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Music History Middle Ages (400-1500): between the fall of the Roman Empire and the Renaissance. Crusades (1096-1291): European Christians recovered the city of Jerusalem from the Muslims 100 Years War (1337-1453): end of England’s attempt to control the continent Social Classes of the Middle Ages: - God (Clergy: Priests, Monks, and Nuns) - Royalty - Aristocracy - Knights - Pheasants Roman Catholic Church: - held monopoly on education - dominated life commercially, spiritually and musically - involved singing - music was not recorded in the middle ages, was taught orally (sing-repeat ) Chant: - official song of the Roman Catholic Church during middle ages -AKA Gregorian Chant (Pope Gregory 590-604) Gregorian Chant: -texture: monophonic -rhythm & meter: free -language: Latin -content: sacred -form: through composed (no repetition) Chant Text: 1) Syllabic (one note per syllable) 2) Melismatic (many notes per syllable) *ranges of chants were usually kept narrow* *chant music usually sound improvised to most ears* Hildegard Of Bingen: German Nun (1098-1179) - visionary; poet, composer, naturalist, healer, theologian - founder of 2 convents -corresponded with/was consulted by secular and church leaders - the monastic trouble shooter of the middle ages - Hildegard’s chants were written specifically for women Secular (Worldly) Medieval Music The Age of Chivalry -aristocratic music making in France - Troubadours (south) vs Trouvires (north) -rich young men composed their own music (Ballads) -over 2500 preserved troubadour songs -songs accompanied by harps, lutes, and fiddles Main Focus: Minni or Courtly Love : non-physical love- relationship amongst nobility French T&T: and german counterparts, the minnesanger performed in castles, towers, town squares, known as singing journalists. Organum Music: -new music type developed in the late middle ages -second line is added to the chant melody -identical text, tempo, direction (parallel motion) -different pitches -composers kept adding more parts to organum settings, some of which moved at different speeds -tenor is always the lowest part -often split into 3 groups -triple meter, everything is in 3 -usually used at mass -mass: religious worship service celebrated by the Roman Catholic Church 1) Kyrie Eleison: Lord Have Mercy 2) Gloria in Excelsis: Glory to God 3) Credo (in unum deum): I believe (in one God) 4) Sanctus (S, S.): Holy (Holy, Holy) 5) Benedictus: Blessed is He 6) Angus Dei: Lamb of God (Kermit Got Cranky, said Ben and Disappeared) Leonin and Periotin: The School of Notre Dame -Leonin and Periotin were choirmasters and composers at Notre Dame Cathedral in the artistic and intellectual center of Europe; Paris. -Notre Dame: school of composers, invented concept of measure and rhythm -attached definite time values and pitches to chant notes Results: music can now be repeated with great exactness and then repeated at will Guillame De Machaut (1300-1377) -set all words to text -French, famous poet, priest, musician, composer, helped shape musical movements -Ars Nova (New Art) -Polyphonic- Latin and French sacred music Ars Nova (New Art) Ars Antiqua (Old Arts= Organum) Machauts Claim to Fame: -first one to set all texts of the mass ordinary to music, specifically as polyphonic music The Renissance Period (1400-1600) Rebirth- revival of culture and learning Musical center: Italy, but with Flemish(North Belgian) composers contributing to the evolution of musical style General Characteristics of Ressinance music: -no extreme contrasts of dynamics, tone colour, or rhythm -texture: polyphonic (5-6 parts) with emphasis on bass (lowest part) -rhythm: more independent than before -harmony: very few dissonances -use of word painting: musical representation of specific poetic images -ex) ascending to heaven- ascending notes Representative Composer Josquin Desprez (1440-1421) -born in Belgium, active in Italy -output: masses, secular vocal pieces -motets: sacred polyphonic choral works set to Latin sacred texts other than the mass ordinary texts -instead M. used texts from the bible, prayers etc.
