MUSIC HISTORY 250

LECTURE #1

THE ROLE OF MUSIC IN GREEK CULTURE:

ANCIENT GREECE:

1. &n= bsp; Many of the concepts that form the roots of the Western musical tradition came f= rom the works of the ancient Greeks.

2. &n= bsp; Sometime near the 8th century, the people of ancient Greece began to develop pattern= s of thought and social organization that differed in fundamental ways from thos= e of other civilizations.

3. &n= bsp; Eventually they began to look at the universe in a more scientific way rather than see= king mythical explanations of the cosmos.

MUSIC AND THE ANCIENT GREEKS:

 &n= bsp; Music in Greek life was used for entertainment, education, and in religious cerem= ony.

 &n= bsp; The Greeks would go to concerts and contests to hear virtuoso performers. =

 &n= bsp; Music was often integrated into plays and poems.

 &n= bsp; Philosophers, like Plato, believed that a good musical education balanced with physical activity was the key to producing well balanced and civilized people. =

 &n= bsp; Music was often used for religious ceremonies.

 &n= bsp; Example: Individuals might sing a hymn of praise to a god or instrumental music migh= t be performed during a “liturgical” action.

 &n= bsp; Music was believed to be a gift from the gods and possessed magical powers that c= ould perform miracles.

 &n= bsp; Music was considered to be inseparable from mathematics, which Greek philosophers viewed as the key to the entire universe.

 &n= bsp; Music in essence mimicked the harmony of the heavenly bodies.

 &n= bsp; Claudius Ptolemy, an astronomer, thought the mathematical laws that governed the heavenly bodies also governed the musical intervals, modes, and notes.

 &n= bsp; ETHOS can be defined as the belief that music had the ability to manipulate people’s emotions, behavior, and effect their educational development= .

 &n= bsp; Plato believed in order to produce a civilized person their education should have= a healthy balance of music and gymnastics thus balancing mind and body. =

 &n= bsp; The Greeks acknowledged two classes of music; calm and uplifting and the excited and enthusiastic styles.

 &n= bsp; To sum it up, the right kind of music created the right kind of person.

 &n= bsp; Relatively little notated music has survived from ancient Greece and those which survi= ved exists only in fragments.

 &n= bsp; The musical culture of the era relied heavily on memory and improvisation.=

 &n= bsp; The most important public venue for music in ancient Greece was the theatre.

 &n= bsp; Greek drama accorded a significant role for the chorus

 &n= bsp; It is believed that the choruses gave a running commentary to the Greek plays (they told the action).

 &n= bsp; The choruses were believed to have been sung!

 &n= bsp; The choral ensembles could consist of men or women, or occasionally both.<= /o:p>

 &n= bsp; The choruses gave voice to the feelings of the “community” through a combination of word, music, and dance- all which were considered inseparabl= e in the ancient Greek view of music.

 &n= bsp; One of the early works to survive from ancient Greek culture and notation is the “EPITAPH OF SEIKILOS”

 &n= bsp; It received its name because it was inscribed on a tombstone.

 &n= bsp; This work dates from the first century

 &n= bsp; This and other such songs are believed to have been accompanied on the lyre or s= ome similar instrument.

 &n= bsp; The accompaniment was never notated and remains a matter of great speculation.<= o:p>

PLAY: EPITAPH OF SEIKILOS

MUSIC IN THE ROMAN EMPIRE:

 &n= bsp; Between the 2nd century and the early 1st century, the Greek homeland and Hellenist= ic kingdoms of the eastern Mediterranean succumbed to the armies of Rome<= /o:p>

 &n= bsp; By 117, the Roman Empire controlled the entire Mediterranean world and Western Europe into Britain.

 &n= bsp; For nearly 200 years, Roman dominion brought stability and prosperity to this region.

 &n= bsp; Even before they conquered Greece, the Romans had absorbed many aspects of Greek culture, including their music.

 &n= bsp; No Roman music has survived in notated form, however we know from other written sources that music existed and played a significant role in all aspects of Roman life.

 &n= bsp; Every religious cult had its own particular repertoire and instruments.

MUSICAL LEGACIES OF ANTIQUITY:

 &n= bsp; Beginning in the late third century, the Roman Empire entered a long period of declin= e.

 &n= bsp; Pressured by Germanic invaders on its boarders and stagnating economically, it fragme= nted into two regions, eastern and western.

 &n= bsp; During this period, Christianity rose to dominance within the empire, ultimately displacing the Greek and Roman pantheon to become the state religion.<= /o:p>

 &n= bsp; In 410, the Visigoths sacked Rome and in 476, the Western Roman Empire all but vanished.

 &n= bsp; The Greek speaking Eastern, or Byzantine, Empire would endure until the fall of= its capital, Constantinople (modern day Istanbul), to the Turks in 1453.

 &n= bsp; By the 5th century, the music of antiquity and the oral tradition that accompa= nied it all but vanished.

 &n= bsp; Writers such as Ptolemy, Alypius and others did continue to write about music.=

 &n= bsp; All of the music of antiquity was lost to the Medieval era.

CONCLUDING THOUGHTS:

 &n= bsp; Although the musical repertoires of classical antiquity were largely lost to subsequ= ent eras, Greek attitudes towards music established basic patterns of thought t= hat still hold.

 &n= bsp; The Greeks perceived music as both an art and a science.

 &n= bsp; Music was understood to provide pleasure but it also gave insight into the nature= of the universe.

 &n= bsp; The Greeks realized music’s ethical and spiritual power and its ability to transcend reason.

 &n= bsp; The legacy of Greek musical thought and understanding would provide a strong foundation for the development of musical thoughts and practices during the= Medieval era.

MUSIC IN THE EARLY CHURCH:

 &n= bsp; Music traditions in the early church were picked up from many diverse areas as the church spread from Syria to Milan.

 &n= bsp; The early Jewish traditions in the Temple consisted mainly of the singing of Ps= alms and the sacrifice of lamb.

 &n= bsp; There was one Psalm for every day of the week and it was sung by at least twelve Levites. (These were individuals who were of the Hebrew tribe “Levi” which served particular both politically and religious)<= o:p>

 &n= bsp; The psalms were accompanied by stringed instruments.

 &n= bsp; The sacrifice of lamb was celebrated twice daily, and depending on the occasion, priests and worshipers sometimes ate some of the “burned” anima= l.

The Early Byzantium Church:

 &n= bsp; The church of Byzantium developed many different liturgies, due to the absence = of a strong, central authority it became a blend of Hellenistic and Oriental influences.

 &n= bsp; The chants were set using the ancient modes of Greek antiquity.

THE WESTERN LITURGIES: “The Chants”

 &n= bsp; Western Liturgies had many styles and went through many changes from the fifth to eighth centuries.

VARIOUS CHANT TYPES:

1. &n= bsp; Gallican, which included some Celtic and Byzantine elements.

2. &n= bsp; Old Roman, this style represents the original fund of chants, as it was only slightly changed after reaching Gaul.

3. &n= bsp; Visigoth or Mozarabic, this was known as a form of Hispanic chant.

4. &n= bsp; Ambrosian, This form was highly influential in France, Spain, and Rome.

It was responsible for introducing psalmody (reader/si= nger for the first half with congregation response as the second half) to the We= st, which was incorporated into Roman Mass.

AMBROSIAN HAD TWO VERSIONS OF MELODY:

1. &n= bsp; ORNATE, which was more elaborate than Roman

2. &n= bsp; PLAIN TYPE, which was simpler than Roman.

 &n= bsp; An Alleluia would be an example of the ornate and the psalm tone is an example= of plain type.

5 &nb= sp; Gregorian, this type was suppressed after Charlemagne was crowned, but was not elimina= ted in all local usages. However it would become the most significant and widely used of all the chants genres.

 &n= bsp;

The early church fathers believed music was the servan= t of religion. “Like the Greeks, they believed the value of music lay in i= ts power not only to inspire divine thoughts but also to influence – for good or evil – the character of its listeners.”

MUSICAL UNDERSTANDING: BOETHUIS AND ST. AUGUSTINE=

St. Augustine:

 &n= bsp; St. Augustine wrote books containing the principles of meter and rhythm. <= /o:p>

 &n= bsp; In later books he discusses psychology, ethics, and esthetics of music and rhy= thm.

 &n= bsp; He also wrote other books on melody.

 &n= bsp; In his Confessions he admits to music bringing him a feeling of dangerous plea= sure rather than approved wholesomeness.

 &n= bsp; He prays that the Lord will have mercy upon him and heal him, for music is his weakness.

 &n= bsp; This is an example of how music was perceived to really have an effect on human development and spiritual responsibility.

Boethius:

 &n= bsp; Boethuis was the most revered and influential authorities on music in the Middle Age= s.

 &n= bsp; He emphasized the influence of music on character and morals.

 &n= bsp; As a consequence, music became important in the education of youth in both an introductory and more advanced, philosophical way.

 &n= bsp; ” Boethuis divides music into three kinds: Music mundana, which contains the orderly, numerical relations seen in the movement of the planets, changing = of the seasons, and the elements.

 &n= bsp; Musica humana is that which controls the union of the body and soul.

 &n= bsp; The third is musica instrumentalis, which is audible music from instruments or human voice, which exemplifies principles of order in the numerical ratios = of musical intervals.

 &n= bsp; Boethuis wrote, “Music is the discipline of examining the diversity of high and low sounds by means of reason and the senses.”

 &n= bsp; He believed music had a greater purpose!

 &n= bsp; These two philosophers greatly influence us still. Their ideas of the theory behi= nd music and its affect on human character and thought are two things we still study today.

 &n= bsp; They have provided us with thoughts and guidelines behind the numerical sequences prevalent in all of music and their connections with other sciences. <= /o:p>

THE MEDIEVAL ERA: Background Information

 &n= bsp; What we now call the medieval era spans almost an entire millennium, from the fa= ll of the Western Roman Empire in 476 C.E. until the beginnings of the Renaissanc= e in the early 15th century.

 &n= bsp; Medieval means literally, “between the ages” as an era of darkness betwe= en two periods of light (classical antiquity and the Renaissance).<= /p>

 &n= bsp; The legacies of the Roman Empire were far too deep and widespread to disappear completely.

 &n= bsp; Western Europe continued to benefit from the institutions of Rome, particularly the vast networks of roads, the common language of Latin and increasingly, the = common religion of Christianity.

 &n= bsp; The Medieval world was a dangerous place.

 &n= bsp; Infant mortality was high, and most of those who survived childhood died before th= ey turned the age of thirty.

 &n= bsp; Diseases like dysentery, typhus, and smallpox posed a constant threat.

 &n= bsp; Medieval society was shaped by the system of feudalism.

 &n= bsp; Those peasants who worked the lands of the manor swore allegiance to the lord of = the manor.

 &n= bsp; They were permitted to keep but a small portion of their harvest but the remaini= ng must be turned over to the lord.

 &n= bsp; Courtly life revolved around a highly stylized code of conduct.

 &n= bsp; In public, love could be expressed passionately but only from a distance: the ideal knight would demonstrate his love to a woman of nobility by offering = her lavish poetry and song in her praise.

Medieval Era: Three principal forms

 &n= bsp; The earliest notated repertoires of medieval music are monophonic.

 &n= bsp;

 &n= bsp; The oldest sources of plainchant- the monophonic sacred music of the Christian church-date from the last quarter of the 9th century

 &n= bsp;

 &n= bsp; The first notated secular monophonic songs are found in manuscripts written abo= ut the 10th century

 &n= bsp;

 &n= bsp; Both plainchant and secular song flourished long before the emergence of notatio= n

THREE PRINCIPAL VOCAL FORMS OF THE MEDIEVAL ERA:<= /o:p>

1. &n= bsp; PLAINSONG

2. &n= bsp; SECULAR SONG

3. &n= bsp; POLYPHONY

PLAINSONG:

EARLY ACCOUNT: A nun on a pilgrimage to Jerusalem in a= pprox. 400 A.D., gave descriptions of the psalms and of singing

-This is a common vocal form (plainchant, Gregorian ch= ant)

-Plainsong was the root of polyphony during both the Medieval and Renaissance eras

-Plainsong was written in Latin only

-Plainsong dealt exclusively with religious topics

&nbs= p; &= nbsp;

&nbs= p; &= nbsp; Repertoire: “Plainchant Hymn Pange Lingua” TR: #1

 &n= bsp; Although it is often called Gregorian chant, plainchant existed well before the reig= n of Pope Gregory I (of whom it’s name is derived)

 &n= bsp;

 &n= bsp; The development of plainchant is linked to the development of the Christian lit= urgy

 &n= bsp;

 &n= bsp; Christians preserved many of the traditions and practices of Jewish worship=

 &n= bsp;

 &n= bsp; These include: the offering of prayers, singing of psalms and systematic recitati= on.

 &n= bsp;

 &n= bsp; The singing of psalms was extremely important in the early church. It was deman= ded by the old testament in the Book of Psalms.

Elements of Plainchant:

 &n= bsp; Plainchant is pure melody, with no harmony or accompaniment

 &n= bsp;

 &n= bsp; Plainchant had a significant liturgical function

 &n= bsp;

 &n= bsp; Plainchant was a wonderful way of projecting the text

 &n= bsp;

 &n= bsp; Plainchant melodies generally follow a limited number of intervallic patterns

 &n= bsp;

 &n= bsp; The rhythm is the most controversial issue in the reconstruction of medieval performances of plainchant. It really is unknown how chant should be interpreted rhythmically.

SECULAR SONG:

 &n= bsp; Plainchant had secular parallels in every European culture of the medieval era.

 &n= bsp; As with plainchant, word and music was inseparable

 &n= bsp; The poet, composer and singer were often one in the same

 &n= bsp; Most of the repertory was transmitted orally long before any of it was ever committed to writing

 &n= bsp; According to written sources and images, it is suggested that these songs may possibly have been supported by instruments

 &n= bsp; The exact nature of these songs remains a matter of speculation

-Very little of this particular form of song has been preserved

- Secular song was a significant form of the era<= /o:p>

-In many ways it was similar to that of the Plainsong = model, in that it used a single notational system

-This was a song form which was written in monophonic = style

 &n= bsp; The earliest secular songs were those of the Goliards

 &n= bsp;

 &n= bsp; This was also a model used by the Troubadors and Trouveres

 &n= bsp;

 &n= bsp; The troubadors and trouveres were at their most active in the 12th and 13th centuries

 &n= bsp;

 &n= bsp; Their repertoire included love songs, laments, pastorals, and dialogues

 &n= bsp;

 &n= bsp; The relationship between noble men and women was based on the courtly love model which called for the women to be idolized and praised from afar.=

&nbs= p; &= nbsp; &nbs= p; &= nbsp; &nbs= p; Repertoire: “Can vei la Lauzeta Mover” TR: #3

PLAINSONG VS. SECULAR SONG:

THERE WERE SEVERAL DIFFERENCES BETWEEN THE FORMS:=

A) &n= bsp; Meter:

&nbs= p; This was the most significant of the differences.

&nbs= p; Secular song models were constructed using a triple metric formula

&nbs= p; Plainsong was in duple units

B) &n= bsp; Topic/Subject Material:

&nbs= p; Secular songs dealt with topics which were outside of the realm of religion, such <= span style=3D'mso-tab-count:1'> &= nbsp; as courtly love

&nbs= p; Plainsong was limited to sacred/religious themes

C) &n= bsp; Rhythm/Form and Structure:

&nbs= p; Secular song used clear phrasing structure

&nbs= p; Secular song were sectional in their construction

&nbs= p; Secular song tended to use shorter rhythmic units

D) &n= bsp; Language:

&nbs= p; Plainsong was limited to Latin, whereas secular song used the vernacular

&nbs= p;

SONGS OF THE TROUBADORS/TROUVERES:

 &n= bsp; The repertoire was largely strophic

 &n= bsp; The music tended to flourish in the courts

 &n= bsp; Their patronage ended following the Albigensian Crusade

 &n= bsp; As they fled, they brought with them the many styles and topics of their repertoire into Spain, Germany and Italy

POLYPHONY:

WHAT IS POLYPHONY?

 &n= bsp; Polyphony is music in which separate voices or instruments come together not in unison but in diverging parts.

FACTS ABOUT POLYPHONY:

 &n= bsp; In the earliest vocal polyphony, singers probably improvised long before their music was ever notate

 &n= bsp; Anonymous IV who was possibly a pupile of the composer Leonin, gave insight into the development of 9th century polyphony

 &n= bsp; He was responsible for the construction of a Musical handbook which proved to = be beneficial for our understanding of the roots of polyphonic music

THE RISE OF POLYPHONY: ORGANUM AND MENSURAL NOTATION

EARLY POLYPHONY AND ITS RISE

1000-1200

I. &n= bsp; Historical Background

II. &= nbsp; The Earliest Polyphony

III. = Eleventh Century Organum

IV. &= nbsp; Aquitanian Polyphony (12th. century)

V. &n= bsp; Notre Dame Polyphony

HISTORICAL BACKGROUND:

 &n= bsp; The European economy begins to prosper

 &n= bsp; Scholars begin to translate Greek and Arabic texts into Latin

 &n= bsp; The development and emergence of universities in Paris, Oxford and Bologna=

 &n= bsp; There is a schism in the Christian church and it splits into Eastern and Western Factions

 &n= bsp; Developments in musical notation

BEGINNINGS OF ORGANUM:

- Polyphony was a huge musical achievement of the era<= o:p>

-Polyphony had its most significant period between the= 13th. and 16th. Centuries

-The earliest known use of polyphony occurred in secul= ar music of the medieval era, approximately around the 8th. century=

-The earliest known polyphonic compositions were based= on existing plainchant and thus we can think of them in effect as vertical tro= pes

-Throughout the 9th.-13th. centuries, polyphony began = to gain in prominence

-Polyphony would eventually be used in the constructio= n of sacred music

-Prior to the use of polyphony, sacred music was stric= tly written in plainsong form.

- The first preserved reference to polyphony in mediev= al times appears in a manuscript treatise known as the Musica enchiriads (“Musical Handbook”) written during the middle of the 9th centu= ry by an unknown author or authors.

-The handbook contained examples of what we now call o= rganum (plural, organa).

-Organum is a polyphonic work consisting of an original plainchant melody in o= ne voice along with at least one additional voice above or below.

-The handbook also provides examples of a parallel org= anum. Here an additional voice runs parallel to an established plainchant melody = at a constant interval.

Vox Principalis =3D The original chant melody

Vox Organalis =3D The organal or added part=

SHOW EXAMPLE: 2-2 Four-part parallel Organum

Origins: Early Organum: 850-1000

HOW AND WHY WAS ORGANUM DEVELOPED?

1. &n= bsp; The use of polyphony was developed to ornament solo chants during special feat days.

2. &n= bsp; The new adaptation became popular to modern medieval ears, and found prominence= by the 11th century

3. &n= bsp; The new model placed the organal voice above the original chant melody

4. &n= bsp; Organum was an outgrowth from heterophony &nb= sp; = (= closest to modified parallel)

Main types of Organum:

1. Parallel- two-voices, duplication of 5th, 4th, and = the octave

2. Composite- Three or more voices

3. Modified parallel- unison to oblique motion

FREE ORGANUM: 1000-1150

FREE ORGANUM: - LEONIN organal sections were either in= Free Organaum style which is also identified as un-measured or in the “Measured” or discant style

-In Free Organum, the duplum voice (2nd. voice or added part) moves rapidly against the slower moving notes of the original chant.<= o:p>

ORGANUM SOURCES:

 &n= bsp; Winchester Troper contains the largest collection of organum stylled pieces.

 &n= bsp; It contains two 11th century English Manuscripts which were used at the Winche= ster Cathedral

HOW WAS POLYPHONY USED DURING THE 11TH CENTURY?

1. &n= bsp; Polyphony was used chiefly to the troped plainchant sections of the Mass ordinary (Ky= rie and Gloria).

2. &n= bsp; Only the solo sections of the chant were embellished polyphonically

3. &n= bsp; Soloist sang polyphonically during parts of the Divine Offices

4. &n= bsp; Perfect consonances such as unisons, fourths, fifths and octaves were preferred and more decidedly used

BASIC BACKGROUND: 12th Century

1. &n= bsp; From the 12th century onward, composers had become more focused on the use of polyphonic textures.

2. &n= bsp; Monophonic songs of the Troubadors and Trouveres were still of interest, however of the upper class.

3. &n= bsp; It was the amateur musician who still had an interest in the monophonic forms.=

4. &n= bsp; Compositions such as those of the Minnelieder, the religious cantigas and the Lauda were= all written by and performed by the amateur musicians.

WHAT ARE THESE FORMS?

A) &n= bsp; Minnelieder- was a form which was in triple meter with the musical and poetic structure = of AAB. It was a song of love and was performed by the Minnesingers of Germany= .

B) &n= bsp; Cantigas- These were monophonic songs, with a religious text and subject. They were h= ymn like in character, however were not for the church.

C) &n= bsp; Laude- This was considered to be a contemporary monophonic song. They are related = to the songs of the Flagellants. These song texts would ultimately be set to polyphony.

 &n= bsp; The monophonic (conservative style) song forms were in complete abandon by the 16th. century. They all were songs of love but the un-requited type.

 &n= bsp; The professional musicians were now turning their interests to polyphony.<= /o:p>

NOTRE DAME: 1150-1300

Major Composers: Leonin and Perotin

NOTRE DAME ORGANUM:&nb= sp; = &nb= sp; Play: TR #5

-This style of composition developed after 1150

-It was a very significant form of polyphony

-Organum would generally use two parts sung by a solo = voice

-The solo voice would then alternate with sections of “plainsong”

-The plainsong song sections would be sung by the choi= r

-Appearing for the first time during this era was some= thing known as the “discant” style of organum

HOW DISCANT ORGANUM WORKS:

1. &n= bsp; Two voices move at the same rate

2. &n= bsp; Both voices are moving note-against-note

&nbs= p; &= nbsp; &nbs= p; &= nbsp; &nbs= p; &= nbsp; &nbs= p; &= nbsp; Example: 2-1 and 2-2

 &n= bsp; The Discant Style was a component of Notre Dame Organum

 &n= bsp; It was also known as “Measured Organum”

ADDITIONAL TYPES OF ORGANUM:

1. &n= bsp; Organum Duplum- uses two-voices and is linked to Leonin

2. &n= bsp; Organum Triplum- uses three-voiced polyphony and is linked to Perotin

3. &n= bsp; Parallel Organum- uses strict homophony. It includes parallel fourths, fifths and octaves. Its textual structure is syllabic

4. &n= bsp; Modified Parallel- each of the musical phrases begin in unison. The unison voices diverge into parallel fourths and then return to end on a unison. Its textu= al structure is syllabic.

5. &n= bsp; Free Organum- This is a note-against-note style of organum. The musical phrases = ends on a unison.

RHYTHMIC MODES:

THE ARS ANTIQUA:

The term was derived retrospectively to distinguish 13= th-century music from that of the 14th century (Ars Nova).

It is partly characterized by use of the six rhythmic = modes, each being a rhythmic pattern that would recur throughout a piece, such as long-short (first mode) or short-long (second). ___________________________= _____________

The Medi= eval concept by which rhythmic patterns were regulated, chiefly applied to music= of the 12th and 13th centuries.

Mode Original Notation = ; Meaning &= nbsp; Poetic Symbols Modern Equivalent=

Mode I

long-short =

Mode II &nb= sp;

short-long =

Mode III &n= bsp;

long-short-short =

<= o:p>

Mode IV &nb= sp;

short-short-long =

<= o:p>

Mode V &nbs= p;

long-long-long <= /span>

<= o:p>

Mode VI &nb= sp;

short-short-short = ;

<= o:p>

________________________________________

GROUP ACTIVITY:

Each student will compose a one-two line lyric in rhym= e and set it to one of the following modes:

Group A: Mode #1

Group B: Mode #3

Group C: Mode #5

Group D: Mode # 6

MORE INFORMATION ABOUT THE MODES:

 &n= bsp; The system broke down as composers began to use subdivisions of the short note.=

 &n= bsp; The musical genres of the Ars Antiqua included organum and the early motet.

 &n= bsp; It was during this period that polyphony truly began to flourish and develop

 &n= bsp; The major composers of organum were Leonin and Perotin

 &n= bsp; Both composers are accredited for the development of organum

 &n= bsp; Leonin and Perotin were of the Parisian school, otherwise known as the Notre Dame School of the 12th. and 13th. centuries

 &n= bsp; The Notre Dame School was responsible for the implementing of the rhythmic mode= s

 &n= bsp; During the 12th century a more florid form of organum began to emerge, this was kn= own as “Florid Organum”, it had its associations with the St. Marti= al School

POLYPHONIC PRACTICES

From Organum to Motet

Organum: Mass & Offices only &n= bsp; Play TR: Organum

• 2-4 vcs, used the rhythmic modes

• mixture of styles: organum purum, discant, cla= usula sections

• There was stylistic variety

• Organum is associated with Leonin & Peroti= n

Conductus: non-liturgical polyphony = &nb= sp; Play TR: Conductus

-The Polyphonic conductus was in wide use during the f= irst half of the 13th. century

-The tenor was composed rather than being borrowed from plainsong as it was in organum

-The text consists of freely composed poems written in metered verse that lend themselves to syllabic metrical musical setting

-Each part would move together rhythmically=

-Each piece was scored for two-four parts

-As stated above, it was composed for non-liturgical or secular forms.

• Used 2-3 vcs, homorhythmic texture, and the te= xt was shared by all voices

• 2 styles of Conductus, distinguished by number= of caude (textless) passages

• dropped out of favor about 1250

Clausula &n= bsp; = ; &n= bsp; = ; &n= bsp; = ; Play: Clausula CD

-These are brief polyphonic sections of discant organu= m

-They were associated with Perotin

-Serves as a cadence within the scope of organum<= /o:p>

-Textless contrapuntal parts are heard in strict rhyth= m

-The addition of texts to clausula brought about the motet’s development

-These are not independent compositions

DEVELOPMENT OF THE EARLY MOTET

-grew out of discant organum through application of wo= rds to upper voice of a clausula; becomes increasingly secularized

-The motet is considered to be the most significant fo= rm of polyphonic music to come out of the medieval era

-Approximately around 1250, the motet began to take prominence and eventually would replace organum and the conductus

Guide Lines:

I. &n= bsp; Plainsong was sung by the tenor (cantus firmus)

II. &= nbsp; Above the tenor line would exist two other parts singing faster moving lines=

III. = The motet could consist of either secular (vernacular) or sacred texts (Latin)<= o:p>

IV. &= nbsp; The meter would be triple

Additional Aspects:

A) &n= bsp; There would be clashes of dissonant intervals

B) &n= bsp; The motet would become a short unaccompanied choral composition

C) &n= bsp; Between the 13th-15th centuries, the motet would be exclusively sacred

i. &n= bsp; Also during this period, the motet would be based on a pre-existing melody<= /o:p>

D) &n= bsp; The Motet would eventually be regarded as a genre independent of the church

THE EARLY MOTET:

-Most motets were scored for two-part voicing (duplum = and triplum)

- Was based on the substitute clausula from the Magnus= Liber (book of orgnum)

- The text is somewhat of a trope on the original chant text.

-Uses multiple layers of borrowing and of meaning=

-All upper parts of early motets were written in one melodic/rhythmic style

Play: TR Early Motet

CHANGES TO EARLY MOTETS:

 &n= bsp; The tenor would eventually loose its connections to the liturgy (the motet was = now viewed as an independent genre)

 &n= bsp;

 &n= bsp; The tenor would eventually become material for new compositions

 &n= bsp;

 &n= bsp; Composers would begin to rework their previous compositions

 &n= bsp;

 &n= bsp; New texts for the duplums would be considered (Latin or French)

 &n= bsp;

 &n= bsp; The new text was no longer linked to chant and was often based on secularism

 &n= bsp;

 &n= bsp; In the second half of the 13th century, the polytextual motet was typical=

 &n= bsp;

 &n= bsp; The adding of a third voice changed the texture

 &n= bsp;

 &n= bsp; The additional voices received their own independent text.

 &n= bsp;

 &n= bsp; Typically the text would relate to one another but not always

&nbs= p; &= nbsp; &nbs= p; &= nbsp; &nbs= p; PLAY: TR PolyChoric Motet

ADDITIONAL MOTET FORMS:

1. &n= bsp; Franconian Motet:

&nbs= p; The tenor performed the chant melody twice

&nbs= p; There was more rhythmic freedom between voices

2. &n= bsp; Isorhythmic Motet:

&nbs= p; Phillip de Vitry was a notable composer of this genre of motet

&nbs= p; De Vitry composed a total of 15 motets

&nbs= p; Isorhythmic motets were unified by rhythm

&nbs= p; This brought about the concept of talea (rhythmic unit) and color &= nbsp; (repeating pitches of the cantus firmus)

3. &n= bsp; Motetus:

&nbs= p; This was originally a clausula duplum

&nbs= p; French text was latter added

4. &n= bsp; Triplum:

&nbs= p; The melody of this form may possibly have been an original composition

THE METHOD AND STAGES: Organum

1. &n= bsp; They started by adding the same note an octave higher or lower to notes of the plainchant. (by doing so, it adds texture rather than changing the harmony = in itself).

2. &n= bsp; Next they added not just the octave but began adding a voice which sang the perf= ect fourth or 5th. thus bring about a harmonic quality

3. &n= bsp; Hence, the birth of organum, the first form of polyphony.

4. &n= bsp; The medieval motet and pieces composed for the various parts of the ordinary and proper mass was just a start!

CONCLUSION OF THOUGHT:

 &n= bsp; By the end of the 13th century, polyphony and a comprehensive system of notati= on were established

 &n= bsp; A considerable repertory of organum, motets, and conductus enjoyed wide distribution throughout Europe

 &n= bsp; Within a few decades, however this “new music” would be regarded as an= ars antique---an “old art”

 &n= bsp; This old art would give way to the “ars nova”---“new art”= ; of the 14th century

WHAT IS A MEDIEVAL MUSICAL MASS?

1. &n= bsp; Was the focal point of religious life during the Medieval era.

2. &n= bsp; Served as the main source of instruction.

3. &n= bsp; It was the ritual reenactment of the last supper.

4. &n= bsp; It was all in plainsong form.

5. &n= bsp; Was not a cyclic composition

ARS NOVA

MUSIC OF THE 14TH CENTURY

 &n= bsp; New art

 &n= bsp;

 &n= bsp; This took place during the end of the Medieval period

 &n= bsp;

 &n= bsp; It foreshadowed some of the Renaissance trends

 &n= bsp;

 &n= bsp; This new style of composition dominated the 14th. century

 &n= bsp;

 &n= bsp; The Ars Nova is mostly associated with the musical styles of 14th-century Europ= e, particularly France.

 &n= bsp;

 &n= bsp; As composers began to use ever shorter notes in their music, the old system of rhythmic modes ceased to be adequate.

 &n= bsp;

 &n= bsp; The treatise Ars Nova (1323), written by Philippe de Vitry (1291–1361) proposed a way of relating longer and shorter notes by use of a metrical scheme—the ancestor of time signatures

 &n= bsp;

 &n= bsp; Now each note value could be subdivided into either two or three of the next-shorter note.

 &n= bsp;

 &n= bsp; This new innovation had a marked effect on the sound of music because composers = were better able to control the relative motion of several voices

 &n= bsp;

 &n= bsp; 14th-century music consequently sounds much less “medieval” to modern ears.<= o:p>

 &n= bsp;

 &n= bsp; De Vitry and Guillaume de Machaut are the principal composers of the Ars Nova.=

GUILLAUME DE MACHAUT (1300-1377)

 &n= bsp; He is by far the most significant composer to come from the Medieval era<= /o:p>

 &n= bsp;

 &n= bsp; He was and is considered to be the leading composer of the Ars Nova=

 &n= bsp;

 &n= bsp; Machaut was a prolific composer of music (wrote in several idioms) and equally reve= red for his poetic endeavors

 &n= bsp;

 &n= bsp; Machaut composed 23 Motets with many using an instrumental liturgical tenor

 &n= bsp;

 &n= bsp; His monophonic solo songs were composed in the manner of the Trouveres

 &n= bsp;

 &n= bsp; He is accredited for composing 18 lais, 25 chanson Ballades and polyphonic vir= elai

 &n= bsp;

 &n= bsp; Machaut is thought to have invented the “Ballade and Cantilena” styles<= o:p>

THE MOTET AND MACHAUT

&= nbsp; Machaut composed a total of 23 Motets

&= nbsp;

&= nbsp; His motet writing style incorporated the traditional texture as expressed by his use of the tenor voice which is often borrowed

&= nbsp;

&= nbsp; The tenor voice acts as a supportive unit for the upper voices which sings a different text

&= nbsp;

&= nbsp; His motets are longer and seem to be more rhythmically elaborate or complex in comparison to those composed by his contemporaries

&= nbsp;

&= nbsp; 19 of his 23 motets are considered to be isorhythmic in their character

The Hocket: A Polyphonic Device

I. &n= bsp; The hocket was a form of polyphony used during the 13th and 14th centuries=

II. &= nbsp; The hockets purpose was to interrupt the natural flow of the melody line. It was like a brief hiccup in the melody

III. = This technique was achieved by adding rests which alternate between two voice pa= rts, thus disrupting the natural flow

IV. &= nbsp; This technique was used by numerous composers including Machaut as a way of animating the polyphonic texture of the work.

V. &n= bsp; The key to this process is by having two-voices alternating in a rapid successi= on, one resting while the other is being voiced.

VI. &= nbsp; Machaut is not the inventor of this method but is accredited for its popularity.

The Chanson = ; &n= bsp; = ; &n= bsp; = ; = Play: TR #8

&= nbsp; The term Chanson is a French word meaning song

&= nbsp;

&= nbsp; Chansons can be monophonic or polyphonic in texture

&= nbsp;

&= nbsp; They can also be considered an element of the art music genre or popular

&= nbsp;

&= nbsp; The chansons of the 13th and 14th century were cultivated by the troubadors of Southern France and by the later part of the 12th. century, the Trouveres of Northern France began to adapt the form

&= nbsp;

&= nbsp; There are approximately 2000 chanson which survived and the majority of those con= tain texts which speak of love

&= nbsp;

&= nbsp; The chanson uses a large variety of poetic forms in its structure

&= nbsp;

&= nbsp; The most popular of the forms is a Binary based form of AAB

&= nbsp;

&= nbsp; The rhythmic interpretations of early chanson are uncertain

&= nbsp;

&= nbsp; Most if not all chanson of the 13th. century were constructed using “FORME FIXES”

&= nbsp;

&= nbsp; The 13th. century chanson tended to be a three-voiced textured work with the tr= eble voice having the most floride line

&= nbsp;

&= nbsp; Machaut wrote his chanson in the style of the Trouvere

The Rota: Polyphonic Device &nbs= p; &= nbsp; &nbs= p; Play: TR #14

 &n= bsp; This was a somewhat less popular form used during the Ars Antiqua era (before 13= 00)

 &n= bsp;

 &n= bsp; Simply, this was a canonic form or round

 &n= bsp;

 &n= bsp; It was constructed in such a way that two or more voices (parts) carried the s= ame tune or melody, however at different times

 &n= bsp;

 &n= bsp; The most famous and oldest example is the round “Summer ist icumen inR= 21;

&nbs= p; &= nbsp; &nbs= p; &= nbsp; &nbs= p; &= nbsp; &nbs= p; &= nbsp;

The Rondellus: Polyphonic Device

 &n= bsp; This is a three-part secular form

 &n= bsp;

 &n= bsp; There are three principal melodies

 &n= bsp;

 &n= bsp; This is a polyphony textured composition

 &n= bsp;

 &n= bsp; It is unique in that all three parts start simultaneously followed by each voi= ce rotating the melody (Think row, row your boat)

The Madrigal of the 14th. Century = &nb= sp; Play: TR #12

1. &n= bsp; The fourteenth century madrigal was composed using two vocal parts

2. &n= bsp; This was the first of the polyphonic forms to enter Italy

3. &n= bsp; The fourteenth century Madrigal differs greatly from its later reincarnation du= ring the sixteenth century

4. &n= bsp; The Madrigal of the 14th. century was constructed using the fixed forms

5. &n= bsp; It would generally consist of two or three short stanzas

6. &n= bsp; Each stanza was in duple time and also ended with a ritornello section in the contrasting triple meter

7. &n= bsp; The madrigal was usually un-accompanied

8. &n= bsp; Two of the most notable early madrigalists were Giovanni de Cascia and Jacopo da Bologna

9. &n= bsp; The text of the early madrigal was secular, satirical and amorous in character<= o:p>

10. &= nbsp; There were however some spiritually based madrigals of the era, these were known = as “Madrigali Spirituali”

11. &= nbsp; The madrigal form would later be revived in the 16th. century. These would howe= ver have very little likeness to those of the 14th. century.

Geisslerlieder

1. &n= bsp; This was the music of a wandering band of flagellants (a group of individuals who would beat themselves as a way of connecting spiritually)

2. &n= bsp; This was a group who were of significant during the middle of the 13th. century, however they would eventually be suppressed by the church, thus very little= is know of them

3. &n= bsp; Approximately around the time of 1350, their music and activities had begun to be documen= ted

4. &n= bsp; The principal documentation was within the body of their music

5. &n= bsp; The music was a mixture of folksong and tales of the apocalypse

Cantilena

• &nb= sp; This was a class of song which could be polyphonic or monophonic

• &nb= sp; The upper voice seemed to be the dominant voice as it held the melody

• &nb= sp; This form used a single text with each voice part moving in a uniformed manner

Caccia

1. &n= bsp; This particular vocal form was at its height between the years of 1345-1370=

2. &n= bsp; This was the principal form which employed the Canon

3. &n= bsp; The canon was based on continuous points of imitation of two or more parts=

4. &n= bsp; The two upper parts would be sung in strict imitation with long intervals betwe= en upper and lower voices

5. &n= bsp; The lowest part would consist of slow moving notes, possibly performed by a mel= odic instrument

6. &n= bsp; The caccia form is a form of musical chase or hunt

7. &n= bsp; The voices pursue each other through strict canon form eventually meeting up at= the final cadence

8. &n= bsp; The textual subject often dealt with “The Hunt”

Ballata

1. &n= bsp; The Ballata form came about after the Madrigal and Caccia

2. &n= bsp; It has its orgins in dance music

3. &n= bsp; The Ballata is a section work with refrain

4. &n= bsp; The “sections” within the Ballata are known as the “RIPRESA”

5. &n= bsp; The Ripresa was sung at the start and ending of each stanza

6. &n= bsp; This was a product of the 15th and 16th centuries

7. &n= bsp; Francesco Landini was the principal composer of this particular genre of music

8. &n= bsp; The Ballata was a favorite of many composers, however it died out of favour aft= er Dufay.

The Mass

1. &n= bsp; There were primarily two types of Masses during the Medieval era

A) &n= bsp; Low Mass

B) &n= bsp; High Mass

2. &n= bsp; The Low Mass consisted of the Priest speaking while the congregation followed t= he service quietly.

3. &n= bsp; The High Mass contained recitation and singing. It was here that Gregorian chant was utilized.

4. &n= bsp; The mass formula consisted of several parts beginning with the “Introit”

5. &n= bsp; In the Mass structure, certain sections would be chanted by the priest while others would be sung by the choir.

6. &n= bsp; The final or “Ite missa est” is a segment of the mass in which both choir and priest sing in a responsorial manner.

7. &n= bsp; Certain parts of the mass change depending on the season: The Proper of the Mass

8. &n= bsp; Whereas other units of the service remain the same throughout: The Ordinary of the = Mass (Kyrie, Gloria, Credo, Sanctus, Benedictus and Agnus Dei)

9. &n= bsp; The Kyrie, Gloria and the like are all units sung by the choir, however in the early Christian church, these very well may have been sung by the congregat= ion.

10. &= nbsp; The other Mass forms or special Masses are: Requim Mass.

11. &= nbsp; The Requiem Mass omits the Gloria and Credo sections and replaces them with the “Dies Irae”

PRINCIPAL COMPOSERS OF THE MEDIEVAL ERA

Guillaume Dufay (1397-1474)

 &n= bsp; He was the son of a priest

 &n= bsp; As a youth was a choir boy at the Cambrai Cathedral

 &n= bsp; Went to Rome to sing in the Papal Chapel in 1428 and remained until 1433

 &n= bsp; Met the great composer Binchois in 1434

 &n= bsp; He was a prolific composer and has over 200 compositions which survives today<= o:p>

 &n= bsp; Among his many compositions he wrote 8 masses and 84 songs

 &n= bsp; It is believed by many that he was the first to use a secular melody in a Mass work

 &n= bsp; His music is often considered to be harmonically warm and the melodies are expressive

 &n= bsp; He was the first to compose a “Requiem Mass,” unfortunately this composition is lost

Phillip de Vitry (1291-1361)

 &n= bsp; A French composer and Theorist

 &n= bsp; Was a Bishop (Meaux)

 &n= bsp; His musical compositions would often allude to contemporary political issues

 &n= bsp; He is often viewed as an innovator of the Motet form

 &n= bsp; He was on the cutting edge of National developments with his compositional sty= le

 &n= bsp; He would use the newer notational systems as a way of exploring new musical possibilities

 &n= bsp; He p