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Middle Ages Declarative Knowledge

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Middle Ages Declarative Knowledge Comparison between Middle Ages and Renaissance Middle Ages Renaissance Long, asymmetrical Shorter, balanced Melody Texted melodies often melismatic Texted melodies often syllabic Smoother, more regular Rhythm Restless and active Often tied to rhythm or words Based on triads Based on fifths and octaves Dissonance less harsh, usually on weak Harmony Unexpected, pungent beats dissonances More adventurous in late Renaissance in portraying emotions Often a cappella or purely Voices and instruments mixed instrumental Sound Bright colors, freely mixed Softer tone colors, ensembles of similar instruments (consorts) Monophonic and polyphonic Mostly polyphonic Texture Non-imitative Often imitative Often based on cantus firmus or Some isorhythm, but usually based on isorhythm text or dance forms Form Vocal refrain forms (virelay, Through-composed vocal pieces rondeau) (madrigal and motet) Sacred Music of the Middle Ages I. Liturgy: Set Structure of Christian Church Service 1. Pope Gregory the Great (r. 590–604) codified church music 2. Gregorian chant (plainchant, plainsong) 1. vocal monophony, nonmetric, sung in Latin, conjunct melody 2. over 3,000 melodies anonymously composed 3. text settings: syllabic, neumatic, melismatic 4. early chant: handed down through oral tradition 5. notated by neumes: square notes on four-line staff 6. modes: precede major and minor scales II. The Mass: Reenactment of the Sacrifice of Christ 1. Most solemn ritual of the Catholic church 1. Proper: variable portions 2. Ordinary: fixed portions 3. offices: not part of the Mass, worship in monasteries http://ibscrewed4music.blogspot.com/ III. A Gregorian Melody: Kyrie 1. Kyrie: first in the Ordinary 1. Greek prayer in three parts 2. often sung antiphonally 2. Listening Guide 2: Gregorian Chant, Kyrie (10th century) 1. conjunct, nonmetric, monophonic, a cappella 2. Three phrases, each sung three times: represents the trinity IV. Life in the Medieval Cloister 1. Life devoted to the Catholic church 1. religious seclusion devoted to prayer, scholarship 2. available to men and women V. The Music of Hildegard of Bingen 1. Hildegard of Bingen (1098–1179) 1. poet and prophet 2. daughter of a noble couple 3. given to the church as a tithe 4. music resembles Gregorian chant 2. Listening Guide 3: Hildegard of Bingen, Alleluia, O virga mediatrix (Alleluia, O mediating branch),(late 12th century) 1. A cappella choir and soloist 2. Mass Proper: plainchant celebrating the Virgin Mary 3. expressive leaps of a fifth: “holy womb,” “flower,” and “chastity” VI. The Rise of Polyphony 1. Polyphony: combination of two or more simultaneous musical lines 1. regular meters 2. requires more exact notational system 3. composer derived from Latin componere,” to put together” 2. Organum: earliest polyphony, 12th and 13th centuries 1. second voice added to plainchant 2. Léonin (fl. 1150–c. 1201): composer at Cathedral of Notre Dame 1. compiled Great Book of Organum (Magnus liber organi) 3. Pérotin (fl. c. 1200): Léonin’s successor 1. expanded organum to three, four, or more voices 3. Listening Guide 4: Notre Dame School, Gaude Maria virgo (Rejoice Mary, virgin) (Early 13th century) 1. probably composed by Pérotin 2. prayer in praise of the Virgin Mary 3. three-part polyphony, alternates with monophonic chant 4. upper two voices melismatic, in rhythmic mode 1. rhythmic mode: fixed pattern of long and short notes 5. third voice sustained below http://ibscrewed4music.blogspot.com/ VII. The Early Medieval Motet 1. Texts added to upper voices of organum 1. motet: mot is French for “word” 2. sacred and secular texts combined PIECES: Hildegard of Bingen, Alleluia, O virga mediatrix Notre Dame School, Gaude Maria virgo Secular Music of the Middle Ages I. Medieval Minstrels 1. Minstrels 1. wandering actor-singers 2. versatile entertainers 2. Troubadours and trouvères 1. French poet-musicians 2. court musicians 3. members of aristocracy and royalty 4. poems: chivalry, unrequited love, political and war songs, Crusades 5. Minnesingers: German counterpart II. A Troubadour Chanson 1. Raimbaut de Vaqueiras (c. 1155–1207) 1. courtly troubadour for marquis of Montferrat 2. Listening Guide 5: Raimbaut de Vaqueiras, Kalenda Maya (The First of May) (late 12th century) 1. estampie: troubadour dance song 2. six-stophe poem in Provençal 1. love song to Beatrice, Marquise of Montferrat 2. return of spring; courtly love 3. instrumental accompaniment: guitar, rebec, nakers 4. strophic: same melody for each stanza 3. Listening Guide 6: Anonymous, Sumer is icumen in (Summer is come) (c. 1250) 1. six-voice, a cappella round 2. two voices repeat bass pattern 3. upper voices: two-voice, then four-voice round 1. long-short-long-short rhythmic pattern 4. Middle English text III. The French Ars nova 1. New musical style, early 14th-century France, then Italy http://ibscrewed4music.blogspot.com/ 1. significant developments in rhythm, meter, harmony, counterpoint, and notation 2. more refined and complex than Ars antiqua (old art) 3. secular themes 2. A Chanson by Machaut: Guillaume de Machaut (c. 1300–1377) 1. foremost composer-poet; also cleric 2. worked at French courts 3. sacred and secular compositions 1. favored chanson: courtly love poems 2. poetic forms: rondeau, ballade, and virelai 3. Listening Guide 7: Machaut, Puis qu’en oubli (Since I am forgotten) (mid-14th century) 1. three-voice, a cappella polyphonic chanson 2. low range: male voices 3. slow, syncopated rhythm 4. text: rondeau by Machaut IV. Early Instrumental Music 1. Instruments supported vocal music 1. accompanied singers 2. instrumental arrangements of vocal works 3. prominent in dance music: rhythm 2. Music improvised: not notated 3. Some instruments originated in Middle East 4. Soft (bas), indoor instruments 1. recorder, pipe, lute, harp, psaltery, hammered dulcimer, rebec, vielle 5. Loud (haut), outdoor instruments 1. tournaments, processions 2. shawm, sackbut 6. Other instruments 1. crumhorn, cornetto 2. percussion: tabor, nakers 7. Organs 1. church organs 1. performer; second person to pump bellows 2. small organs: portative and positive PIECES: Anonymous, Sumer is icumen in Machaut, Puis qu'en oubli http://ibscrewed4music.blogspot.com/ IB Time Band 4 (1550 - 1700) Preface: The Middle Ages o Gregorian Chant [ex: Haec Dies PMG “Gregorian Chant #16/NS Vol I p1] o Troping around: Parallel organum / free organum / melismatic organum: o [ex: Alleluia Justus ut palma NRAWM CD1#30/no score] o Perotin, Leonin (The Notre Dame School) o [ Perontin, Sederunt - Gradual for St. Steven’s Day NRAWM CD1#42- 44/PMG NAWM Vol I p 56] o Motet: tenor (chant streched out) + duplum + triplum o Secular songs and dances-monophonic: troubadours (s.Fr) and trouveres (n.Fr) - aristocratic poet/musicians o [Adam de la Halle Robins m’aime NRAWM CD1#20/PMG NAWM Vol I p 36] o Ars Nova (1300) Guillaume de Machaut (French c1300-c1377) more flexible rhythm, more polyphonic, fuller harmony. o [Mass: Agnus Dei NRAWM CD1#56/PMG NAWM vol 1 p 82] o Style: Form imitation, homo rhythm, cantus firmus, text-dominated forms Melody relatively conjunct, contrapuntal lines, word painting Tone Color families or consorts of instruments, blend Harmony interval of the third; firmly regulated treatment of dissonance Rhythm smooth regular flow, or restless. Dance music strongly metrical, but in general complex interlocking phrases without emphasis on meter. Syncopation. o Genres: mass - settings of the mass ordinary; this is where composers showed off their virtousity. [Palestrina: Pope Marcellus Mass, Credo NRAWM CD 1#14-18/ PMG NAWM vol 1 p 200/listening guide in PMG MFOT p 155] motet - polyphonic vocal work set to a sacred Latin text. More opportunity for experimentation in expressing different texts.[Josquin: Tu solus, qui facis mirabilia NRAWM CD2 # 23-26 / PMG NAWM p 111] chanson - Fr. for song. Our meaning here: French secular polyphonic song of the 14 - 16 centuries. [ Claude Le Jeune (c1600): Revecy venir du printans NRAWM CD2#61-69/no score] madrigal - secular polyphonic vocal work for 4 to 6 voices; imitative sections contrast with chordal ones; intimately tied to the text, with word painting evident; avoids fixed form. Sung at upper middle class social gatherings. Began in Italy and moved to England.[Italian: Willaert, Aspro core e selvaggio e cruda voglia, NRAWM CD2#42-46/PMG NAWM vol 1 p 242] [English: Farmer, Fair Phyllis PMG Quink English Madridgals#12/NS vol 1 p75] o Instruments: crumhorn - capped double reed instrument with soft but very reedy tone. http://ibscrewed4music.blogspot.com/ cornett - instrument made of wood or ivory, with a cup shaped mouthpiece. lute - fretted, plucked string instrument with bent neck; strings tuned in pairs. sackbut - a mellow, softer precursor of the modern trombone. rackett - low pitched double reed instrument; coiled lengthy tube in a small box. recorder - wooden, just like the plastic one you played in grade school. shawm - harsh loud precursor of the oboe. viol - bowed stringed instrument with a fretted neck; six strings tuned a fourth apart w/a major third in the middle. (A d g b e’ a’). Held upright in front of player. o Vocabulary ayre - air, or song - a type of English madrigal. Often printed in three directions so performers could sit around a table. a cappella - the ideal of Renaissance vocal music. Unaccompanied. academy - a “learned society” for the purpose of furthering the arts, literature, or science. ballett - like a madrigal but dance-like, strophic, homophonic and with falala refrain. cantus firmus (Medieval) - chant or chant fragment on which polyphony is based. consort - different pitched family of like instruments. chorale - Protestant hymn; tunes frequently used as cantus firmi. canzona - instrumental counterpart of the chanson. cori spezzati - divided choirs; often associated with the widely seperated choir lofts of St. Marks in Venice. Gabrieli was the master of the polychoral motet. fauxbourdon - Dufay compositional technique for 3 voices using the interval of a 6th; creating basically 1st inversion triads.
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  • The World of Troubadours and Trobairitz II: Poems, Songs, and Music WEST TISBURY LIBRARY

    The World of Troubadours and Trobairitz II: Poems, Songs, and Music WEST TISBURY LIBRARY

    Suggested Reading List and Websites Akehurst, F. R. P. and Davis, Judith. M., eds. A Handbook of the Toubadours, WEST TISBURY LIBRARY Berkeley, 1995 Aubrey, Elizabeth. The Music of the Troubadours, Bloomington, 1996 Bruckner, Matilda. T., Shepard, Laurie. and White, Sarah., eds. Songs of the Women Troubadours, NewYork, 1995 presents... Kehew, Robert. ed., Translated by Pound, Ezra, Snodgrass, W. D. and Kehew, Robert. Lark in the Morning: The Verses of the Troubadours, Chicago, 2005 Oldenbourg, Zoe. Massacre at Montségur: A History of the Albigensian Crusade, London, 1961 Paden, William D. and Paden, Francis Freeman. Troubadour Poems from the South of France, D. S. Brewer, Cambridge, 2007 O’Shea, Stephen. The Perfect Heresy: The Revolutionary Life and Death of the Medieval Cathars, New York, 2000 Patterson, Linda. The World of the Troubadours: Medieval Occitania Society, c. 1100-1300, Cambridge, 1993 Troubadour Web Sites http://www.trobar.org/ -List of troubadour and trobairitz poems http://www.midi-france.info/1904_troubadours.htm -An introduction to the Troubadours Video: Troubadour Ensemble http://vimeo.com/10697422 -Performance of Troubadour Poems The World of Troubadours and 1042 State Rd Trobairitz II: 508-693-3366 westtisburylibrary.org Poems, Songs, and Music The World of Troubadours Sunday, July 10th and Trobairitz II: at 3 pm Poems, Songs, and Music Howes House featuring Jessica Goodenough Heuser soprano Marisa Galvez, Ph.D Assistant Professor in French and Italian Stanford University Musicians Deborah Forest Hart recorder and hammer dulcimer Carol Loud recorder Andy Wiener hammer dulcimer Troubadours Acknowledgement Jonathan Revere, Joe Eldredge, John Alley, Paul Levine This program is supported in part by a grant from the MV Cultural Council, Trobairitz a local agency which is supported by the Massachusetts Cultural Council, a state agency.
  • 2Music of the Middle Ages

    2Music of the Middle Ages

    M usic of the Middle Ages 2Elizabeth Kramer 2.1 OBJECTIVES 1. Demonstrate knowledge of historical and cultural contexts of the Middle Ages 2. Recognize musical styles of the Middle Ages 3. Identify important genres and uses of music of the Middle Ages 4. Identify aurally, selected compositions of the Middle Ages and critically evaluate its style 5. Compare and contrast music of the Middle Ages with today’s contemporary music 2.2 KEY TERMS AND INDIVIDUALS • a cappella • drone • Alfonso the Wise • gothic • bubonic plague • Guillaume de Machaut • cadence • Hildegard of Bingen • cathedrals • hymn • Catholic Church • mass • chant • melisma • classical Greece and Rome • Middle Ages (450-1400 CE) • clergy • nobility • commoners • Perotin • courtly love • polyphony • courts • Pope • Crusades • Pythagoras Page | 34 UNDERSTANDING MUSIC MUSIC OF THE MIDDLE AGES • refrain • syllabic • rhythm according to the text • university • Roman Empire (27 BCE – 476 CE) • vernacular literatures • song • verse • strophes • Virgin Mary 2.3 INTRODUCTION AND HISTORICAL CONTEXT 2.3.1 Musical Timeline Events in History Events in Music 2nd millennia BCE: First Hebrew Psalms are written 7th Century BCE: Ancient Greeks and Romans use music for entertainment and religious rites 6th Century BCE: Pythagoras and his experi- ments with acoustics From the 1st Century CE: Spread of Christianity through the Roman Empire 4th Century BCE: Plato and Aristotle write 4th Century CE: Founding of the monastic about music movement in Christianity c. 400 CE: St Augustine writes about church c. 450 CE: Fall of Rome music 4th – 9th Century CE: Development/Codification of Christian Chant c. 800 CE: First experiments in Western Music 11th Century CE: Rise of Feudalism & the Three Estates 11th Century CE: Guido of Arezzo refines of mu- 11th Century: Growth of Marian Culture sic notation and development of solfège 1088 CE: Founding of the University of Bolo- gna 12th Century CE: Hildegard of Bingen writes c.