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The Enjoyment of Music 10th Shorter Edition

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1 The Enjoyment of Music 10th Shorter Edition

2 Medieval and Renaissance Music
PART TWO Medieval and Renaissance Music The Enjoyment of Music 10th, Shorter Edition

3 Unit III The Middle Ages
“Nothing exists without music, for the universe itself is said to have been framed by a kind of harmony of sounds, and the heaven itself revolves under the tone of that harmony.” —Isidore of Seville The Enjoyment of Music 10th, Shorter Edition

4 11. The Culture of the Middle Ages
Spans nearly 1,000 years Early Christian church and state Most patronage (sponsorship) from the church Most surviving music is sacred Later Middle Ages: cities, cathedrals, art, and literature 11. The Culture of the Middle Ages Middle Ages spans nearly 1000 years (c. 476–1450) Early Christian church and state were centers of powers In Middle Ages most patronage (sponsorship) was from the church Most surviving music is sacred Later Middle Ages saw the rise of cities and cathedrals, and creation of great works of art and literature 1450 476 The Enjoyment of Music 10th, Shorter Edition

5 The Enjoyment of Music 10th, Shorter Edition
The Enjoyment of Music 10th, Shorter Edition

6 The Enjoyment of Music 10th Shorter Edition

7 12. Sacred Music in the Middle Ages
Early Church Music Liturgy Gregorian chant (plainchant, plainsong) Monophonic Nonmetric Latin text 12. Sacred Music in the Middle Ages Liturgy: set order of services and structure of each service in the church Early Church Music Gregorian chant (plainchant, plainsong) Monophonic Nonmetric Latin text More than 3,000 melodies survive Early chants handed down orally Early chant notation called neumes Neumes suggested the contours of the melody but not rhythms Scale patterns used are the church modes Whitsunday Mass, “Alleluia, emitte spiritum” The Enjoyment of Music 10th, Shorter Edition

8 The Enjoyment of Music 10th, Shorter Edition
Classes of Chant Syllabic Neumatic Melismatic Syllabic: Psalm 94, “Venite, exsultemus domino” Melismatic: Whitsunday Mass, “Alleluia, emitte spiritum” Classes of chant Syllabic: one note per syllable of text Neumatic: small group of notes sung to a syllable of text Melismatic: many notes per syllable of text Melismatic: many notes per syllable The Enjoyment of Music 10th, Shorter Edition

9 12. Sacred Music in the Middle Ages
Chant 3,000-plus surviving melodies Oral transmission Early notation = neumes Scale patterns = modes 12. Sacred Music in the Middle Ages Gregorian chant (plainchant, plainsong) More than 3,000 melodies survive Early chants handed down orally Early chant notation called neumes Neumes suggested the contours of the melody but not rhythms Scale patterns used are the church modes The Enjoyment of Music 10th, Shorter Edition

10 The Enjoyment of Music 10th, Shorter Edition
Early Church Modes Lydian Ionian (major) Mixolydian Dorian Aolean (minor) System started in Greece Categorized according to mood or feelings Phrygian Locrian Modal (old system) vs. Tonal (major/minor system used later) The Enjoyment of Music 10th, Shorter Edition

11 The Enjoyment of Music 10th, Shorter Edition
Offices and the Mass Two types of prayer in the daily Offices and Mass Proper Ordinary Form of music Responsorial Antiphonal The Mass Two types of prayers in the Mass Proper: texts change according to the day Ordinary: texts are the same for every Mass Form of music Responsorial: soloist alternates with chorus Antiphonal: alternating singing by two groups The Enjoyment of Music 10th, Shorter Edition

12 The Enjoyment of Music 10th, Shorter Edition
The Mass Proper Introit Proper Kyrie Ordinary Gloria Ordinary Gradual Proper Alleluia Proper Credo Ordinary Offertory Proper Sanctus Ordinary Agnus Dei Ordinary Communion Proper Text changes with the season (Easter, Christmas, etc.) Ordinary The Mass Two types of prayers in the Mass Proper: texts change according to the day Ordinary: texts are the same for every Mass Text stays the same in every mass The Enjoyment of Music 10th, Shorter Edition

13 The Enjoyment of Music 10th, Shorter Edition
The Mass Form of music Responsorial Antiphonal Gregorian chant: Whitsunday… Gabrieli: “Hodie Christus…” (late Renaissance) The Mass Form of music Responsorial: soloist alternates with chorus Antiphonal: alternating singing by two groups The Enjoyment of Music 10th, Shorter Edition

14 Life in the Medieval Cloister
Monastery Convent Life in the Medieval Cloister Cloister: a place for religious seclusion monastery: men convent: women Cloisters were places of prayer, scholarship, preaching, charity, healing The Enjoyment of Music 10th, Shorter Edition

15 The Music of Hildegard of Bingen (1098–1179)
1150 founded convent in Germany Known for miracles and prophecies Three collections of visions and prophecies in manuscript Composed religious poetry with music Morality play The Play of the Virtues (Ordo virtutum) The Music of Hildegard of Bingen (1098–1179) 1150 founded convent in Rupertsberg, Germany Known for miracles and prophecies Three collections of visions and prophecies in manuscript Composed religious poetry with music Morality play: drama meant to teach virtues Best known morality play: The Play of the Virtues (Ordo virtutum) The Enjoyment of Music 10th, Shorter Edition

16 Characteristics of Hildegard’s poetry
Brilliant imagery Visionary language Characteristics of Hildegard’s poetry Brilliant imagery Visionary language The Enjoyment of Music 10th, Shorter Edition

17 Hildegard: Alleluia, O virga mediatrix (Listening Guide)
Listening Guide PDF A B A Hildegard: Alleluia, O virga mediatrix (Listening Guide) From the Mass Proper Proper to feasts of the Virgin Mary Ternary form (A-B-A) Responsorial Monophonic Conjunct melody with few leaps Free, nonmetric rhythm Neumatic The Enjoyment of Music 10th, Shorter Edition

18 The Rise of Polyphony: The Notre Dame School
Cathedral of Notre Dame in Paris Romanesque period (c. 850–1150) Notated rhythm and pitch The Rise of Polyphony: The Notre Dame School Early Polyphony emerged at the Cathedral of Notre Dame in Paris Polyphony evolved toward the end of the Romanesque period (c. 850–1150) Polyphony necessitated the use of notated rhythm and pitch Organum Léonin Pérotin Organum: earliest polyphonic music Second melody added above or below the older Gregorian melody Léonin: earliest known composer of the Notre Dame School Pérotin: Léonin’s successor, added two and three melodies to chant The Enjoyment of Music 10th, Shorter Edition

19 Notre Dame School Organum: Gaude Maria virgo (Listening Guide)
Same text in all 3 lines Melismatic Notre Dame School Organum: Gaude Maria virgo (Listening Guide) Text praises Blessed Virgin Two-voice organum in the style of Pérotin Both voices sing same text Second added melody is melismatic Original melody is older chant, slowed down Original chant melody slowed down Listening Guide PDF The Enjoyment of Music 10th, Shorter Edition

20 The Early Medieval Motet
New text for second melody in organum New genre: motet polytextual The Early Medieval Motet Composers wrote texts to second melody in organum New genre called motet (mot is French for “word”) Many three-voice motets have different texts (polytextual) Sometimes the languages were mixed in one piece French and Latin Motets are sacred or secular Can have instrumental accompaniment A Gregorian chant is the basis for motets; the other voices are composed around the chant The Enjoyment of Music 10th, Shorter Edition

21 The Enjoyment of Music 10th, Shorter Edition
The Enjoyment of Music 10th, Shorter Edition

22 The Enjoyment of Music 10th Shorter Edition

23 13. Secular Music in the Middle Ages
Medieval Minstrels Secular music in courts Aristocratic artists France: troubadours (south) and trouvères (north) Germany: Minnesingers Secular music in cities Wandering minstrels Men: Goliards, jongleurs Women: trobairitz, jongleuresses Idealized love and chivalry Secular songs sung monophonically, with improvised accompaniment 13. Secular Music in the Middle Ages Medieval Minstrels Poetry of secular song often focused on idealized love and chivalry (code of behavior for knights) Secular songs sung monophonically, with improvised accompaniment The Enjoyment of Music 10th, Shorter Edition

24 Raimbaut de Vaqueiras and the Trouvère Tradition
Southern French secular composer (c ) Musician at the court of the marquis of Montferrat (northwest Italy) Knighted for bravery in battle Joined in the Fourth Crusade to the Holy Land Probably died in battle alongside his patron Moniot d’Arras and the Trouvère Tradition A monk from Abbey of St. Vaast Flourished as a composer Composed sacred and secular song in northern France The Enjoyment of Music 10th, Shorter Edition

25 The Enjoyment of Music 10th, Shorter Edition
Raimbaut de Vaqueiras: Kalenda maya (Listening Guide) Listening Guide PDF Late-13th-century estampie (troubadour dance song) Set to a strophic poem Instrumental portion performed on rebec, pipe, guitar, nakers, hand drum Middle Eastern influence evident in the work Improvisation instruments The Enjoyment of Music 10th, Shorter Edition

26 Guillaume de Machaut and the French Ars Nova
Machaut: “Nesque on porroit …” Ars antiqua Gregorian chant: Whitsunday Mass… Guillaume de Machaut and the French Ars Nova Ars nova (new art): movement beginning in 14th-century France Greater refinement than music of the Ars antiqua (old art) New developments in rhythm, meter, harmony, and counterpoint The Enjoyment of Music 10th, Shorter Edition

27 Guillaume de Machaut (c. 1300–1377)
French composer Premier composer of Ars nova Cleric and courtier Motets, chansons, polyphonic Mass Ordinary Poet Fixed text forms: rondeau, ballade, virelai Guillaume de Machaut (c. 1300–1377) Premier composer of Ars nova Double career as cleric and courtier Composed motets, chansons (French for “songs”), a polyphonic Mass Ordinary Poet Wrote in fixed text forms: rondeau, ballade, virelai The Enjoyment of Music 10th, Shorter Edition

28 Machaut: Puis qu’en oubli (Listening Guide)
Listening Guide PDF Machaut: Puis qu’en oubli (Listening Guide) Three-voice chanson Text: rondeau form (fixed form) Pain of unrequited love Low melodic range (depths of despair) The Enjoyment of Music 10th, Shorter Edition

29 Early Instrumental Music
Central role in art music reserved for vocal music Instrumental music mostly improvised Soft (bas) or loud (haut) instruments Categorized by their use (indoor or outdoor) Early Instrumental Music Central role in art music reserved for vocal music Instrumental music mostly improvised (not notated) Performed by ensembles of soft (bas) or loud (haut) instruments Categorized by their use (indoor or outdoor) Praetorius: Terpsichore, “Volte” (bas) Praetorius: Terpsichore, “Courante” (haut) The Enjoyment of Music 10th, Shorter Edition

30 Early Instrumental Music
Vielle Mandolin Lute Early Instrumental Music Central role in art music reserved for vocal music Instrumental music mostly improvised (not notated) Performed by ensembles of soft (bas) or loud (haut) instruments Categorized by their use (indoor or outdoor) The Enjoyment of Music 10th, Shorter Edition

31 Early Instrumental Music
Dulcimer Early Instrumental Music Central role in art music reserved for vocal music Instrumental music mostly improvised (not notated) Performed by ensembles of soft (bas) or loud (haut) instruments Categorized by their use (indoor or outdoor) Psaltery The Enjoyment of Music 10th, Shorter Edition

32 The Enjoyment of Music 10th, Shorter Edition
Medieval Organs Large instruments Small instruments (portative, positive) Use of authentic instruments in recordings Medieval organs Large instruments required physical pumping of bellows Small instruments (portative, positive) were portable Some recordings today use early instruments for authenticity Bach: Jesu, Joy of Man’s Desiring The Enjoyment of Music 10th, Shorter Edition

33 The Enjoyment of Music 10th, Shorter Edition
The Enjoyment of Music 10th, Shorter Edition

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