define the terms using the words provided. about Jordi Savall. usually danced at the beginning of the evening. Its music had an elegant cultural heritage. Today, various types of public and court dances. a) How many prizes has he received throughout character, a slow tempo and it was in duple metre. • privateTiento: organisationsSpain and Portugal, act instrumental as patrons, composition, but there are through creative imitative a) Where did they come from? his carreer? alsomotet, more imitative and counterpointmore individuals. making small counterpoint b) What were the characteristics of the music? Listen to this pavane by an anonymous author. Pay attention • contributionsToccata: instrument, for different performer, causes. technical ability, b) How many records has he made? What was his c) What were the pavane and the galliard? role in each of them? 1.28 to the beat and the form of the music. Then learn the dance. composition with an improvisational feel. In 1884, France gave the Statue of Liberty to the And the branle and the sarabande? • Diferencias: variations, musical theme, melodic, United States as a gift to commemorate the project work in 1 Practise the sequence of steps. 2 Get into the starting position.homorhythmic rhythmic. centenary of the Declaration of Independence. The Walk forward, to the duple rhythm of the music. Hold hands with your partnerhomophony (your right hand with his Make each step with your toes first and then your or her left hand). Get into a line with all the pairs facing 25 Lookstatue at the was score sailing and answerto its destination, the questions. but there wasn't KEY CONCEPTS heel. The sequence is four bars long. forward. enough money to build a pedestal to put it on. Then recorded, an invitation to attend rehearsals, etc. The the newspaper The New York World asked for launch of ArtistShare made it possible to release melody- #4 ˙ œ œ œ œ Concert in the Garden, by the jazz composer Maria Music in the Renaissance groups. 1 2 3 4 money œto ™financeœ Œ the pedestal, withœ™ œan amount˙Œ dominated &of money4 that each person could pay.J In exchange, Schneider. Thanks to the support of her fans, she was homophony Come ag-sain, weet love dothnow in -tvite, hy able to cover the costs of her new album before all the names of the donors would be published in Textures with Vocal music Instrumental music the# newspaper.œ In a little more than five months,j starting to record it. It was aseveral huge parts success and won &enough moneyœ œ wasœ collected,˙ Œ œ thanksœ œ to œthe 120,000œ a Grammy Award in 2005. 21 Answer the questions about Renaissance music. ™ Imitative Religious music Secular music Newgr Yorkersac -tes ha whotref -tdonatedrain, money.odom 80%ed ofue themde - had Many similar initiatives have appeared in recent years. Forms Instruments Take a step forward Take a step forward Take a step forward Take a step forward counterpoint: a) What were its main characteristics? paid less than one dollar. with your left foot and with your right foot with your left foot with your left foot and One example is the platformSeveral Kickstarter, independent that broke allDeveloped by # j Madrigal: bring your right foot and bring your left and again with your b) In vocalbring music, your rightwhich foot element was becoming more j records for crowdfundingmelodic in 2012 lines when imitate the singerthe Franco-Flemish, Italian, Compositions Over a century later,j in 1998,j the Spanishœ groupw In the vernacular and performed • Monophonic: ˙ ‰ j ‰ œ ‰ œ‰ ‰œ each other, starting Spanish and German schools. based on together. foot together. right foot. and more together.important? & ™ œ œ œ Amanda Palmer raised over a million dollars to record by four or more parts. pipe, shawm Extremodurolight, toœ serecordede, œto hear the,tot demoouch, ofto theirkiss, firstto di record.e, at different times. vocal music, c) Which religious vocal forms were there? In which her album Theatre Is Evil. Journalists and producers and sackbut. They financed it by selling raffle tickets for 1,000 The simplest type like the tiento. countries? # were very surprised, and couldn'tis the canon understand. howNew musical forms: Song or chanson: 3 Practise the movements for each part. pesetasœ in exchangeœ for a copy of the demo and Key concepts ‰ œ ‰œ Ó Performed by one or more Repeat the same sequence of steps, moving around the room with your partner. d) Which secular vocal forms were developed? In which &a mention in the credits.œ œAndœ in œ2003,™ a musician˙ and a punk musician could raise such a huge sum of Compositions • Polyphonic: J œœœ voices with instrumental with an harpsichord, countries? with thee ag-iain nsJ weet-sest ym-tpa - hy. money from people. PalmerHomorhythmic gave a straight answer in Motet: computer programmer from New York, called Brian accompaniment. improvisational clavichord, organ, her book The Art of Asking: homophony:'Asking for help with Performed by more than e) Was instrumental music secular or religious? Camelio, had an idea for an online crowdfunding feel, like the viol, vihuela Part A Part B Part C Part D Part E a) Is it a vocal or instrumental piece? Several melodic lines three parts with the same shame says: You have the powerwith a similar over or me. Asking with Romance: toccata. and lute. (8 bars) (8 bars) (8 bars) (8 bars) f) What happened(8 bars) to instrumental music? b) initiative.Are the lyrics He religiouscreated or it secular?for artists that could only religious text. release their material by financing it themselves. And superiority says: I have the identicalpower rhythm over you. But asking Of popular origin and consisting to reinforce Bars 1–4: Bars 1–4: All pairs turn All pairs keep Make up the steps c) How many musical phrases are there? that move of four musical phrases. 22 Copy the correct sentences about Renaissance music for help with gratitude says: We have the power to Mass: Variations, like Move forward in Each pair turns clockwise to turning to return for the last part! so ArtistShare was born, a platform where musicians simultaneously. help each other.' Based on liturgical the diferencias. and correct the wrong ones. d) couldWhat textureask for does help it tohave? finance their projects. Those Villancico: a straight line. around clockwise. make the shape to the starting texts in Latin. Of popular origin and with a text of a cross. position a) The motet used pre-existing melodies and was sung in who help receive something in exchange for their So it looks like today everyoneMelody-dominated can become the Bars 5–8: Bars 5–8: 26 Classify the instruments as monophonic or polyphonic. organised in three parts: refrain, (in a line). the vernacular. patron of their favourite artist.homophony: Move back to the Turn in the opposite support, such as a copy of the record once it's Chorale: stanza or verse, and refrain. A main melodic line the knowledge starting position. direction. b) Mass was a composition based on liturgical texts, Based on pre-existing lute viol shawm is accompanied melodies sung in the Ensalada: written in Latin. with harmony. harpsichordACTIVITIES clavichord vihuela organ vernacular, with A combination of different Reading in the c) The madrigal was the dominant secular vocal form. an AAB form. secular vocal forms. pipe sackbut Maria Schneider d) The villancico combined different secular vocal forms. 32 What is a patron? What does 'crowdfunding' mean? with her Grammy acquired. ¿ ? Award. 33 What are the advantages for musicians of using this type of platform to 38 finance and release their projects? Do these initiatives bring artists closer 39 form of a short to their audience?

34 Have you ever participated in a crowdfunding project? Which artist would Repeat everything. you like to finance in their next piece of work, if you haven't done this yet? article to end 4 Make up a sequence of steps for part E and dance the whole pavane. 35 Find examples of other types of artistic, scientific or humanitarian In groups of eight, create a new sequence of steps for part E of the music. It must projects that have achieved their objectives thanks to support from be eight bars long. Then dance the whole pavane to the music. collective funding. the unit. 40 41

At the end of the book there is an Appendix with a glossary of music terms, recorder tabs and major and minor chords on the guitar and the keyboard.

SYMBOLS

Cultural awareness Linguistic competence Learning to learn and expression Competence in mathematics, Audio track included Initiative and science and technology on the Class Audio entrepreneurship

DEN U T '

Social and civic T S Audio track included Digital competence S competences CD on the Student's Audio

3 Contents

UNIT Musical context Music theory

1 The Middle Ages • The division of the Roman Empire and the start • Major, minor and modal scales. of the Middle Ages. • Main medieval rhythmic modes. • Christianity. • Musical textures I: monophony and polyphony. • Medieval society and culture.

6

2 The Renaissance • The early Modern period. • Musical textures II: imitative counterpoint, • Renaissance society and culture. homorhythmic homophony and melody-dominated homophony. • Ideals of the Renaissance and humanism.

24

3 The Baroque • The social, economic, religious and political • Scale degrees and their functions: tonic, dominant period depression of the 17th and 18th centuries. and leading note. • Baroque culture. • Antecedent and consequent musical phrases. • Tonic and dominant chords. • Cadences: imperfect cadence and perfect cadence. • Musical ornaments: appoggiatura, trill and mordent.

42

4 The Classical • The age of Enlightenment. • Repetition, variation and contrast in musical themes. period • The transition between the Modern period • Introduction, interlude and coda. and the Contemporary period. • Sonata form. • The First Industrial Revolution. • Musical forms of the Classical period: sonata, minuet, • Neoclassicism. rondo, and theme and variations. • Alberti bass. 60

5 The Romantic • Liberalism, nationalism and imperialism. • Scales and key signatures; relative minor scales. period • The effects of the Industrial Revolution. • Tonality and modality. • Romantic art. • Simple and compound metres.

78

6 The 20th century • Social, scientific and technological advances. • Atonality. • The great wars, the Russian Revolution and • Mixed metres. the Cold War. • Additive rhythm. • Avant-garde artistic movements. • Other ways of representing music.

96

APPENDIX 114 • Glossary of music terms. • Recorder tab.

4 Musical culture Musical repertoire Going further

• Plainsong or Gregorian chant and liturgical • Como Poden per Sas Culpas, anonymous, • Development of key polyphony. from the Cantigas de Santa María. competences: Creating a present- • Medieval notation. • Tant M'Abelis by B. de Palou. day chanson de geste. • Secular monophony: minstrels and goliards; • Can Vei la Lauzeta by B. de Ventadorn. • Reading: The stolen codex. songbooks. • Adorate Deum, anonymous. • Medieval instruments. • Music in al-Andalus.

• Religious vocal music: motet, mass and • Guárdame las Vacas by L. de Narváez. • Development of key chorale. • Más Vale Trocar by J. del Encina. competences: Dancing a pavane and creating a sequence of steps • Secular vocal music: madrigal, songs, • Stabat Mater by G. P. da Palestrina. romance, villancico and ensalada. for one of its parts. • Instrumental music. • Reading: Patrons in the 21st century. • Renaissance instruments. • Court dances.

• Melody-dominated homophony and basso • Stems for mallet percussion instruments. • Development of key continuo. • Saraband by G. F. Händel. competences: Making a string instrument: 'container bass'. • The Baroque orchestra and instruments. • Adaptation of Allegro from Spring from The • Instrumental forms: fugue, suite, sonata Four Seasons by A. Vivaldi. • Reading: An unforgettable concert. and concerto. • Third Movement of Concerto Grosso No. 1 • The birth of opera. by A. Corelli. • Religious vocal music: cantata, oratorio and passion. • Baroque dance and ballet.

• Instrumental forms: sonata, symphony, • Andante from Symphony No. 94 ‘The Surprise • Development of key concerto, trio, etc. Symphony' by F. J. Haydn. competences: Making a programme • The Classical orchestra and its instruments. • Non Più Andrai from The Marriage of Figaro for a symphonic concert. • The reform of opera. by W. A. Mozart. • Reading: Beethoven's hair. • Religious vocal music. • Molto Allegro from Symphony No. 40 by W. A. Mozart. • Classical dance. • The Classical period in Spain.

• Instruments of the Romantic period. • The triplet. • Development of key • Compositions for piano and symphonic • Barcarolle from The Tales of Hoffmann competences: Associating texts and music. by J. Offenbach. pictures with a piece of programme music. • Opera, zarzuela and Lied. • Va, Pensiero from Nabucco by G. Verdi. • Reading: Music for friends. • Musical nationalism. • Largo al Factotum from The Barber of Seville • Romantic dance and ballet. by G. Rossini.

• Instruments of the 20th century. • Bolero by M. Ravel. • Development of key • 20th-century musical movements: • The Ballad of Mack the Knife from competences: Digital audio editing Impressionism, Expressionism, atonality, The Threepenny Opera by K. Weill. with Audacity. Neoclassicism, aleatoric music, musique • Le Merle Noir by O. Messiaen. • Reading: Different Trains by Steve concrète, electronic music, etc. Reich, adapted by M. Blitzstein. • 20th-century music in Spain. • 20th-century ballet and contemporary dance.

• Major and minor chords on the guitar and the keyboard.

5 1 The Middle Ages

FIND OUT ABOUT • Major, minor and modal scales • Medieval textures: monophony and early polyphony • Gregorian chant, liturgical polyphony and secular monophony • Instrumental music • Music in al-Andalus

KNOW HOW TO • Perform a vocal and instrumental repertoire • Do an active listening to Can Vei la Lauzeta by Bernart de Ventadorn, and Adorate Deum, anonymous • Create and perform a present-day chanson de geste

Miniature from the Cantigas de Santa María.

Musicians must work hard to perfect the beauty of STARTING POINTS their God-given gift and to embellish it with humility, purity, sobriety and all the other holy virtues. Their • How did people write music in the Middle music must help the faithful to remember the Ages? teachings and elevate people's spirits to heavenly love, not just with the words of their melodies, but • What was the music like in medieval churches? with the sweetness of their sounds. A musician needs And in villages and cities? to be brilliant and illustrious in voice and art, so that • According to the text, what was the purpose the delight of it drives the souls of the listeners. of music in the Middle Ages? • What instrument can you see in the picture? Adapted from De Cantoribus, Synod of Aachen (816). What family does it belong to?

6 MUSICAL CONTEXT 1

1 The Middle Ages

In the 4th century, the Roman Empire covered a very large area. It wasn't easy to govern it effectively or guarantee peace there. In the year 395, the empire was divided into two parts: the Western Roman Empire and the Byzantine Empire, with their capitals in Rome and Constantinople (present-day Istanbul). The Byzantine Empire was almost always stable, but the Western Roman Empire wasn't. Germanic people from the north and east of Europe invaded Western territories and these territories separated Detail of the rose window of Chartres into different kingdoms. The Western Roman Empire finally fell in cathedral, France (13th century). the year 476. This date marked the start of the Middle Ages, which lasted until the fall of the Byzantine Empire in 1453 and the discovery of America soon after in 1492. In the last years of the Roman Empire, Christianity was growing and it became the official religion in the year 380. From this year onwards, it was the main element that united the Western world. In this way, throughout the Middle Ages, the Roman Catholic Church, together with the nobility, was the most powerful political, economic and cultural institution in Europe. It had an important influence on social, scientific and artistic development during this period.

Society and culture Medieval society was divided into three classes: the clergy, the nobility and the common people. The mission of the clergy was to guide people in spiritual matters; the nobility governed and defended the territory, and the common people worked in agriculture, farming, crafts, trades and commerce. The clergy were at the centre of much of medieval culture. The monasteries and cathedrals had schools that taught the monks to read and write, so that they could copy the manuscripts of the great authors of the ancient world onto all types of materials. In the 6th century, universities started to appear. These were associations of teachers and students who dedicated themselves to the study of the liberal arts (academic disciplines considered appropriate for free men because they didn't involve mechanical or manual work). They were divided into two groups: • The trivium, consisting of grammar, logic and rhetoric. • The quadrivium, consisting of arithmetic, geometry, astronomy and theoretical music (or the science of composition). In contrast to the liberal arts were the mechanical arts, or manual trades. These consisted of architecture, sculpture, painting and practical music (or vocal and instrumental performance). In both the Romanesque period (11th and 12th centuries) and the Gothic period (from the 13th century to the 16th century), spirituality was more important to the arts than beauty. Artists saw their creations as offerings to God and their main objective was to spread the Christian Medieval miniature of a monk copying faith and demonstrate the authority of God and the Church. a manuscript.

7 MUSIC THEORY

2 Types of scales and rhythmic modes

A scale is a series of notes organised in ascending or descending order and they're used to compose music. It can start on any note, which we call the tonic, and this note gives the scale its name. The distance between two consecutive notes is called an interval and it's measured in tones and semitones.

Major and minor scales The diatonic scale has seven notes with five tone intervals and two semitone intervals between them. The order of these intervals determines if the scale is major or minor. Major scales sound more cheerful than minor scales.

diatonic C-major scale diatonic A-minor scale w w w w & w w w w w w w w w w w w & 1 1 1/2 1 1 1 1/2 1 1/2 1 1 1/2 1 1

We use these two scales as a reference point from which to make the rest of the diatonic major and minor scales. To maintain the same order of intervals, we need to use accidentals.

diatonic G-major scale diatonic E-minor scale w w w w #w w w w w &w w w & w #w w w 1 1 1/2 1 1 1 1/2 1 1/2 1 1 1/2 1 1

ACTIVITIES Modal scales

1 Listen to the excerpts. What In the Middle Ages, modal scales were used, which are different to the

1.2 types of scales are they scales that we use today. They were called Gregorian modes and there composed in: major, minor were eight in total. Each mode determined the note that started and ended or modal? a melody (final note) and the dominant note of the melody (tenor note). • Domine, Audivi, anonymous. • Main theme from the Rhythmic modes soundtrack of Star Wars by J. Williams. Between the end of the 12th century and • Für Elise by L. van the start of the 13th century, a specific Main rhythmic modes Beethoven. rhythm started to be used when singing texts (music was performed in free time trochee 2 Use the C-major scale to before then). To do this, a combination make the A-major scale; of two note values was used: the long iamb 텞 텟 and the A-minor scale to (longa) and the breve (brevis). These two make the D-minor scale. note values were combined to get six dactyl 텟 텞 patterns, called rhythmic modes. 텞 텟 텟 8 MUSIC THEORY 1

KNOW HOW TO DID YOU KNOW?

1 Follow the instructions and make up a melody of eight bars in Dorian mode and trochee rhythm. • Use the medieval modal scale called Dorian.

w w w & w w w w w • The last note (final) must be Re or D. The dominant note in the melody (tenor) must be La or A. • Use three-four time to make the trochee rhythm.

2 Perform your composition. Does it sound like medieval music? Why? The main Gregorian modes were Dorian, Phrygian, Lydian and Mixolydian. We still use them today in musical improvisation. 3 Medieval textures

The musical texture is the way the different melodic lines are combined in a composition. Throughout history, different types of textures have appeared. The main types in the Middle Ages were monophony and polyphony.

Monophony Monophony is the simplest texture and it's typical of medieval music. As the word suggests (mono = only one; phonos = sound), it consists of one melodic line performed by one voice or instrument, or by several in unison.

Polyphony Polyphony (polis = several; phonos = sounds) developed throughout the Middle Ages in the context of vocal religious music. It consists of several independent melodic lines that are performed by several voices simultaneously. The first polyphonic textures were very simple, but they became more complex over time and the different voices became more independent. Here are the main types of medieval polyphony: • In the simplest polyphonic texture, the voices move in parallel motion, keeping the ACTIVITIES same interval between them. 3 Listen to the examples. Are • In another type of simple the textures monophonic or 1.3 polyphony, one voice moves and polyphonic? If the texture is the other (drone) remains static. polyphonic, how do the voices move? • In the most complex texture, the voices moves in contrary • Viderunt Omnes by Léonin. motion or in the opposite • Lux Aeterna, anonymous. direction to each other.

9 MUSIC THEORY

ACTIVITIES Do the activities in your notebook.

4 Answer the questions. 9 Define the following terms in your own words: a) What is a scale? musical texture, monophony, polyphony.

b) What do we call the distance between two 10 Copy the score and complete the second part in consecutive notes? contrary motion. What are the intervals between c) How are intervals measured? the two parts? d) How many sounds does a diatonic scale have? e) What determines if a scale is major or minor? # œ 2 Œ œœ œ œœ œ œœ œœœ ˙ f) What are modal scales? & 4 5 Look at the example. Then copy the scores and write # the intervals between the notes. What scales are they? 2 Œ Are they major or minor? & 4 œœ

11 Write a four-bar melody using dactyl rhythm and the w bw w w scale in Lydian mode. & w w w w 1 1/2 w w w w w w & w w w w w w final note tenor note & w w w bw 12 Copy and complete the text with the missing 6 Copy the staves and complete the D-major scale words. and the B-minor scale. What accidentals do you have In the Middles Ages, the first polyphonic were to use? very simple, but they became more over time and the different became more independent. In the main types of medieval : & w • The voices move in motion, keeping the same between them. • One voice moves and the other, called the , & remains static. w • The voices move in motion or in the 7 Write the names of the main rhythmic modes and their direction to each other. rhythmic patterns. 13 Copy the correct sentences and correct the wrong 8 Look at the score and answer the questions. ones. a) A diatonic scale has seven notes with five tone 4 ˙ œ œ ˙ œ Ó intervals and two semitone intervals between &4 ˙ œ œ œ ˙ œœ ˙ them. b) In the Middle Ages, diatonic scales were used, which a) What is the metre? are different to the scales that we use today. b) In the Middle Ages, what was the name of the two c) Melodies composed in Gregorian mode started note values on the score? And what are their names and ended with the final note and had a dominant today? note, called the tenor, that organised the melody. c) What is the rhythmic mode? d) Musical texture is the way in which the different d) How many tone intervals does the melody have? rhythms are combined in a composition. And semitone intervals? e) Polyphony is the simplest texture and it's typical e) Compose a second voice in parallel motion. Start of medieval music. with Do or C. f) The term monophony comes from the words mono, f) If we add a second voice with five Mi or E semibreves, which means only one, and phonos, which means what type of polyphony is it? sound.

10 MUSIC THEORY 1

DENT U ' T S

S MUSICAL REPERTOIRE CD

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

1.4 Presto 3 Œ Œ œ œ œ œ™ œ œ Œ &4 œ œ œ œ œ ˙ œ ˙ œ œ œ J ˙ œ œ œ œ œ œ mf Co -pmo od-pen er sascul -opas so- mes se - er cont-trei -aos, ss-pi od- en 3 &4 Ó™ ˙™ ˙™ 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 ˙ œ ™ œ pe -Vla ir -dgen ep-sois ee-sr ão-fœs ei - tos. Ond' a -ove - a un o - me, que foi to - llei - to dos nem - bros

& ˙ œ œ œ ˙ ˙ ˙ ™ Ó™ ˙ ˙ 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 por pe -dca - os que fe - ze - ra, edur- ou as -csi inc' a - nos que mo -sver - e du - a do - or que ou - ve - ra,

& œ ˙ ˙™ ˙™ œ œ œ ™ Ó™ ˙™ ˙™ œ œ œ œ ˙ ˙™ D. C. al Fine œ™ œ œ Œ Œ & J ˙ œ œ œ œ œ œ ˙ œ ˙ œ œ œ œ œ œ œ œ ˙ œ non po -rde -aa, ss-ai -avi -osnen -tbros od-dos o corp-mo œal -ttrei - os.

& ˙ œ œ œ ˙ ˙ ˙ œ œ œ ˙ ˙ ˙™ ™ œ ™ ™ œ ™ ˙™

Tant M'Abelis by B. de Palou.

1.5 Moderato b4 œ œ œ œ ‰ j œ ‰ j œ œ œ œ & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Taœnt m'a-be-jlis oyseta-emors tchans et al-ge-eri-dr, ep-eort coœrt-ze - i a, quel monnon aric- or mf b œ ‰ Œ Œ & œ œ œ œœœ j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ni ma-tnen- i adœon mielhs d'aiss-tom en-pgues er be-nnaœ- ans; dons, saihieubœen que mi -tdons en lasclaus 1. 2.. b œ œ œ œ œ œ œ ‰ j ∑∑™ & œ œ œ œ œœ œ œ œ œ œ œ œ ˙ ™ œ œ de totz losbensqu'-aieu -nten iesper, œeren d'ai-sso enslieys non puesc œav- er. non puescaœ- ve˙r.

11 MUSICAL CULTURE

DID YOU KNOW? 4 The monk Guido d'Arezzo noticed Vocal music that his students found it difficult to remember liturgical songs and he invented a system to help them. We In the Middle Ages, vocal music was either liturgical or secular. call this system the Guidonian Liturgical music was composed in a church context and performed hand and each part of the fingers at religious events. Secular music was performed in court and at represents a musical note. popular events. During the Middle Ages, liturgical vocal music evolved from the simple plainsong, with a single melodic line sung a cappella (without instrumental accompaniment), to early polyphony, with several independent melodic lines.

Gregorian chant Between the 7th and 9th centuries, the Roman Catholic Church compiled its liturgical plainsongs. We call this musical repertoire Gregorian chant in honour of Pope Gregory the Great (circa 504­–604), the first compiler. These are the main characteristics of Gregorian chant: • It has a monophonic texture, without instrumental accompaniment. • It uses modal scales and is in free time (without any metre) to help to communicate the meaning of the text. • The text is in Latin with a religious theme. • It's performed by male voices and alternates between a soloist and the choir, or between two choirs. To make sure that Gregorian chant was performed in a similar way in all places, it was necessary to write it down. This is how the first rules of musical notation were established in the 9th century. The first symbols were called neumes and they were written on top of the words to show the changes of pitch. In time, neumes began to show the pitches of the notes more precisely, but not their duration. To do this, a neumatic notational system was used, on a four-line stave (similar to the stave that we use today, but with four lines instead of five).

IMPORTANT MUSICIANS

Guido d'Arezzo (992­–1050) was a teacher Hildegard von Bingen (1098­–1179) was in the cathedral school in Arezzo, Italy. As a German nun, writer, scientist and well as inventing the Guidonian hand, he composer. From an early age, she created the four-line stave and gave the experienced mystic visions and she said notes the names that we still use today. that these visions were accompanied by To do this, he used a hymn dedicated to music. She composed a total of 78 Saint John the Baptist called Ut Queant liturgical pieces of music for her Laxis. However, he didn't take into account congregation, grouped together in the the note Si, because in those times Symphonia Armoniae Celestium people thought that this note belonged to Revelationum, and the first surviving the devil. He gave the name 'Ut' to the note liturgical musical drama. Hildegard said that we now call Do (the name changed in the 18th century). that singing was a manifestation of the divine spirit of humanity.

12 MUSICAL CULTURE 1

KNOW HOW TO ACTIVITIES

3 Perform this adaptation of Ut Queant Laxis. Then answer the questions. 14 Listen to the examples 1.6 of Gregorian chant. What is the style and who is 4 performing in each case &4 Œ Œ œ œ œ ˙ œ œ œœœ ˙ œ œ œœ œ ˙ œ œ œ œ œ ˙ (soloist, choir, etc.)? Ut que-lant ax- is, Re-nso-ra - e -bris, Mi -gra es-rto - um, Fa-lmu- i • Adorabo, anonymous. • Epistula, anonymous. • Domine, Convertere, & œœœœ ˙ œœ œ œ œœ ˙œœ œœ œœ œ œœ œ œ anonymous. tu--o rum,Sol -ve pol-tlu- i, La-ibi -rea-t- um,Sanct- e œIo-han-nes. 15 Listen to the two excerpts.

• How many musical phrases does the melody have? Do they 1.7 Which is an organum and correspond with the phrases of the text in Latin? which is a discantus? • Find the translation of the text into English on the Internet and do some research. Who changed the name for the note Ut to Do? Why? And who introduced the note Si?

Depending on the relationship between the notes of the melody and the syllables of the text, Gregorian chant is classified into one of the following styles:

Syllabic Neumatic Melismatic

one note per syllable a small group of notes per syllable a lot of notes per syllable

Gló--ri a in ex --cél sis De - o. Vi-dé__-runt óm-nes fí _-nes tér_-rae.___ Al_--le - lu______ia.

Liturgical polyphony DID YOU KNOW? In the 9th century, a second voice was added to plainsong and polyphony was born. This new form of musical expression became There were two important periods in more and more complex and reached its maximum level of the development of polyphony: Ars sophistication and perfection in the 16th century. Antiqua refers to music developed Musical notation was also evolving, because a more precise system between the 12th and 13th was needed to write the rhythmic richness of the more complex centuries, mainly by the schools in polyphony. Mensural notation started to be used at the end of the Paris and Santiago, and Ars Nova refers to music developed between 13th century. This included the first symbols related to metre and the 14th and 15th centuries, assigned different note values depending on the duration of the note. coinciding with mensural notation. The main medieval liturgical polyphonic forms were: • Organum : It's the earliest form. The main voice was a Gregorian melody and a second, parallel voice was added. • Discantus: It appeared later. A new voice was added to the Gregorian melody that moved in contrary motion, or in the opposite direction to the other voice. • Conductus : It was a new composition for two to four voices. The same text was sung by all the voices, with the same rhythm, in the Medieval chant from the Llibre syllabic style. This form had a strong and solemn rhythm because Vermell de Montserrat. it was created to be performed in processions.

13 MUSICAL CULTURE

Secular vocal music ACTIVITIES Secular monophony appeared in around the 9th century, but as it was 16 Listen to the excerpts and generally passed on orally, there are hardly any records of it. The main identify three of their 1.8 characteristics of this vocal music are: characteristics. • It has a monophonic texture, but with instrumental accompaniment. • Ad Mortem Festinamus from the Llibre Vermell de • It uses modal scales and rhythmic modes. Montserrat, anonymous. • It's designed for fun or entertainment, and the texts aren't only • Fas et Nefas from Carmina about religious themes, but also about love or history. Burana, anonymous. • It's written in the local language (which we call the vernacular). • It's performed by male and female voices. The musicians who played secular music were called minstrels and they had two functions: • Some minstrels were a mixture of acrobats, mime artists, reciters and musicians. They performed in village and city squares and entertained the common people with their art. • Court minstrels were part of the court in palaces and they performed their own songs, using string or wind instruments for accompaniment. In the Middle Ages, there were also goliards, who were wandering clerics or mendicant students. In the 13th century there were lots of them. Many goliards wrote poetry in Latin, which was often satirical or critical of the Church and those who had more power. Carmina Burana is a famous collection of this type of composition and the manuscript dates back to the 12th and 13th centuries. The songs of the minstrels were written in songbooks. One of the most common is the Cantigas de Santa María from the reign of King Alfonso X the Wise. It includes more than 400 pieces of music and poetry with European influences, written in Galician-Portuguese with mensural notation. They're all dedicated to the Virgin Mary and some were composed by the king himself and musicians from his court. Another famous songbook is the Cantigas de Amigo, which includes seven love songs written also in Galician−Portuguese by Martín Códax. Another manuscript, the Llibre Vermell de Montserrat, is located in a monastery of the same name, in Barcelona. It's a collection of songs and dances dedicated to the Virgin Mary in Catalan, Occitan and Latin that the pilgrims performed when they arrived at the monastery.

Gregorian chant Secular vocal music

Anonymous. The composer is known.

Monophonic texture, without instrumental accompaniment. Monophonic texture, with instrumental accompaniment.

Composed with modal scales and in free time. Composed with modal scales and rhythmic modes.

Composed to support a liturgical text in Latin. Composed to entertain, about secular or religious topics, and in the vernacular.

Performed by male voices (choir or soloist) in a liturgical context. Performed by minstrels in public spaces and in palaces.

14 MUSICAL CULTURE 1

KNOW HOW TO DID YOU KNOW?

4 Perform Quantas Sabedes Amar Amigo from Cantigas de Amigo by M. Códax.

3 j œ œ œ œ œœœ œ œœœ ‰ j œ œ œ œœ &4 œ J œ œ œ œ œ Quan-dtassab- e -aes -amar -gmi -to, reid-ces om-aig' -lo œ œœœ ‰ j œ j j œ œœœ & œ œ œ œœ œ œ œ œ œ ˙™ The miniatures in the Cantigas de marde Vi -ego, ba - nnar -enos -nmos as on - das. Santa María and the sculptures on the Portico of Glory of Santiago de Compostela Cathedral are important sources of information about the musical practice and 5 instruments of the period. Instrumental music

The Catholic Church only allowed the organ in liturgy and no other ACTIVITIES instruments. For this reason, most instruments were only used in secular music to accompany the voice or to perform instrumental 17 Listen and identify the instruments. pieces in dances or processions. Nobody wrote these compositions 1.9 down, so we don't have a faithful record of what they were like.

Chordophones

The medieval harp The psaltery has a flat sound The rebec is an The hurdy-gurdy has a handle was less than box with strings on it. We pluck instrument of that turns a wheel. This wheel 75 cm high. the strings with our fingers or Arab origin. It rubs against the strings in the Musicians held strike them with a mallet. has between sound box. The instrument has it on their knees one and five keys that are used to change the and minstrels strings that we pitch of the notes. used to play rub with a bow. it a lot.

Aerophones

The shawm is The cornamuse is similar to The portative organ is a woodwind present-day bagpipes. a small, portable organ instrument with It has a double reed with different-sized pipes a double reed. It's and the air is held and a keyboard. Usually the predecessor in a bag. In the Middle it has a range of two of the present-day Ages, shepherds used octaves. oboe. to play it.

Membranophones Idiophones

The square hand drum is The tabor is The tejoletas The carillon consists of a series a type of square drum that is a drum with are two small, of bells that are struck with hit with the a membrane flat pieces of a hammer. hand. It can that is hit wood that are have one with mallets. hit together like or two castanets. membranes.

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6 Music in al-Andalus

In the 8th century, the Muslims began to expand around the south of the Mediterranean and occupied a wide territory from Persia (present-day Iran) to the Iberian Peninsula. The occupied territory on the peninsula was called al-Andalus, and this became an important cultural centre with a rich musical life. Al-Andalus was one of the largest producers of musical instruments. Thanks to minstrels, a lot of them reached many other parts of The lute was the most important instrument Europe. As well as this, a unique musical style appeared, known as in Andalusian classical music. Andalusian classical music, which was a fusion of Arab music and the indigenous music of the occupied territories. In secular music, the main vocal form in al-Andalus was the nubaˉ , which is still used in Arab music today. This court composition was based on simple melodies and alternated between vocal and instrumental parts, with contrasting tempos and rhythms. A common poetic genre was the zajal, which was later developed in song form. A soloist and a choir sang it and it was usually accompanied on the lute, flute, drum and castanets. In liturgical music, the Christians who lived in al-Andalus, known as Mozarabs, practised Mozarabic chant, similar to Gregorian chant, but with a marked melismatic style.

400 500 600 700 800

• Theodosius I makes • Gregory the Great is • Birth of Islam (622) and • Start of the Muslim • Charlemagne is Christianity the official made Pope (590). death of Mohammed conquest of the Iberian crowned Emperor religion of the Roman (632). Peninsula, that becomes of the Holy Roman Empire (380). known as al-Andalus Empire (800). (711). • Fall of the Western Roman Empire (476).

• Early Christian art • Pre-Romanesque art • Byzantine art • Iconoclasm (destruction develops, of Roman develops in Western appears in of religious icons) is tradition (3rd to 5th Europe (5th to 10th Eastern Europe established in the centuries). centuries). (7th century). Orthodox Church (726). • The first cathedral • Islamic art appears (8th schools are created to 15th centuries). (4th to 12th centuries).

• Between the 5th century • Gregorian chant (starts • Andalusian classical • Polyphony BC and the 5th century AD to be compiled (7th to 9th music appears. and secular the music of classical centuries). music are Antiquity develops, but born. • Modal scales start to be no scores remain. used.

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At the same time, until their expulsion by the Catholic Monarchs in 1492, the Jews in Castile and Aragon created their own type of music, called Sephardic music. It involved adapting traditional Castilian songs to Arab rhythms and instrumentation. The songs were usually about love, but there were also cradle songs, wedding songs and funeral songs.

ACTIVITIES

18 Listen to the excerpts and describe their characteristics.

1.10 • Nubaˉ : Twisya, anonymous. • Zajal : Este Amor, anonymous. A Muslim and a Christian playing plucked • Sephardic song: La Galana y el Mar, anonymous. string instruments.

From Gregorian chant to New Age music

There are different styles of New Age music, but all of them try to transmit calm and optimism. Just like in Gregorian chant, the melody is usually long and rather linear. This is why some New Age styles use melodies from the Gregorian repertoire, or with the same characteristics, combined with a dance or chill-out rhythmic base to make music that is relaxing and evocative.

19 Listen to Sadness by Enigma. What musical elements are added to the Gregorian chant?

1.11 How does this change its character?

900 1000 1100 1200 1300 1400

• Abd-al-Rahman III • East-West • Start of the Crusades • Reign of Alfonso X • The Hundred • Fall of the proclaims himself Schism: to regain Catholic of Castile the Wise Years' War begins Byzantine Empire the Caliphate of Christianity control of the Holy (1252–1284). between France and (1453). Cordoba and divides into the Land (1095). England (1337). becomes the leader Catholic and • The Black Death of al-Andalus (929). Orthodox devastates the Churches (1054). population of Europe (1348).

• The monastery of • Romanesque art • Artisans begin • Gothic art • Death of the Italian • Fra Angelico paints Cluny is founded in appears (until the to form guilds. appears (until poet Dante the Annunciation France (909). 12th century). the 15th Alighieri, author of (1430–1432). century). the Divine Comedy (1321). • The Cantar de Mío Cid • The Archpriest is written of Hita writes the (circa 1200). Book of Good Love (1330–1343).

• Birth of Guido • Invention of • Start of Ars Antiqua • Mensural notation • Start of Ars Nova d'Arezzo, creator of neumatic (12th and 13th appears. (14th and 15th the four-line stave notation. centuries). centuries). • The Cantigas and the names for • Birth of the • Rhythmic de Santa María • Llibre Vermell de the notes (992). German composer modes start and the Cantigas Montserrat is Hildegard von to be used. de Amigo are written. Bingen (1098). compiled.

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DENT U ' T S

S MUSICAL REPERTOIRE CD

Comparison of two medieval pieces of music

During the Middle Ages, music had different characteristics depending on what it was composed for. Liturgical music was a type of sung prayer and its main objective was to support the message of the religious text that it was based on. Secular music, on the other hand, was composed to entertain people and tell stories. The themes of this type of song were love and epic stories of the heroes of the period, and there was also instrumental music for dancing.

About these recordings

You're going to listen to two excerpts from different types of medieval music: • Can Vei la Lauzeta is a song composed by a well-known minstrel from the Middle Ages called Bernart de Ventadorn. He learnt his art while sponsored by a French nobleman, and fell in love with the nobleman's wife. After composing some love poems to her, he had to leave the region. He travelled to France and England and eventually entered a monastery, where he lived until his death. This extremely beautiful song is written in Provençal, a language that was spoken in the south of France during the Middle Ages. • Adorate Deum is an introit, a type of song that is still performed today when the priest and the altar boys enter the temple to celebrate mass. Its objective is to open the celebration, create unity amongst the worshippers and prepare them for the liturgy. It forms part of the proper of the liturgy, which means the part that can vary over the liturgical year depending on the type of event. The parts of mass that don't vary are called the ordinary (Kyrie, Gloria, Credo, Sanctus, Benedictus and Agnus Dei).

Listen to Can Vei la Lauzeta and Adorate Deum and do the active listening activity.

1.12 & • Listen and follow the scores in neumatic notation on the four-line staves. 1.13 Can Vei la Lauzeta C an vei la lau-ze--ta mo__ ver_ de joi sas a --las con __tra·l rai, que s’o --bli da’e·s Anc non a-gui de me po__ -der _ ni no fui meus de l’or’_ --en sai que·m lais set en ___

__ lais_ --sa cha_ zer per la dous--sor__ c’al cor li vai,__ ai! tan grans en ve - ya m’en _ ve sos__olhs ve -zer__ en un mi--ralh__ que mout me plai._ Mi ralhs, pus me mi- rei en__ te,

de cui qu’eu ve--ya jau zi--on, me ra --vi lhas_ ai, car ces--se__lo cor de de zi-er no·m fon._ m’an mort li sos--pir de__pre-on, c’ais si·m--per dei com per--det se__lo bels Nar ci-sus en la __fon.

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Adorate Deum

- A - do--rá te Dé_ - um ___ óm _ - nes An - ge__ - li _ - é - jus: au-dí____ -vit,___

-

et_ lae - tá - ta_ est Sí__ - on: et ex - sul - ta - vé___ - runt fí - li - ae___ Jú______- dae._

• Read the lyrics of the song Can Vei la Lauzeta and the translation into English. Search the Internet and find the lyrics of Adorate Deum introit in English. What are the differences between the texts? Can vei la lauzeta mover When I see a lark flap De joi sas alas contra∙l rai, Its wings for joy at the rays of the sun, Que s’oblida’e∙s laissa chazer And it forgets itself and lets itself fall Per la doussor c’al cor li vai, Because of the sweetness in its heart, Ai! tan grans enveya m’en ve Alas, I feel so much I envy De cui qu’eu veya jauzion, Anyone that looks happy, Meravilhas ai, car cesse That I'm amazed that immediately Lo cor de dezier no∙m fon. […] My heart doesn't melt with desire. […]

Anc non agui de me poder I lost control of myself, Ni no fui meus de l’or’en sai And I wasn't myself from the moment Que∙m laisset en sos olhs vezer That she let me look into her eyes En un miralh que mout me plai. Into that mirror that I like so much. Miralhs, pus me mirei en te, Mirror since I looked into you, M’an mort li sospir de preon, My sighs of lament have killed me, C’aissi∙m perdei com perdet se I lost myself just like Lo bels Narcisus en la fon. […] Handsome Narcissus in the spring. […]

• In your notebook, make information cards about the pieces of music that you've listened to. Include this information:

– Composer (anonymous or known). – Function of the music (to entertain – Type of ensemble (choir or soloist). or to serve a text). – Type of notation. – Type of instrumental accompaniment – Rhythm (in free time or in a particular (if there's one). – Type of music (liturgical or secular). metre). – What two styles of Gregorian chant – Language of the text. – Type of texture (monophonic or are there in Adorate Deum? – Theme of the piece. polyphonic).

• Answer the questions.

a) What venues were these pieces of music performed in? Is there a relationship between these venues and the characteristics of the music performed there? What is it? b) Who were the performers? And the audience? c) Search the Internet and find information about the myth of Narcissus. Then explain the last two verses of Can Vei la Lauzeta. d) What type of bird is a lark?

19 ACTIVITY ROUND-UP Do the activities in your notebook.

20 Answer the questions. 26 Copy the correct sentences and correct the wrong a) Which dates marked the start and the end of the ones. Middle Ages? a) Liturgical music was for the court and popular b) What was the most powerful political, economic and contexts. cultural institution in Europe during this period? b) Secular music was exclusively for religious events. c) Which three classes was medieval society divided c) Liturgical vocal music evolved from plainsong to early into? polyphony. d) What was the centre of medieval culture? d) The first neumes were written on top of the words e) Which two artistic periods happened in the Middle to show the changes of pitch. Ages? e) The neumatic notational system was written on one-line staves. 21 Find the odd-one-out. a) liberal arts, trivium, quadrivium, Romanesque 27 Look at the scores. Which style of Gregorian chant does each one belong to? b) grammar, logic, diatonic, rhetoric c) arithmetic, geometry, astronomy, practical music d) mechanical arts, architecture, sculpture, painting, theoretical music Ky --ri - ee______--lé ison.

22 Copy the words in bold. Then write the correct definitions. major scale several independent melodic lines that are performed simultaneously Gau --de á__ --mus óm nes_ in Dó_ - mi__ minor scale tone-tone-semitone-tone-tone-tone- semitone texture way in which the different melodic lines are combined in to --to cor de me - o monophony tone-semitone-tone-tone-semitone- tone-tone 28 Complete the sentences with the terms provided. polyphony only one melodic line

9th processions syllabic plainsong 23 Define the terms using the words provided. conductus 13th mensural notation • Modal scale: final note, Gregorian mode, eight, organum duration discantus contrary melody, tenor note. • Rhythmic mode: combination, long, breve, six, a) In the century, polyphony was born when trochee, iamb, dactyl, note values. a second voice was added to . b) At the end of the century appeared. It 24 Draw a monophonic texture and the three types included the first symbols related to metre and of polyphonic texture that you know. assigned different note values depending on the 25 Copy the scores. Then complete the second melody of the note. in parallel motion and the third in contrary motion. c) is the earliest polyphonic form. It consisted of adding a second voice in parallel motion to 3 a Gregorian melody. &4˙ œ ˙ œ ˙ œ ˙ Œ ˙ œ ˙ œ ˙ ˙ d) appeared later. It consisted of adding a new œ ™ voice to a Gregorian melody that moved in motion to the other voice. 3 e) was a new composition for two to four voices. &4˙ œ ˙ The same text was sung by all the voices, with the same rhythm, in the style. The main characteristic of this form was its strong and solemn 3 ˙ ˙ rhythm, because it was created to be performed in &4 œ .

20 ACTIVITY ROUND-UP 1

29 Correct and complete the table. 32 Look at this medieval picture. Then do some Secular vocal music Gregorian chant research and find the names of the instruments Anonymous. and how they're played.

Monophonic texture.

It uses modal scales and rhythmic modes.

It serves a liturgical text in Latin.

Performed by minstrels.

33 Find out who Kassia was. Then answer the 30 Define the terms in your own words: vernacular, questions. songbook, minstrel, goliard. • Which century did she live in? 31 Draw a table and classify the medieval instruments • Where was she born? into families. Then describe their characteristics • Why was she punished? briefly. • What type of works did she compose? psaltery carillon rebec hurdy-gurdy • Find one of her works on the Internet and listen portative organ square hand drum shawm to it. How would you describe her music?

KEY CONCEPTS

Music in the Middle Ages

Characteristics Vocal music Instruments

Gregorian modes: Secular monophonic Liturgical monophonic Liturgical polyphonic Chordophones: the final and tenor notes harp, psaltery, rebec determined which mode it was. and hurdy-gurdy. Monophonic texture with Monophonic texture It appeared in the 9th instrumental without instrumental century with the addition Aerophones: accompaniment. accompaniment. of a second voice to Rhythmic modes: shawm, cornamuse plainsong. trochee, dactyl and iamb. and portative organ. Modal scales Modal scales and in free and rhythmic modes. Forms: organum, time, supporting the text. Idiophones: Medieval textures. discantus tejoletas and Created to entertain, and conductus. carillon. Monophony: with a text about Liturgical text in Latin. a single melodic line. religion, love or Written in mensural Membranophones: history, generally notation. square hand drum in the vernacular. Performed by male voices and tabor. Polyphony: (soloist or choir). several melodic lines that Performed by minstrels move in parallel or contrary Depending on the and goliards. motion, or one moves and relationship between the the other, called the drone, notes and the text, its style was syllabic, neumatic remains static. Compiled in songbooks. or melismatic.

It was written with neumes or in neumatic notation on a four-line stave.

21 DENT U ' T S DEVELOPMENT OF KEY COMPETENCES S CD

A present-day chanson de geste

In the Middle Ages, minstrels recited or sang epic poems called chansons de geste. These compositions told the news of the period, with varying degrees of truthfulness. If we had to choose a musical style that describes present-day reality, it would definitely be rap. We could say that rappers are the minstrels of today. Since it appeared in around 1970, rap has become an important instrument of social criticism and a way to fight against social exclusion.

Read the article about the worrying problem of bullying in schools that is happening nowadays all over the world.

Racist bullying Heated debate on immigration blamed for increase in children reporting abuse More than 1,400 children and young people This past year, it really seems to be something contacted ChildLine for counselling about racist children and young people are suffering from.' bullying in 2013, up 69% on the previous 12 The charity's report found that the majority of the months. Islamophobia is a particular issue in racist bullying affecting children was happening in schools, according to the charity, with young schools. Muslims reporting that they're called 'terrorists' Several young people who had the courage to tell and 'bombers' by classmates. a teacher then found that nothing happened or Children who have poor English or a strong that they were given advice to simply ignore the accent are often called 'freshies', an abusive term bullies, which they found unhelpful and ineffective. that highlights their struggle to fit in. Others were reluctant to speak out, fearing that the Sue Minto, head of ChildLine, said: 'There's so situation would become worse. much more of a focus in the news at the moment A Department for Education spokeswoman said: about immigrants... it's a real discussion topic and 'No child should have to suffer the fear and children aren't immune to the conversations that victimisation of bullying. Every school must happen around them. Some children are told, even have measures to prevent it and children will soon if they're born in the UK, to pack their bags and be taught how to stay safe online, including how to go back to where they belong. It's very worrying. avoid cyber-bullying, from the age of five.'

Adapted from The Independent, 8 January 2014

Be a reporter of your times. To do this, follow the instructions. 1.14 1 Listen to the backing track. Pay attention to the metre and the tempo, and follow the structure.

intro verse 1 chorus verse 2 chorus end (2 bars) (8 bars) (4 bars) (8 bars) (4 bars) (2 bars) 4 2 Write some lyrics about bullying in schools and rap them over the backing track. • Pay attention to the strong beats of each bar and try to make the tonic syllables coincide with them. • Make sure that the lyrics rhyme. • You can use onomatopoeias or even the words from the article. 3 Perform the lyrics over the backing track. Pay attention to vocalisation and breathing. Finally, record your creation.

22 GOING FURTHER 1 READING

The stolen codex

On 5th July 2011, one of the most valuable treasures in the cathedral of Santiago de Compostela mysteriously disappeared: the Codex Calixtinus. The book, kept in a security case in the cathedral's archives, disappeared as if by magic. A codex is a book from before the invention of the printing press. It's written by hand and consists of a set of booklets that are sewn together. The codex in the cathedral of Santiago was written in the 12th century. Its name comes from Pope Callixtus II, because it's thought that he decided to compile it, although we cannot be entirely sure of this. It's a beautifully illustrated manuscript that combines liturgical texts, sermons, homilies, stories about James the Apostle, as well as a useful guide for travellers, with information about the pilgrims route to Santiago there was still a lot more to discover in the book. de Compostela, accommodation, works of art and Who could have taken it? advice for pilgrims. The police interrogated the users of the archives, All this makes it a literary gem, but it's also both religious people and those working there, and exceptional from a musical point of view. It contains looked for the book all over the cathedral. Since this 22 polyphonic pieces of music and they're some of was a Romanesque building, there were many the oldest compositions for several voices that exist passages and hidden corners. They even searched in Europe. One of these compositions is the hymn the organ! One day, in one of the ten chapels of the Conguadeant Catholici. It's the first known temple, a hidden copy of all the keys to the archives composition for three voices in the whole Western was found. This clue finally led them to the thief: repertoire. an electrician with years of experience working in the cathedral and who had also stolen other The Codex Calixtinus is a unique source of documents and objects. knowledge about medieval literature and music. This is why, at the time, many people compared the After a search that lasted nearly a year, the Codex tragedy of its disappearance with the collapse of the Calixtinus was returned to its home of more than 800 Portico of Glory. Thanks to the codex, we have been years, and the codex was now more popular than able to study different types of musical notation and ever. Today it awaits the visits of experts from all the role of music in the liturgy of the period, but over the world who hope to reveal all its secrets.

ACTIVITIES

34 What is a codex?

35 Where is the Codex Calixtinus kept? Why does it have this name?

36 What is its content? Why is it important from a musical point of view?

37 What is special about the hymn Congaudeant Catholici? Find a recording of this piece of music on the Internet and listen to it.

38 Today, is notation still as important as it was in the Middle Ages for keeping a record of music? Codex Calixtinus. 39 Find the name of two other medieval codices that contain music. Write a short text about them.

23