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IB Music History Ancient / Middle Ages / Medieval Music Epigram ¡ The most basic definition of an epigram is a brief, clever, and memorable statement ¡ This could inclue an elegy, a poem, or a song ¡ Epitaph of Seikilos ¡ The oldest surviving example of a complete musical compositions ¡ Dated between 200 BC and 100 AD ¡ More info, pictures, and explanations here: ¡ http://www.amaranthpublishing.com/SongOfSei kilos.htm Time Period ¡ Approx. 450 – 1450 A.D. ¡ Middle Ages – in between the fall of Rome and the start of the Renaissance ¡ The traditions of Western music can be traced back to the social and religious developments that took place in Europe during the Middle Ages ¡ Sacred music was prevalent as the early Catholic church evolved into Europe’s strongest institution ¡ Feudalism separated society into a multi-leveled structure – wealthy royalty to poor 2 Types of Music ¡Music from the Middle Ages can be classified into two types: ¡Sacred – music used by the Roman Catholic church ¡Secular – music with no relation to the church 1. Sacred music Medieval Music (Gregorian) Chant ¡ Secular music evolved from a form called chant or plainsong ¡ Also called Gregorian Chants, named after Pope Gregory I, who collected the chants ¡ They are the official pieces of the Catholic church Characteristics ¡ Chant is written in neumes – notes sung on a single syllable (http://www.lphrc.org/Chant/) ¡ Melody: free-flowing, legato, moves up and down by steps or small leaps, narrow range, conjunct, melismatic – syllables are held out over multiple notes ¡ Harmony: no harmony, monophonic, based on one of the 8 church modes ¡ Rhythm: no precise rhythm, notes are held for a duration of “short” or “long” ¡ Form: often ternary, with the cantor’s introductory solo (incipit), the choir joining in, then concluding with the cantor’s solo (often quieter or more narrow) Characteristics ¡ Texture: Monophonic ¡ Medium: tradtionally all-male choirs (monks). Occasionally sung by all-women choirs in convents. ¡ Context: used by the Church to aid prayers. ¡ Style: Medieval music, church music ¡ Vocal characteristics: all male, straight tone (no vibrato), melismatic, Latin text Composers of Gregorian Chant ¡ Hildegard of Bingen (Germany, 1098-1179) ¡ The first woman composer with a significant output of works ¡ Catholic nun ¡ Expressive chants and hymns ¡ Visionary/mystic who wrote on theology, politics, medicine, and science ¡ Listening example: Ordo virtutum – sacred music drama by Hildegard ¡ Listening example: O Successors https://www.youtube.com/watch?v=YfCmHuz5oTk ¡ Most other composers were unknown since works were given to the Church (glorify God) The Roman Mass A Grand Form of Sacred Music The Roman Mass ¡ Mass “Ordinary” ¡ Five standard prayers of the Mass that are used every day ¡ Kyrie (*Greek*) ¡ Gloria ¡ Credo ¡ Sanctus ¡ Agnus Dei ¡ Mass “Proper” ¡ 15 prayers that change daily to focus on a certain occasion in the church calendar ¡ The most important church festivals are Easter and Christmas ¡ Examples include: ¡ Introit ¡ Gradual ¡ Alleluia ¡ Offertory ¡ Communion The Roman Mass ¡ Mass “Ordinary” ¡ Mass “Proper” ¡ Same text, different pieces of music ¡ Different text and melodies ¡ Ordinary chants are more like composed melodies ¡ Derived from psalm-singing ¡ Frequent stepwise motion and little recitation ¡ Feast days: Proper chants tend to be older than the Ordinary chants ¡ Include passages of decorated recitation, centering around a single note with embellishing gestures The Roman Mass ¡ Mass “Ordinary” ¡ Five standard prayers of the Mass that are used every day ¡ Kyrie, Gloria, Credo, Sanctus, Agnus Dei ¡ Short prayers (Kyrie, Sanctus, Agnus Dei) were sung with expressive melismas ¡ Longer prayers (Gloria, Credo) had to be sung in a recitational style ¡ Listening example: Kyrie ¡ Mass “Proper” ¡ Added as needed by the calendar ¡ Listening example: Alleluia Prayer Examples ¡ Kyrie ¡ Kyrie, eleison Christe, eleison Kyrie, eleison ¡ Credo Credo in unum Deum, Patrem omnipotentem, factorem cœli et terrae, v isibilium omnium et invisibilium. Et in unum Dominum, J esum Christum, Filium Dei unigenitum, et ex Patre natum ante omnia saecula. Deum de Deo, Lumen de Lumine, Deum v erum de Deo vero, genitum non factum, c onsubstantialem Patri;; per quem omnia facta sunt. Qui propter nos homines et propter nostram salutem descendit de c œlis. Et incarnatus est de Spiritu Sancto ex Maria Virgine, et homo factus est. Crucifixus etiam pro nobis sub Pontio Pilato passus, et s epultus est, et resurrexit tertia die, s ecundum Scripturas, et ascendit in c ælum, s edet ad dexteram Patris. Et iterum venturus est cum gloria, iudicare vivos et mortuos, cuius regni non erit finis;; Et in Spiritum Sanctum, Dominum et v ivificantem, qui ex Patre Filioque procedit. Qui c um Patre et Filio simul adoratur et c onglorificatur: qui locutus est per prophetas. Et unam, s anctam, c atholicam et apostolicam Ecclesiam. Confiteor unum baptisma in remissionem peccatorum. Et expecto resurrectionem mortuorum, et vitam venturi saeculi. Amen. Organum Early Sacred Polyphony Organum ¡ Around the year 1000, composers in Europe began to experiment with polyphony ¡ This bold step is perhaps the most important occurrence in the history of Western music ¡ Around 1200, a simple type of polyphony called organum developed in France Organum Development ¡ Composers experimented with the idea of singing two melodic lines at the same time at parallel intervals (usually at the fourth, fifth, or octave) ¡ Over the next one hundred years, added melody lines were no longer moving parallel, but contrary to each other, sometimes even crossing ¡ Organum is a Gregorian chant to which additional melodic lines are added ¡ Listening example: Alleluia in free organum p. 61 What is Organum? ¡ Long-held notes in the lower part with choppy, faster-moving notes in the upper voice ¡ The lower voice is actually a chant melody sung very slowly on long held notes called the cantus firmus ¡ The upper voice is based on secular dance rhythms and embellishes the resulting drone ¡ In organum, voices often sing extended melismas to expressive the most important words in a prayer Composers of Organum ¡ Two main composers of organum: ¡ Léonin, director of the school of music at the Notre Dame Cathedral in Paris ¡ He was the first to use measured rhythm in his compositions ¡ Pérotin, his pupil at the school ¡ He was the first to write three simultaneous, distinct lines Composers of Organum ¡ These two composers and their students are referred to as the School of Notre Dame ¡ This style period of music is referred to as Ars Antiqua (Old Art) ¡ Listening example: Léronin: Virderunt omnes (organum duplum) p. 67 (organum duplum) ¡ Listening example: Pérotin: Viderunt omnes (organum quadruplum) p. 83 (organum quadruplum) Ars Nova ¡ Around 1350, a new style of music called Ars Nova (New Art) emerged ¡ Ars Nova includes both sacred and secular music, though secular music gained importance during this period. ¡ Ars Nova refers to the complex musical style of the late Middle Ages ¡ Important characteristics of Ars Nova are: ¡ Development of polyphony ¡ Use of duple meter ¡ Syncopation Motet Early Sacred Polyphony Early Motet ¡ The motet is a new genre that developed out of organum ¡ Words were put onto each note of a melisma to create a more syllabic and metrical style ¡ Medieval motets often had 3 or more voice parts, often with completely different texts in each voice part (or even different languages) ¡ The biggest different between a motet and a mass is the TEXT – a motet is NOT based on a mass text Motet ¡ 3 ways to write a motet while reworking a polyphonic piece ¡ Adding text to an existing discant clausula ¡ Writing a new duplum to an existing tenor ¡ Writing a new text for an existing motet ¡ Or: use a fragment of a chant to create a new tenor and add one or more voices above ¡ This is not directly related to a discant clausula ¡ Motets led into the Renaissance madrigal Early Motet ¡ Philippe de Vitry ¡ French composer (13th and 14th century) ¡ Best known for his motets ¡ Associated with Ars Nova treatise ¡ Listening example: Motet p. 121 Guillame de Machaut ¡ The most important French composer of the late Middle Ages ¡ Most famous for his Mass Ordinary cycle ¡ Machaut composed dozens of secular love songs, also in the style of the polyphonic "new art." ¡ Machaut saw to it that his work was painstakingly copied and artfully illustrated, the first known example of a composer thus preserving his own work for posterity. Messe de Notre Dame ¡ Machaut was the first to create a polyphonic setting of the Ordinary of the Catholic mass: Messe de Notre Dame (“Mass to Our Lady”), a homage to the Virgin Mary) ¡ This was the first time the five prayers of the Mass Ordinary were musically set into a reusable polyphonic composition ¡ The new style of the fourteenth century (Ars Nova) can be heard in the Gloria in the mass ¡ This new polyphonic style caught on with composers and paved the way for the flowering of choral music in the Renaissance period La Messe de Notre Dame ¡ Listening example: La Messe de Notre Dame: Kyrie ¡ Chant Kyries were often performed in antiphony with two halves of a choir ¡ Polyphonic settings also used antiphony between soloists singing the polyphony and the choir singing the original chant Instruments of the Medieval Period Medieval Instruments ¡ Pipe and tabor ¡ Harp ¡ Shawm ¡ Psaltery ¡ Organ ¡ Citole ¡ Rebec ¡ Chime bells ¡ Fiddle ¡ Hurdy-gurdy Most pictures and sounds taken from: http://www.music. iastate.edu/antiqua/ instrumt.html ¡ Percussion ¡ Other: recorders of various sizes, the gentle Medieval flute, straight Medieval trumpet, long-necked lute, bagpipes, and percussion Pipe and tabor ¡ A pipe and a two-headed drum, played by one person Shawm ¡ A double-reed instrument ¡ Ancestor of the oboe ¡ Has an extremely brilliant, penetrating tone Organ (organetto) ¡ Not the church organ ¡ Few notes ¡ Small enough to be carried around while playing Rebec ¡ A slender, pear-shaped instrument with a rather “reedy” tone ¡ The number of strings varied between one and five Fiddle (Vielle) ¡ Shaped like a figure eight ¡ Slightly larger than the modern viola ¡ Flattish bridge ¡ Usually had five strings ¡ Listen and watch here: http://www.youtube.com/watch?v=jPKhBkLgFLk Hurdy-gurdy ¡ A wheel turned by a handle vibrated all the strings at once ¡ Sliders, pressed down by fingers, could “stop” strings at various points to give notes a different pitch Harp ¡ Smaller than a modern harp ¡ Far fewer strings than a modern harp Psaltery ¡ The strings were plucked by quills ¡ A quill was held in each hand Citole ¡ Its four brass strings were plucked, usually with a quill ¡ Listen here: http://www.youtube.com/watch?v=Tkqs7ivwyDE Chime bells ¡ Graded in size and pitch ¡ Struck with beaters Percussion ¡ Included cymbals, triangle, tambourine, and various drums 2. Secular music Medieval Music Secular Music Intro ¡ Popular music, usually in the form of secular songs, existed during the Middle Ages. This music was not bound by the traditions of the Church, nor was it even written down for the first time until sometime after the tenth century ¡ Secular music was composed for entertainment value – to dance, or to express love ¡ In general, secular musicians tended to be untrained (sacred musicians were trained). This shows a divide between the rich and the poor. Secular Music ¡ Unlike sacred music, secular music had a more clearly defined beat and its texture was closer to homophony or polyphony ¡ Like sacred music, the texture was primarily vocal, though it didn’t regard instruments with as much suspicion as the Church. Songs of the Middle Ages Troubadours and Trouvères ¡ Much secular music during the Medieval Period was written by troubadours and trouvères ¡ These were French nobles and they often wrote music to gain prestige. ¡ The monophonic melodies were often rhythmically lively ¡ These pieces may have had added improvised accompaniments ¡ The main subject of these songs is love – in all its joy and pain ¡ Although secular music was undoubtedly played on instruments during the Middle Ages, instrumental dance music didn't come into its own until the later Renaissance Listening Examples ¡ Canso (troubadour song) p. 43 ¡ Unaccompanied ¡ Somewhat free rhythm ¡ Five 7-line stanzas with the rhyme scheme ¡ Minnelied p. 49 ¡ German love song ¡ Accompanied Jongleurs ¡ Jongleurs also composed and performed secular music. ¡ Jongleurs were wandering minstrels that would entertain towns with music, juggling, and drama. ¡ They had no civil rights but were important parts of society since they spread news from town to town. ¡ One form of music they played is the estampie. An estampie is a fast dance in triple meter Listening Examples ¡ Non sofre Santa Maria p. 51 ¡ From Cantigas de Santa Maria, a collection of 400 songs (cantigas) in honour of the Virgin Mary, collected by a King in Spain ¡ These songs have religious content, but were not sung in church ¡ The song has two main ideas (similar to today’s refrain and verse) ¡ The refrain was typically sung by chorus, and the verses by a soloist ¡ Some verses are spoken, rather than sung, to emphasize the main climax of the story ¡ These cantigas could be sung accompanied or unaccompanied Dances of the Middle Ages Dances ¡ Medieval Dances refers to pieces without singing ¡ Instrumentalists who played music for dancing during the Middle Ages usually played from memory or improvised ¡ As a result, very few dance melodies are written down Listening Example ¡ Estampie p. 55 ¡ This piece comes from a collection of 8 “Royal Estampies” found in France ¡ Estampie is a dance is fast triple meter ¡ It features a series of phrases, each played twice but with a different ending each time ¡ The first time, the cadence sounds open ¡ The second time, the cadence sounds closed The End Medieval Music