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The Enjoyment of Music 11th, Shorter Edition
PART II
Medieval and Renaissance Music
“Hearing” from The Lady and the Unicorn tapestry (late 15th century)
The Enjoyment of Music 11th, Shorter Edition
Prelude 2: The Culture of the
Middle Ages and Renaissance
“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 writer Geoffrey Chaucer (c. 1343–1400), as
depicted in a famous manuscript of his epic
Canterbury Tales (c. 1410).
The Enjoyment of Music 11th, Shorter Edition
Prelude 2: The Culture of the
Middle Ages and Renaissance
• 
Spans nearly 1,000 years
• 
Early Christian church and state
• 
Most patronage (sponsorship) from the church
• 
Most surviving music is sacred
1450
476
The Enjoyment of Music 11th, Shorter Edition
Prelude 2: The Culture of the
Middle Ages and Renaissance
The Medieval Church
Cathedral of Notre Dame, Paris
(1163–1235)
• 
Universities were founded throughout
Europe
• 
Construction of Notre Dame in Paris
(1163–1350)
• 
Cities emerged as center of art and
culture as trade flourished
• 
Literary masterpieces: Chanson de
Roland; Divine Comedy (Dante);
Canterbury Tales (Chaucer)
• 
Crusades brought era of violence,
turmoil, and change
The Enjoyment of Music 11th, Shorter Edition
Prelude 2: The Culture of the
Middle Ages and Renaissance
The Arts in the Renaissance
• 
Age of humanism
• 
Voyages of Columbus,
Vespucci, and Ponce de
Leon
• 
Invention of printing (c.
1455)
• 
Realism in visual arts
Mona Lisa, Leonardo da Vinci
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Prelude 2: The Culture of the
Middle Ages and Renaissance
Musicians in Medieval and Renaissance Society
• 
Musicians were supported by public
institutions as well as aristocracy.
• 
Employment in music-related fields
was abundant.
• 
The merchant class emerged as a new
group of music patrons.
• 
Most cultivated middle and upper
class were amateur musicians.
• 
Music literacy increased due to the
invention of music printing.
The Concert (c. 1530–40)
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12. Sacred Music in the Middle Ages
Scene from the life of the Virgin, Giotto di Bondone (1267–1337)
• 
Early Church Music
• 
Liturgy
• 
Gregorian chant
(plainchant,
plainsong)
• 
Monophonic
• 
Nonmetric
• 
Latin text
Whitsunday Mass, “Alleluia, emitte spiritum”
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12. Sacred Music in the Middle Ages
Classes of Chant:
•  Syllabic
Psalm 94, “Venite, exsultemus domino”
•  Neumatic
•  Melismatic
Whitsunday Mass, “Alleluia, emitte spiritum”
Melismatic: many notes per syllable
The Enjoyment of Music 11th, Shorter Edition
12. Sacred Music in the Middle Ages
• 
Chant
– 3,000-plus surviving melodies
– Oral transmission
– Early notation = neumes
– Scale patterns = modes
Manuscript illumination of Pope
Gregory the Great dictating to his
scribe Peter
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Early Church Modes
Lydian
Ionian (major)
Mixolydian
Dorian
Aolean (minor)
Phrygian
Locrian
Modal (old system) vs. Tonal (major/minor system used later)
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12. Sacred Music in the Middle Ages
The Mass
•  Two types of prayer in the daily
Offices and Mass
Proper
Ordinary
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Mass
Ordinary
Proper
• Text is the same each day
• Ordinary text has been
set by multiple composers
and is also sung at
concerts
• The Ordinary:
• Kyrie
• Gloria
• Credo
• Sanctus
• Agnus Dei
• Text changes based on
the church calendar
• Examples of Proper
items:
• Introit
• Collect
• Sequence
• Offertory
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12. Sacred Music in the Middle Ages
Life in the Medieval Cloister
• 
Cloister
Monastery
Convent
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12. Sacred Music in the Middle Ages
The Music of Hildegard of Bingen
Hildegard of Bingen (1098–1179)
• 
In 1150 founded convent in Germany
• 
Known for miracles and prophecies
• 
Works include collections of visions and
prophecies, music, and scientific writing.
• 
Consulted with the pope and politicians
• 
Writer, poet, and musician
• 
Monophonic and nonmetric music with larger
melodic leaps than traditional chant
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Listening Guide: “O pastor animarum” (“Shepard
of Souls”) by Hildegard
• Sacred
• Monophonic (single line texture)
• A cappella
• Female singer
• Latin text
• Listen to the wide melodic leaps in this
song written for a nun in Hildegard’s
convent to sing:
The Enjoyment of Music 11th, Shorter Edition
The Enjoyment of Music 11th, Shorter Edition
The Rise of Polyphony:
The Notre Dame School
• 
Cathedral of Notre
Dame in Paris
• 
Romanesque period
(c. 850–1150)
• 
Notated rhythm and
pitch
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Organum
•  Earliest form of polyphony – texture
with more than one melodic line
•  Evolved from 12th - 14th centuries in
northern France
•  Léonin and Pérotin, composers of
the Notre Dame School, lead
organum development
Pérotin’s manuscript
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Organum’s Influence
•  Transition from monophonic to
polyphonic textures
•  Transition from nonmetric
chant to measured rhythm
created need for precise musical
notation
Mensural notation
manuscript
The Enjoyment of Music 11th, Shorter Edition
The Enjoyment of Music 11th, Shorter Edition
Guillaume de Machaut
Northern France, ca. 1300-1377
Clergyman, scribe, secretary; best
known as a poet during his life
Machaut’s
manuscript.
Credited with composing the earliest
polyphonic setting of the complete
Ordinary
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Messe deThe
Nostre
Dame written for four
voices
Listening Guide: “Agnus Dei” (“Lamb of God”) from Messe de
Nostre Dame (Mass of our Lady)
•  Composed c. 1364 by Machaut
•  Movement from Mass ordinary
•  Polyphonic texture
•  A cappella
•  Triple meter
•  Originally performed in cathedrals as
part of the Mass service.
The Enjoyment of Music 11th, Shorter Edition
13. Secular Music in the Middle Ages
• 
Medieval Minstrels
• 
Secular music in courts
• 
Aristocratic artists
• 
France: troubadours (south)
and trouvères (north)
• 
Germany: Minnesingers
• 
Women: trobairitz
• 
Idealized love and chivalry
• 
Secular songs sung monophonically,
with improvised accompaniment
The Enjoyment of Music 11th, Shorter Edition
Anonymous: Sumer is icumen in
(Summer is come) (Listening Guide)
• 
One of the earliest examples of
polyphony from England
• 
Set as a round
• 
Composed around 1250
• 
Text in Middle English
• 
Lower voices sing ostinato.
The original notation of the canon
Sumer is icumen in (c. 1250)
The Enjoyment of Music 11th, Shorter Edition
The Enjoyment of Music 11th, Shorter Edition
The Enjoyment of Music 11th, Shorter Edition
Sacred/Secular Music: Motet
• Latin, sacred chant
performed in lower voice
Added “mot,”
French for “word”
• Vernacular, secular text(s)
performed in upper
voices
Two-part
organa
• Polyphonic, polytextual,
sacred and secular
mixture
• Eventually returned to
one sacred text for all
voices
Motet
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Development of Medieval Genres
Chant
Organa
Motet
Monophonic
Polyphonic
Polyphonic
Nonmetric
Sacred
Measured
Sacred
Measured
Sacred-Secular
Characteristics of Secular Music
•  Secular = non-religious topics including love, politics, and
stories written in the vernacular (language of the county of
origin)
•  Monophonic texture – single melodic line
•  Usually syllabic (one note per syllable) setting with occasional
melisma (multiple notes per syllable)
•  Strophic forms (same melody for each verse) and refrains
(recurring text and melody) were common
•  Instrumentalists may have improvised accompaniment,
creating a homophonic texture
The Enjoyment of Music 11th, Shorter Edition
13. Secular Music in the Middle Ages
The French Ars nova
Ars nova
Machaut: “Nesque on porroit . . . ”
Ars antiqua
Gregorian chant: Whitsunday Mass . . .
Guillaume de Machaut
The Enjoyment of Music 11th, Shorter Edition
The Enjoyment of Music 11th, Shorter Edition
The Enjoyment of Music 11th, Shorter Edition
A Chantar m’er Beatriz de Dia (trobairitz ( female troubadour))
Comtessa de Die or the Countess of Dia is an aristocratic trobairitz born about 1140. The Countess is an enigmatic =igure, and scholars are unsure of the exact circumstances of her birth and events in her life Of her extant poems, only A chantar m’er de so qu’ieu non volria, “I am obliged to sing of that which I would not,” contains musical notation. The poem exists in several different manuscripts, but the melody is found in only one manuscript. The lyrics are direct, immediate, and have a personal point of view. In a con=ident manner, the Countess berates her unfaithful lover and reminds him of her courtly virtues and beauty. There are =ive strophes or stanzas to the poem, A chantar m’er de so qu’ieu non volria, and the musical setting is strophic. The form of the music is ABABCDB. In the Medieval period, the voice as an instrument was held in highest esteem, because it could best portray highly expressive texts like A chantar. A chantar has several characteristics in common with the troubadour form canso. The poetry expresses in the view of the =irst person the theme of an unhappy courtship by using words as amor (love), amia (lover), cortesia (courtesy), and tragida (betrayed). The Enjoyment of Music 11th, Shorter Edition
A CHANTAR M'ER (La Comtessa de Dia, =l. late 12th Century; Language: French, Dialect: Old Provençal) 1. A chantar m'er de so qu'eu no volria, tant me rancur de lui cui sui amia; car eu l'am mais que nuilla ren que sia: vas lui no.m val merces ni cortezia ni ma beltatz ni mos pretz ni mos sens; c'atressi.m sui enganad' e trahia Com degr' esser, s'eu fos dezavinens. 2. D'aisso.m conort, car anc non =i faillensa, Amics, vas vos per nuilla captenenssa; ans vo am mais non fetz Seguis Valensa, e platz mi mout quez eu d'amar vos vensa, lo meus amics, car etz lo plus valens; mi faitz orgoil en digz et en parvensa, et si etz francs vas totas autras gens. 3. Meraveill me cum vostre cors s'orgoilla, amics, vas me, per qui'ai razon queu.m doilla; non es ges dreitz c'autr' amors vos mi toilla, per nuilla ren que.us diga ni acoilla. E membre vos cals fo.l comensamens de nostr'amor! Ja Dompnedeus non voilla qu'en ma colpa sia.l departimens. 4. Proeza grans, qu'el vostre cors s'aizina e lo rics pretz qu'avetz, m'en ataïna, c'una non sai, loindana ni vezina, si vol amar, vas vos no si' aclina; mas vos, amics, etz ben tant conoissens que ben devetz conoisser la plus =ina; e membre vos de nostres partimens. 5. Valer mi deu mos pretz e mos paratges e ma beutatz e plus mos =ins coratges; per qu'eu vos man lai on es vostr' estatges esta chanson, que me sia messatges: e voill saber, lo meus bels amics gens, per que vos m'etz tant fers ni tant salvatges; no sai si s'es orgoills o mal talens. 6. Mais aitan plus voill li digas, messatges, qu'en trop d'orgoill an gran dan maintas gens. I AM OBLIGED TO SING 1. I must sing of what I do not want, I am so angry with the one whom I love, Because I love him more than anything: Mercy nor courtesy moves him, Neither does my beauty, nor my worthiness, nor my good sense, For I am deceived and betrayed As much as I should be, if I were ugly. 2. I take comfort because I never did anything wrong, Friend, towards you in anything, Rather I love you more than Seguin did Valensa, And I am greatly pleased that I conquered you in love, My friend, because you are the most worthy; You are arrogant to me in words and appearance, And yet you are so friendly towards everyone else. 3. I wonder at how you have become so proud, Friend, towards me, and I have reason to lament; It is not right that another love take you away from me No matter what is said or granted to you. And remember how it was at the beginning Of our love! May Lord God never wish That it was my fault for our separation. 4. The great prowess that dwells in you And your noble worth retain me, For I do not know of any woman, far or near, Who, if she wants to love, would not incline to you; But you, friend, have such understanding That you can tell the best, And I remind you of our sharing. 5. My worth and my nobility should help me, My beauty and my =ine heart; Therefore, I send this song down to you So that it would be my messenger. I want to know, my fair and noble friend, Why you are so cruel and savage to me; I don't know if it is arrogance or ill will. 6. But I especially want you, messenger, to tell him That many people suffer for having too much pride. Edited by Frederick Goldin Translated by Craig E. Bertolet The Enjoyment of Music 11th, Shorter Edition
13. Secular Music in the Middle Ages
Early Instrumental Music
Praetorius: Terpsichore, “Volte” (bas)
• 
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)
Praetorius: Terpsichore, “Courante” (haut)
The Enjoyment of Music 11th, Shorter Edition
13. Secular Music in the Middle Ages
Early Instrumental Music
Early stringed instruments included:
•  Lute
• Mandolin
• Vielle
The Enjoyment of Music 11th, Shorter Edition
13. Secular Music in the Middle Ages
Early Instrumental Music
Other soft instruments included:
dulcimer
psaltery
Loud instruments:
shawm
sackbut
Percussion instruments:
tabor
nakers
The Enjoyment of Music 11th, Shorter Edition
13. Secular Music in the Middle Ages
Early Instrumental Music
• 
Medieval organs:
– Large instruments
– Small instruments (portative,
positive)
– Use of authentic instruments
in recordings
Bach: Jesu, Joy of Man’s Desiring
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14. Renaissance Sacred Music
“We know by experience that song has
great force and vigor to move and inflame
the hearts of men to invoke and praise God
with a more vehement and ardent zeal.”
—John
Calvin
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14. Renaissance Sacred Music
• 
Golden age of the a
cappella style
• 
Polyphony based on
principle of imitation
• 
Harmonies based on
“sweeter” sounds of
thirds and sixths
• 
Use of fixed melody
(cantus firmus) and
triple meter
Palestrina: Missa in Festis Apostolorum I, Agnus Dei
The Enjoyment of Music 11th, Shorter Edition
Renaissance Music
Sacred
Secular
Music became
longer and more
complex
Increase in secular
vocal and
instrumental
music
Composers wrote
for multiple voices
Printing press
made music
available for
average person
The Enjoyment of Music 11th, Shorter Edition
Sacred Music: Mass and Motet
Characteristics
• Four independent
voice parts
• A cappella
• Polyphonic texture
• Use of imitation,
particularly at the
beginning
Composition Options
• Chant melody in any
voice, no longer
exclusively in bass
• Secular melody used
in lieu of chant basis
• Completely new music
composed
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14. Renaissance Sacred Music
Josquin des Prez and the Motet
• 
Single Latin text
• 
Marian motets (Virgin
Mary)
• 
Written for three, four, or
more voices
• 
Cantus firmus
Josquin: Ave Maria . . . virgo serena
The Enjoyment of Music 11th, Shorter Edition
14. Renaissance Sacred Music
Josquin des Prez and the Motet
Josquin des Prez (c. 1450–1521)
•  Called Josquin
•  Franco-Flemish origin
•  Italian career
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14. Renaissance Sacred Music
Josquin des Prez and the Motet
• 
Patrons
– Milan, Cardinal Ascanio Sforza
– Ferrara, Ercole d’Este
– Rome, papal choir
• 
Humanistic writing
• 
Sacred and secular music
The Enjoyment of Music 11th, Shorter Edition
Josquin des Prez
(c. 1450 – 1521)
•  Born in N. France or
Belgium
•  Employed as a singer in Italy
and France
•  Taught students and
composed music
•  Wrote motets, Masses, and
secular music
•  Influenced the next
generation of composers
The Enjoyment of Music 11th, Shorter Edition
Josquin: Ave Maria . . . virgo serena
(Listening Guide)
• 
Renaissance motet
• 
Combinations of voices and textures
• 
Imitative vs. homorhythmic sections
• 
Final couplet: simple texture, example of humanistic spirit
The Enjoyment of Music 11th, Shorter Edition
The Enjoyment of Music 11th, Shorter Edition
The Enjoyment of Music 11th, Shorter Edition
14. Renaissance Sacred Music
The Renaissance Mass
• 
The Ordinary or fixed portion of the mass was
set to music.
• 
The five movements of the Ordinary are:
Kyrie, Gloria, Credo, Sanctus, and Agnus Dei
• 
Originally sung in Latin, now the Ordinary is
recited or sung in the vernacular.
• 
Settings of the mass are often based on fixed
voice or cantus firmus.
The Enjoyment of Music 11th, Shorter Edition
The Enjoyment of Music 11th, Shorter Edition
14. Renaissance Sacred Music
The Reformation and Counter-Reformation
• 
Martin Luther (1483–1546): Reformation
• 
Counter-Reformation (1530s–1590s)
• 
Council of Trent
– Corruption of chant by embellishment
– Use of certain instruments in religious services
– Incorporation of popular music in Masses
– Secularism of music
– Irreverent attitude of church musicians
• 
Pure vocal style that respected the integrity of the sacred texts
The Enjoyment of Music 11th, Shorter Edition
Counter-Reformation and Music
Return to
simple vocal
style for text
clarity(less
polyphony)
Use Latin
texts instead
of vernacular
Council
of
Trent
Avoid loud
instruments
for indoor
services
Abolish
secular
melodies
from Mass
The Enjoyment of Music 11th, Shorter Edition
settings
14. Renaissance Sacred Music
Palestrina and the Pope Marcellus Mass
• 
Giovanni Pierluigi da Palestrina
– (c. 1525–1594)
– Called Palestrina
• 
Italian composer, organist, and
choirmaster
• 
Sistine Chapel Choir
• 
Wrote mostly sacred music
The Enjoyment of Music 11th, Shorter Edition
Palestrina: Pope Marcellus Mass, Gloria
(Listening Guide)
• 
Foreshadows the strict demands of the Council of Trent
• 
Probably performed a cappella
• 
Written for six voice parts
– Soprano (sung by boys or male falsettists)
– Alto (sung by male altos or countertenors—tenors with high voices)
– Tenor I
– Tenor II
– Bass I
– Bass II
• 
Opens with a monophonic intonation
• 
Choral sections are polyphonic.
• 
Text is clear and audible.
The Enjoyment of Music 11th, Shorter Edition
The Enjoyment of Music 11th, Shorter Edition
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Shorter Edition
The Enjoyment of Music 11th, Shorter Edition
15. Renaissance Secular Music
Music in Court and City Life
• 
Professional musicians:
courts and civic functions
• 
Merchant-class amateurs:
played and sang at home
• 
Lute, keyboard instrument
• 
Women and music
• 
Chanson and madrigal
• 
Word painting
The Prodigal Son among the Courtesans
The Enjoyment of Music 11th, Shorter Edition
Renaissance Secular Music
France:
chanson
Germany:
lied
Italy:
madrigal
The Enjoyment of Music 11th, Shorter Edition
15. Renaissance Secular Music
The Italian Madrigal
• 
Chief form of
Renaissance secular
music
• 
Text: short poem of lyric
or reflective nature
• 
Italian courts
The Enjoyment of Music 11th, Shorter Edition
15. Renaissance Secular Music
The Italian Madrigal
• 
Music: sets text expressively
• 
Instruments double or
substitute for the voices
• 
Three phases of the madrigal
– First phase (c. 1525–
1550)
– Second phase (c. 1550–
1580)
– Third phase (c. 1580–
1620)
Marenzio: “La bella ninfa mia”
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Secular Music: Italian Madrigal
Early type: 14th century
Later type: 16th century
• Homophonic
• Three or four voices
• Limited expressive qualities
• Polyphony and homophony mixed
• Four to six voices
• Expanded expressiveness through
word painting – music represented
the word being sung
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El Grillo
Joquin
Listen for the “cricket” sound
El grillo è buon cantore,
Che tienne longo verso,
The cricket is a good singer
He can sing very long He sings all the time.
Dalle beve grillo canta.
Ma non fa come gli altri uccelli,
Come li han cantato un poco,
Van' de fatto in altro loco
Sempre el grillo sta pur saldo,
Quando la maggior è'l caldo
Al' hor canta sol per amore.
But he doesn't act like the birds.
If they've sung a little bit
They go somewhere else
The cricket remains where he is...
If the month of May is warm
Because he sings out of love.
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15. Renaissance Secular Music
Arcadelt and the Madrigal
• 
Jacques Arcadelt (c. 1507–1568)
• 
Italian composer
• 
Published book of madrigals in 1538 that included Il
bianco e dolce cigno (The white and sweet swan)
The Enjoyment of Music 11th, Shorter Edition
The Enjoyment of Music 11th, Shorter Edition
15. Renaissance Secular Music
The English Madrigal
• 
English further developed the Italian madrigal
•  – Musica transalpina, 1588
• 
Simpler and lighter in style
• 
Refrain syllables (fa-la-la)
Weelkes: “Welcome Sweet Pleasure”
Morley: “Those Dainty Daffadillies”
“Since singing is so good a thing,
I wish that all men would learne to sing.”
—William Byrd
The Enjoyment of Music 11th, Shorter Edition
15. Renaissance Secular Music
The English Madrigal
John Farmer (c. 1570–1601)
• 
Active in 1590s in Dublin
• 
Organist and master of choirboys
at Christ Church
• 
Published one collection of fourvoice madrigals.
The Enjoyment of Music 11th, Shorter Edition
The Enjoyment of Music 11th, Shorter Edition
Secular Music: French Chanson &
German Lied
French Chanson
3-5 voices
Accented rhythms
Frequent repetitions; short
phrases ending
simultaneously in all parts
Word painting
German Lied
Some monophonic; others
for 3 voices and
polyphonic
Provided melodies for
chorale tunes (hymns)
Later style more similar to
madrigal and chanson
The Enjoyment of Music 11th, Shorter Edition
15. Renaissance Secular Music
Instrumental Dance Music
• 
Period of growth in
instrumental music
• 
Published music
• 
Played vocal music
• 
Did not specify
instrumentation
The Enjoyment of Music 11th, Shorter Edition
Renaissance Instruments
• 
• 
Lute most popular instrument
• 
Englishman John Dowland wrote ayres - vocal songs
with lute accompaniment
• 
Other original , polyphonic compositions for lute
called ricercari and fantasias were composed
Keyboards
• 
• 
• 
• 
Clavichord
Harpsichord
Organ
Consorts – chamber ensembles for the home
• 
• 
• 
• 
• 
Whole Consort
All instruments in a family
Broken
Mixture of instruments from different
families
Brass and reeds were popular for outdoors
performances
The Enjoyment of Music 11th, Shorter Edition
15. Renaissance Secular Music
Instrumental Dance Music
Popular dance types:
• 
Pavane
• 
Saltarello
• 
Ronde
Praetorius: Terpsichore, “Courante”
Praetorius: Terpsichore, “Volte”
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Susato: Three Dances
(Listening Guide)
• 
Set of three rondes from the 1551 Danserye collection
– Instrumental dances published by Tielman Susato
(c. 1515–c. 1571)
• 
Performed by a loud wind band
– Loud instruments included: shawm, sackbut,
cornetto, tabor, tambourine
• 
Binary form (A-A-B-B)
– Repeated sections with added improvised
embellishments
The Enjoyment of Music 11th, Shorter Edition
The Enjoyment of Music 11th, Shorter Edition
The Enjoyment of Music 11th, Shorter Edition
15. Renaissance Secular Music
From the Renaissance to the Baroque
• 
Texture of vocal works simplified
• 
Rise of opera, cantata, and oratorio to follow
• 
Development of purely instrumental forms
Gabrieli: “Hodie Christus natus est”
The Enjoyment of Music 11th, Shorter Edition
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