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Medieval Theory -Guido of Arezzo developed solomization -solfege came from the hymn “Ut queant laxis” -9th century oral transmission of music -10th century heightened neumes -11th century four line staff and square notation Secular Music Jongleur -Golliards -age of chivalry, courtly love -knightly love kin to monk with god -a religious love in secular music -chanson de geste (song of deeds) ex. King Arthur -were looked down upon, traveled from town to town Troubadour (Southern France) -12th century -educated family, higher class -knew how to read and write music -langue d’oc Trouveres (Northern France) -founder and seeker of song -langue d’oil -chansonnier secular love poetry (monophonic) -pastourelle seduction song Adam de la Halle’s Jeu de Robin et Marion -trouvere -monophonic rondeau (repeating refrain) -low style (profane aspect) -unsuccessful love -vernacular language (langue d’oil) Can vei la lauzeta mover -troubadour -strophic form -8 stanzas -modal music, Dorian mode -word-painting www.notesolution.com -narrow range -more virtuosic A Chantar -troubadour -ABABCDB -phrase end with same cadence (rhyme scheme) -more structural organization -Frauenlob famous German Minnesinger) Polyphony -organum earliest witten polyphony singing simultaneously at more than one pitch evidence in Musica & Scolica Enchriadis -parallel motion note vs. note, harmonized with fourth and fifth -contrary motion one melody with another melody beneath early cadence structure usually ends in octave Alleluia Justus ut Palma -word-painting melisma on “multiply”, multiple note -best singers do the harmony, chorus becomes monophonic -sequence on the last syllable of Alleluis -florid chant melody is below, add notes to the top many notes to one note -Notre Dame School florid polyphony/ organum Leonin & Perotin Advancements -rhythmic organization (6 rhythmic modes) -compound triple meter (6/8, 9/8) -elongated chant (drone) in bottom (tenor) voice -more distinct with emphasis -discant use of rhythmic mode -Clausula solo melisma -Leonin best creator or organum, some are arthymic, some are rhythmic Magnus Liber Organi (cycle of 2 part organum) www.notesolution.com -Perotin add third and fourth voice -choral monophonic chant -solo syllabic section of plainchant became organum -solo melismatic section of plainchant became discant clausula (rhythmic) -motet text added up upper voice of discant clausula -chant is in the bottom voice, in elongated drone so it is hard to hear -purpose of the technique is faith, even though you can’t see god, he’s there parallels with the notion melody is there even you can’t recognize ite 3 Levels of Music (Boethius 1) Music of Sphere (heavenly) 2) Soul (bodily harmony) 3) Instrument (audible) Conductus newly composed melodies and text (non-liturgical) rhythmic homorhythmic (voices move together in same rhythm form AABC www.notesolution.com.

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CAPTURING MUSIC Writing and Singing Music in the Middle Ages THOMAS FORREST KELLY Morton B
CAPTURING MUSIC Writing and Singing Music in the Middle Ages THOMAS FORREST KELLY Morton B. Knafel Professor of Music, Harvard University BLUE HERON Scot Metcalfe, direcor SATURDAY NOVEMBER 15, 2014 3 PM & 8 PM Firs Church in Cambridge, Congregational PROGRAM PART 2 at 8 pm Povre secors / Gaude chorus (Montpellier Codex, early 14th century) BG MB JM Capturing Music Diex qui porroit / En grant dolour (Montpellier Codex) Writing and Singing Music in the Middle Ages JM BG HARP Aucun ont trouvé / Lonc tans (Montpellier Codex) Tomas Forres Kelly Morton B. Knafel Professor of Music, Harvard University JM MB ST Blue Heron Scot Metcalfe, direcor Garrit gallus / In nova fert (Roman de Fauvel, 1314-18) IH MN SM Guillaume de Machaut (c. 1300-1377): Biauté qui toutes autres pere PART I at 3 pm OM JM MB Io son un pellegrin (14th century) Introit Ad te levavi OM ST soloist MB Jacob Senleches (f. 1380s): En atendant, Esperance conforte Introit Resurrexi OM CW SM soloist PT Baude Cordier (f. c. 1400): Belle, bonne, sage, plaisant et gente Alleluya Pascha nostrum MN CW SM soloist PG Johannes Ockeghem (c. 1420-1497): Kyrie, Missa prolationum Hymn Ut queant laxis MN IH JM MB Leoninus (f. 1180s-1200): Alleluya Pascha nostrum soloist JM Perotinus (f. c. 1200): Alleluya Pascha nostrum soloists MB & ST (Alleluya) / OM & JM (Pascha nostrum) Michael Barret, Brian Giebler, Paul Gutry, Ian Howell, Clausula Latus est (Magnus liber organi) Owen McIntosh, Jason McStoots, Martin Near, Mark Sprinkle, soloist MS Sumner Tompson, Paul Max Tipton, voices Motet Immolata paschali victima (Magnus liber organi) Charles Weaver, lute & voice MS JM Scot Metcalfe, director, harp & fddle Sumer is icumen in / Perspice Christicola (c.
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Conductus and Modal Rhythm
Conductus and Modal Rhythm BY ERNEST H. SANDERS T HAS BEEN MORE THAN EIGHTY YEARS since Friedrich Ludwig (1872-193o), arguably the greatest of the seminal figures in twenti- eth-century musicology, began to publish his studies of medieval music. His single-handed occupation of the field, his absolute sover- eignty over the entire repertoire and all issues of scholarly significance arising from it, and his enormous, inescapably determinative influ- ence on the thinking of his successors, most of whom had studied with him, explain the epithet der Grossehe was given on at least one occasion.' Almost his entire professional energies were devoted to the music of the twelfth and, particularly, the thirteenth centuries, as well as to the polyphony of the fourteenth century, which he began to explore in depth in the 1920s. His stringent devotion to the facts and to conclusions supported by them was a trait singled out by several commentators.2 Ludwig's insistence on scholarly rigor, however, cannot be said to account completely for his Modaltheorie,which appeared to posit the applicability of modal rhythm to all music of the Notre Dame period-except organal style-and of the pre-Garlandian (or pre- Franconian) thirteenth century, including particularly the musical settings of poetry. Much of the pre-Garlandian ligature notation in thirteenth-century sources of melismatic polyphonic compositions of the first half of that century (clausulae, organa for more than two voices) and of melismatic portions of certain genres, such as the caudae of conducti,3 signifies modal rhythms, and the appropriatenessof the modal system cannot be disputed in this context.
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Vestiges of Midsummer Ritual in Motets for John the Baptist
Early Music History (2011) Volume 30. Cambridge University Press doi:10.1017/S0261127911000027 M A A Email: [email protected] FIRE, FOLIAGE AND FURY: VESTIGES OF MIDSUMMER RITUAL IN MOTETS FOR JOHN THE BAPTIST The thirteenth-century motet repertory has been understood on a wide spectrum, with recent scholarship amplifying the relationship between the liturgical tenors and the commentary in the upper voices. This study examines a family of motets based on the tenors IOHANNE and MULIERUM from the feast of the Nativity of John the Baptist (24 June). Several texts within this motet family make references to well-known traditions associated with the pagan festival of Midsummer, the celebration of the summer solstice. Allusions to popular solstitial practices including the lighting of bonﬁres and the public criticism of authority, in addition to the cultural awareness of the sun’s power on this day, conspicuously surface in these motets, particularly when viewed through the lens of the tenor. The study suggests the further obfuscation of sacred and secular poles in the motet through attentiveness to images of popular, pre-Christian rituals that survive in these polyphonic works. In the northern French village of Jumièges from the late Middle Ages to the middle of the nineteenth century, a peculiar fraternal ritual took place. Each year on the evening of the twenty-third of June, the Brotherhood of the Green Wolf chose its new chief. Arrayed in a brimless green hat in the shape of a cone, the elected master led the men to a priest and choir; Portions of this study were read at the Medieval and Renaissance Conference at the Institut für Musikwissenschaft, University of Vienna, 8–11 August 2007 and at the University of Chicago’s Medieval Workshop on 19 May 2006.
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PÉROTIN and the ARS ANTIQUA the Hilliard Ensemble
CORO hilliard live CORO hilliard live 1 The Hilliard Ensemble For more than three decades now The Hilliard Ensemble has been active in the realms of both early and contemporary music. As well as recording and performing music by composers such as Pérotin, Dufay, Josquin and Bach the ensemble has been involved in the creation of a large number of new works. James PÉROTIN MacMillan, Heinz Holliger, Arvo Pärt, Steven Hartke and many other composers have written both large and the and small-scale pieces for them. The ensemble’s performances ARS frequently include collaborations with other musicians such as the saxophonist Jan Garbarek, violinist ANTIQUA Christoph Poppen, violist Kim Kashkashian and orchestras including the New York Philharmonic, the BBC Symphony Orchestra and the Philadelphia Orchestra. John Potter’s contribution was crucial to getting the Hilliard Live project under way. John has since left to take up a post in the Music Department of York University. His place in the group has been filled by Steven Harrold. www.hilliardensemble.demon.co.uk the hilliard ensemble To find out more about CORO and to buy CDs, visit www.thesixteen.com cor16046 The hilliard live series of recordings came about for various reasons. 1 Vetus abit littera Anon. (C13th) 3:47 At the time self-published recordings were a fairly new and increasingly David James Rogers Covey-Crump John Potter Gordon Jones common phenomenon in popular music and we were keen to see if 2 Deus misertus hominis Anon. (C13th) 5:00 we could make the process work for us in the context of a series of David James Rogers Covey-Crump John Potter Gordon Jones public concerts.
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Chapter 2: Secular and Cathedral Music in the High Middle Ages I
Chapter 2: Secular and Cathedral Music in the High Middle Ages I. Introduction – Chapter 1 dealt primarily with sacred music, influenced by the fact that initially only sacred music was available for observation. Chapter 2 turns to secular music. II. Troubadours and Trouvères A.Troubadours 1. The first European vernacular poet whose work survives was William IX (7th count of Poitiers and 9th duke of Aquitaine). b. The tradition of these poets is known as the troubadour. c. The troubadour tradition was a “top down” as those of the highest social ranks were the main participants. Their poetry celebrated feudal ideals. d. Different types of troubadour verse dealt with various aspects of the feudal system, including songs of alliance, knightly decorum, exploits, challenges, and death. 2. Courtly love lay at the heart of the troubadour tradition. a. The canso was a song about love. b. Courtly love songs celebrated the same high ideals as other types of songs. c. The lady about whom a poet wrote usually outranked him, making her theoretically unattainable. d. Courtly love was generally more about veneration than physical love. e. The poetic style matches the lofty ideals of courtly love, as demonstrated in Can vei la lauzeta mover. B. Performance and Oral Culture 1. We do not know the rhythm of troubadour songs, but most likely the loftier style of the troubadour songs approximated that of contemporary chant. 2. Some troubadour songs matched a lower-class style; these were not based on chant style. a. Pastorela is one such genre. b. L’autrier jost’ una sebissa by Marcabru is an example.
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Some Preliminary Observations on the Afterlife of Notre Dame Fragments*
138 MASCHKE | NOTRE DAME FRAGMENTS Article Some Preliminary Observations on the Afterlife of Notre Dame Fragments* Eva M. Maschke | Hamburg In the broad spectrum of dimensions a manuscript’s afterlife1 and also the paths taken by manuscripts from one collection can take on, the use of manuscript fragments as binding to another; they might also enable scholars to assign further material was a very common case in the European Middle dismembered fragments to these contexts. Projects like the Ages and the Early Modern Period. Attempts to reconstruct Virtual Manuscript Library of Switzerland2 and the Penn/ dismembered manuscripts which were reused as binding Cambridge Genizah Fragment Project3 have developed tools fragments have often benefited from the systematic work of for future research which address an interdisciplinary audience. the bookbinder, who usually reused several pages of the same Musicological research on fragments, too, has shown manuscript in various bookbindings of the same collection. increasing activity during recent decades and has benefited Considering, however, that the majority of historic collections from major projects in which fragments have been catalogued; from the European Middle Ages are now widely dispersed, only a few random examples from different countries the reconstruction of historic libraries is usually the first step will be mentioned here. In the United Kingdom, Wathey, of a systematic search for binding fragments. Bent and Craig-McFeely happily announced a decade ago Attempts to virtually reunite
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Introduction
Cambridge University Press 978-1-108-41858-4 — Polyphony in Medieval Paris Catherine A. Bradley Excerpt More Information 1 I n t r o d u c t i o n h e polyphonic music associated with the Parisian Cathedral of Notre Dame in the late twelt h and early thirteenth centuries marks a paradigm shit in music history. Linked to the authorial identities of Léonin and Pérotin, and intimately connected with signii cant advances in written musical transmission and systems of rhythmic notation, this music has long been understood to represent a historiographical beginning, a paradigm shit of lasting consequences in the scale, organisation, and ambition of polyphonic composition. 1 Unsurprisingly, organa, clausulae, conducti, and especially the innovative new thirteenth- century genre of the motet, have received considerable attention since the mid-nineteenth century. Much early schol- arship was philological, involving the transcription of contemporaneous theoretical treatises, extensive cataloguing of musical concordances and variants, production of manuscript facsimiles, and publication of musical editions in modern notation. 2 As a means of rationalising a huge amount of dense material, these resources – especially Friedrich Ludwig’s breathtak- ingly comprehensive 1910 catalogue of almost the entire thirteenth- century polyphonic repertoire 3 – established and reinforced large- scale evolu- tionary narratives of musical development that have proved powerfully indelible. 4 In the last several decades, research has taken a hermeneutic 1 h is accepted historiographical premise is acknowledged also by Edward H. Roesner and Anna Maria Busse Berger. See, respectively, ‘Who “Made” the Magnus liber ?’, Early Music History , 20 (2001), 227– 66; and Medieval Music and the Art of Memory (Berkeley, 2005), p.
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Contents and Sample Pages (PDF)
!"#$%&&'(&&$%)!%*'&+,-.%!"%/0123455'67'&7'8556&96$55:0;<5' MUSICA DISCIPLINA A YEARBOOK OF THE HISTORY OF MUSIC Edited by STANLEY BOORMAN VOLUME LVIII, 2013 American Institute of Musicology !"#$%&&'(&&$%)!%*'&+,-.%!"%/0123455'67'&7'8556&96$55:0;<56 MUSICA DISCIPLINA A YEARBOOK OF THE HISTORY OF MUSIC VOLUME LVIII, 2013 Edited by STANLEY BOORMAN Editorial Board Tim Carter University of North Carolina at Chapel Hill, USA Anthony Cummings Lafayette College, USA Mark Everist University of Southampton, GB Dinko Fabris Conservatorio di Bari, Italy Barbara Haggh University of Maryland, USA David Hiley Universität Regensburg, Germany Karl Kuegle Universiteit Utrecht, Netherlands Birgit Lodes Universität Wien, Austria Laurenz Luetteken Universität Zurich, Switzerland Anne MacNeil University of North Carolina at Chapel Hill, USA Anne Smith Schola Cantorum Basiliensis, Switzerland Anne Stone CUNY, USA AMERICAN INSTITUTE OF MUSICOLOGY The American Institute of Musicology publishes seven series of critical editions, scholarly studies, reference works, and this journal, all dedicated to the study of the music and culture of the Medieval, Renaissance, and early Baroque eras. The publications of the Institute are used by scholars and performers alike and constitute a major core collection of early music, theoretical writings on music, and the scholarly analysis of that music and its sources. For information on establishing a standing order or subscription to this journal or any of our series, or for editorial guidelines on submitting proposals, please contact: American Institute of Musicology 800 736-0070 (U.S. book orders) / 608 836-9000 (phone) / 608 831-8200 (fax) http://www.corpusmusicae.com [email protected] / [email protected] © 2013 by the American Institute of Musicology, Verlag Corpusmusicae, GmbH, Münster, Germany and Middleton, WI, USA.
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The Selection of Clausula Sources for Thirteenth- Century Motets
The Selection of Clausula Sources for Thirteenth Century Motets: Some Practical Considerations and Aesthetic Implications By Susan A. Kidwell In addressing questions of compositional process, scholars of medieval polyphony have relatively little on which to build. They cannot gain in sight from reading explicit written testimonies by medieval composers; nor can they look to evidence such as sketches, drafts, or revisions for guidance. Instead, they can only study theoretical accounts of how to com pose good discant and examine the surviving pieces themselves to in crease their understanding of medieval compositional process.l Of all the surviving types of medieval music, the early Latin motet offers perhaps the best opportunity to explore aspects of compositional process, for the vast majority of early Latin motets were created in several observ able stages. More than one hundred years have passed since Wilhelm Meyer's pathbreaking report that many early motets originated with the the addition of text to preexisting discant clausulae (Meyer 1898). While Meyer'S discovery prompted an intense effort to identifY related motets and clausulae (Ludwig 1910; Gennrich 1957; van der Werf 1989), other el ements of compositional process were largely overlooked. Norman Smith (1989) recognized this lacuna and drew attention to the process of convert ing clausulae into motets; in this paper, I shall focus on an earlier stage of compositional process-the process of selecting clausula models to convert into motets. In brief, I shall identifY factors that may have attracted me dieval "composers" to select certain types of clausula models for early Latin motets.2 I shall then consider the extent to which their criteria for selection apply to other segments of the thirteenth-century motet reper tory.
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The Bilingual Motets of the Old Corpus of the Montpellier Codex
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2003 The bilingual motets of the old corpus of the Montpellier Codex. Kimberly Adelle Harris University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Music Commons Recommended Citation Harris, Kimberly Adelle, "The bilingual motets of the old corpus of the Montpellier Codex." (2003). Electronic Theses and Dissertations. Paper 2882. https://doi.org/10.18297/etd/2882 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE BILINGUAL MOTETS OF THE OLD CORPUS OF THE MONTPELLIER CODEX By Kimberly Adelle Harris B.A., Truman State University, 2001 A Thesis Submitted to the Faculty of the Graduate School of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Music in Music History Department of Music History School of Music University of Louisville Louisville, Kentucky May 2003 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGMENTS My deepest appreciation goes to Dr. Julia Shinnick for her extraordinary guidance on this project. This thesis could not have come to fruition without her knowledge, suggestions, proofreading, advice, and inspiration. I also need to thank Dr.
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The Middle Ages, Part 2
A-R Online Music Anthology www.armusicanthology.com Content Guide The Medieval Period, Part 2: Polyphonic Traditions Karen M. Cook is associate professor of music history at By Karen M. Cook The Hartt School at the University of Hartford. She specializes in late medieval music history, with current The University of Hartford research projects treating various aspects of mensural theory and notation in late-fourteenth-century France. Assigned Readings She also focuses heavily on the intersections between Core Survey music and medievalism, particularly in video games, the subject of several recent publications in the journal Historical and Analytical Perspectives postmedieval and the Oxford Handbook of Music and Composer Biographies Medievalism. Supplementary Readings - Anonymous IV, excerpt from De mensuris et discantu - Johannes de Grocheio, excerpts from De musica Suggestions for Further Reading Summary List Genres to Understand Musical Terms to Understand Contextual Terms, Figures, and Events Main Concepts Scores and Recordings Exercises This workbook is for authorized use only. Unauthorized copying or posting is an infringement of copyright. If you have questions about using this article, please contact us: http://www.armusicanthology.com/anthology/Contact.aspx Content Guide: The Medieval Period, Part 2 (Polyphonic Traditions) 1 ______________________________________________________________________________ Content Guide The Medieval Period, Part 2: Polyphonic Traditions Karen M. Cook Assigned Readings Core Survey o James Maiello, “Medieval
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Medieval Period Week 1
M usic History P eriod of Music: Medieval S heet: 1 Terms: • Chant: A general term applied to liturgical music; Plainsong refers to chant done in the middle ages, which was monophonic (one line without harmony) and rhythmically free. In the early times, several forms of chant existed such as Ambrosian, Gallican, and Mozarabic, but with a decree by Charlemagne, Gregorian Chant became the official liturgy for the Western church. Chants were used to accompany actions, as well as to read biblical or other texts. The following types of chants were used: • Recitational: Used for most readings. Most of the text is intoned on a single pitch, with cadences marking the endings of phrases. Psalmody, a form of recitational chant is marked by the parallel treatment of the Psalm text. The two parallel lines are given different cadences, the first and less conclusive is the mediation, while the second is the termination. A Canticle is a scriptural poem, but not a Psalm. It usually receives slightly more elaborate cadences than the Psalm. • Responsorial: The text in these chants is broken down, and alternated between a soloist who sings the verse and the full choir who sings the responsory (refrain). The Gradual, Tract, and Alleluia are all responsorial chants. • Antiphon: More musically complex, these melodic settings of texts would precede and follow a Psalm or Canticle. • Ordinary/Proper: Chants of the ordinary were settings of texts that were used at every mass. There are 5 primary ordinary chants: Kyrie (lord have mercy), Gloria (glory to God in the highest), Credo (I believe in one God), Sanctus (holy, holy, holy) and Agnus Dei (lamb of God).
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