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The Middle Ages
- 1. The Medieval Period
Ancient Music & the Middle Ages
Listen to This PRENTICE HALL
1-1
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 2. Ancient Period
Beg of time unknown
to 1300
Up until birth of
Christ-Ancient Music,
0-1300-Medieval
Period
Instruments-violin,
flute, versions of No known composers,
trumpet, oboe mostly passed down
Rna-chum-Tibet, orally between
made of human skulls generations
Listen to This PRENTICE HALL
1-2
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 3. Greek & Roman
Civilizations
1st written music
found in Greece, 600
B.C.
Golden Age of
Pericles-value of
music in Greek
society
Plato-considered
music essential part
of education,
influenced moral
Listen to This
character
1-3 PRENTICE HALL
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 4. Greek & Roman
Civilizations
Greeks developed
instruments
Zither or Lyre
Harp-like Instrument
Romans emphasized
military music
Listen to This PRENTICE HALL
1-4
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 5. Middle Ages:
476 CE - ~1400 CE
Beginning with the fall of the Roman Empire
Ending with the beginning of the
Renaissance Period
Music: reflects sacred and secular functions
Listen to This PRENTICE HALL
1-5
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 6. Middle Ages(450-1450)
Development of monasteries responsible for
preserving writings & culture of ancient world
Gothic Period-1100 to 1450
Poems of troubadours, legends of King Arthur
Dante The Divine Comedy
Most secular music lost but did exist outside the
Church
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1-6
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 7. Middle Ages: Overview
Time Period: 476 CE - ~1400 CE
476--Fall of Western Roman Empire
800--Pope Leo III crowns Charlemagne
936--Otto I establishes Holy Roman
Empire
1066--Normans conquer England
1095--Beginning of first crusade
1215--King John of England signs Magna
Carta
1348-1350--Black Death ravages Europe
Listen to This PRENTICE HALL
1-7
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 8. Christianity
Had no standard musical practice for 1st 3
centuries
Borrowed from Judaism, reciting psalms, call
& response method
Adopted other practices upon expansion
through Asia Minor & Europe
Symbolism very important to medieval life-
age of miracles, mysticism, etc.
Listen to This PRENTICE HALL
1-8
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 9. Middle Ages: Music for
Sacred Spaces
Churches/Cathedrals = most important sacred
structures of the Middle Ages
Reflected testimonies toward God and power of
Church itself
Created spaces in which music could be
performed
Large with incredible acoustic qualities
Built to instruct the faithful (e.g., stained glass
windows depicting Biblical scenes)
Listen to This PRENTICE HALL
1-9
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 10. Pope Gregory I
6th Century-codified music of
worship services, establishment
of liturgy, body of rites
prescribed for worship
Function = to project the text
clearly so that it could be
understood by the people.
Possessed clarity and melodic
beauty; thus it was inspirational.
Listen to This PRENTICE HALL
1-10
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 11. Music of the Catholic
Church
The “Ordinary” of the Mass: the part that
doesn’t change each day: 5 parts
Kyrie Eleison: Lord, Have Mercy (in Greek)
Gloria: Glory to God in the Highest (in Latin)
Credo: I Believe (in Latin)
Sanctus and Benedictus: Holy, Holy, Holy
(in Latin)
Agneus Dei: Lamb of God (in Latin)
Listen to This PRENTICE HALL
1-11
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 12. Music of the Catholic
Church
The “Proper” of the Mass: changes every day: the
main chanted parts (in Latin):
Introit: introductory prayer
Gradual: often prayer of thanks or intercession
(request)
Offertory: prayer of offering
Communion: prayer of thanks after communion
Post-Communion: prayer just before end of Mass
Listen to This PRENTICE HALL
1-12
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 13. The Liturgical Year
Advent Palm Sunday
Nativity/Christmas Maundy Thursday
Epiphany Good Friday
Candlemass Easter
Ash Wednesday Pentecost
Lent All Saints/All Souls (Halloween)
Listen to This PRENTICE HALL
1-13
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 14. Parts of Mass Were Sung
in Chant
Liturgical (for worship) Chants: also called
plainchant or plainsong: were based on
“modes.”
Listen to This PRENTICE HALL
1-14
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 15. The Church Modes
Unfamiliar scales, not like major & minor
Consist of seven different tones, an eighth
tone duplicating the first(octave)
Different pattern of half-steps & whole-steps
Were the basic scales of Western music
during the Middle Ages-Renaissance
Used in secular & sacred music
Many still used in Western folk music
Listen to This PRENTICE HALL
1-15
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 16. The Church Modes
Setting words to music
Syllabic--one note per syllable
Melismatic--many notes per syllable
Melismas often used to emphasize words
Listen to This PRENTICE HALL
1-16
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 17. Gregorian Chant
Sung only by monks &
priests
Text-Latin
Features
Non-metrical rhythm
Monophonic texture
Smooth, stepwise
contour Composers of chant primarily
unknown
Modal scales
Music passed down almost strictly
Reverent mood
by oral tradition
Listen to This PRENTICE HALL
1-17
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 18. Middle Ages: Notation
Earliest chant manuscripts merely
showed whether the chant went up or
down, not specific pitches.
Most manuscripts created by monks in
monasteries, by hand. Parchment and
ink were expensive.
Printing emerged--middle of 15th century.
Listen to This PRENTICE HALL
1-18
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 19. Chapter 1: Hildegard von
Bingen--Play of Virtues
A morality play--dramatized allegory of Good vs. Evil
struggling over the fate of a single soul
Written for dedication of convent church at Rupertsberg
Plot centers around disputes between Satan and 16
virtues (e.g., Charity, Obedience, Humility, Chastity,
Knowledge of God, Discipline, Compassion, Mercy,
Victory, Discretion, Patience, Faith, Hope, Innocence,
World Rejection, Heavenly Love).
Each virtue = 1 female singer
Chorus of all virtues sings same melody monophonically
(called unison singing).
Music was based on a florid style of liturgical plainchant.
Devil was a spoken part (by a male).
Listen to This PRENTICE HALL
1-19
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 20. Hildegard von Bingen(1098-1179)
The Composer
Hildegard von Bingen--most prolific composer before 1500
First woman composer from whom a large number of
works survived
Powerful abbess, theologian, naturalist, healer, poet,
musician
Born in what is now western Germany to a noble family.
Became a Benedictine nun at age of 16.
Used prominent position in Church to improve that of
women
Experienced visions and revelations that were recorded in
books-writer of theology, medicine, botany, and lives of the
Saints
Musical works consisted of chants for religious services
which took place throughout the day in the convent.
Listen to This PRENTICE HALL
1-20
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 21. A Medieval Castle in
Wales--13th Century
Listen to This PRENTICE HALL
1-21
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 22. Middle Ages: Music for
Entertainment
Castles = most important secular structures of
the Middle Ages
Reflected importance of secular and worldly
power for royalty/aristocracy
Created opportunities for musical performances
Demonstrated power to subjects and each other.
Rulers competed for services of best composers,
artists, and musicians.
Songs for Medieval entertainment sung in
language of people.
Music for dancing served an important social
function.
Listen to This PRENTICE HALL
1-22
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 23. Middle Ages: Secular
Music
Not much is known about this non-religious
music because little of it was written down.
What was written was monophonic, but it is
believed it was accompanied by instruments
(homophonic).
We know it existed because of paintings and
illustrated manuscripts from the period.
Listen to This PRENTICE HALL
1-23
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 24. Estampie
13th century dance in triple meter
Anonymous composer
Clear, fast tempo
No instrumentation specified
This recording
Rebec
Pipe
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1-24
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 25. Middle Ages: Secular
Musicians of the Period
Minstrels: professional poet-musicians
who traveled the countryside
Their music was the “news” of the day:
gossip, recent events, legends.
They were the original “vaudeville”
performers.
They performed a variety of acts: juggling,
magic, acrobatics.
They were itinerant and didn’t write their
songs down.
They were outcasts in society.
Listen to This PRENTICE HALL
1-25
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 26. Middle Ages: Secular
Musicians of the Period
Troubadours: about the 12th century, these
knights of the Provence of Southern France
performed songs about love, the beauty of
women, honor, and the Crusades.
Trouvères: about the 12th and 13th
centuries, noblemen from the courts of
Northern France composed songs related to
love and chivalry in their own French dialect.
Listen to This PRENTICE HALL
1-26
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 27. Middle Ages: Secular
Musicians of the Period
Minnesingers: German knights who composed and
sang their own songs about the approach of dawn
(“watchers’” songs), and the beauty of nature and of
women
Meistersingers: c. 14th-16th centuries, middle class
performers who built on tradition of Minnesingers
Formed guilds (the first musical unions)
Developed rules for songwriting
Tested composers for knowledge of rules before
admitting them to the guild
Listen to This PRENTICE HALL
1-27
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 28. The Development of Polyphony
The first harmony was
organum: singers
sang same melody,
but at different
intervals
Listen to This PRENTICE HALL
1-28
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 29. The Development of Polyphony:
Organum
Polyphony
Combination of two melodic lines
Appeared sometime between 700 & 900
11th century notation indicates other pitches
added to melody
Take line of chant, add additional parallel line a
fourth or fifth below
Listen to This PRENTICE HALL
1-29
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 30. The Development of Polyphony
Second line eventually
became more independent
around 1100, when chant and
added melody were no longer
restricted to note against note
style
Development of music related
to development of musical
notation system
Neumes-signs written above
words to indicate direction of
pitch movements
Listen to This PRENTICE HALL
1-30
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 31. The School of Notre Dame
Leonin(1169-1201)
Composer at Notre Dame
Began to give chant longer note values, composed more
active line above
Perotin(1198-1236)
Followed same practice, added
3rd & 4th line
First known composer to write
music with more than 2 voices
Listen to This PRENTICE HALL
1-31
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 32. The School of Notre Dame
Name given to these composers & their followers
Made use of measured rhythm, with definite time
values & defined meter
First time in history-notation indicated precise
rhythm as well as pitch
Sounds hollow because of accepted intervals
8ve, 4th, 5th- consonant, 3rd dissonant but found
in secular music
Listen to This PRENTICE HALL
1-32
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 33. Alleluia vidimus stellam(We Have
Seen His Star)
Based on Gregorian alleluia melody, referred to
as a cantus firmus(fixed melody)
Listen to This PRENTICE HALL
1-33
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 34. Guido d’Arezzo(995-1050)
First “music theorist”
Made fixed pitch
relationships possible
Solfege syllables for scale
patterns
do-re-mi-fa-sol-la-ti-do
Patricia Gray Website
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1-34
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 35. 14th Century Music: The Ars Nova (New
Art) in France
Ars nova
1322 Treastise by Philippe de Vitry
including acceptance of division of beat
Literary works became more about
sensuality than virtue
Secular music more important than
sacred
New system of music notation
evolved
Composers could specify any rhythm
pattern
Beats divided into 2s as well as 3s
Syncopation appears
Polyphony not based on chant, drinking
songs, etc.
Listen to This PRENTICE HALL
1-35
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 36. Guillaume de Machaut(1304-1377)
Single most important figure in
French Ars Nova
Priest-studied theology & took holy
orders
Served as court musician for royal
families; King of Bohemia, royal
family of France
Important church official in Reims
Listen to This PRENTICE HALL
1-36
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 37. Guillaume de Machaut
Most important works
Secular songs
Inspired by relationship with
Peronne d’Armentieres which
ended in disappointment
Decline of church reflects works-
mainly love songs for one or two
voices & instrumental
accompaniment
Listen to This PRENTICE HALL
1-37
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 38. Notre Dame Mass-Agnus Dei (Mid-
14th Century)
First polyphonic treatment of
mass ordinary by known
composer
Written for four voices
Some parts probably
performed and/or doubled on
instruments
Performance practice of
piece unknown
When & why mass was
written unknown
Listen to This PRENTICE HALL
1-38
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 39. Instruments of the Middle
Ages
Harps
Lutes (like a guitar)
Flutes (end blown, called
recorders)
Shawns (like oboes)
Early violins
Trumpets and drums
Listen to This PRENTICE HALL
1-39
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 40. Chapter 3: Francesco
Landini--Behold Spring
A secular song of love
Courtly love in this age
Knight declares himself servant of his lady love
Heroic deeds done in her honor
Love for her ennobles him
Poet Giovanni Boccaccio (poem: Decameron)
describes how a group of lords and ladies,
fleeing the plague, sang this song to divert their
minds.
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1-40
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 41. Francesco Landini
The Composer
Most prolific and famous Italian composer of
the 14th century
Blinded by smallpox as a child
Served as organist at a church in Florence
Was also a famous poet
Music:
Balletas--like Behold Spring
Virelais--French songs
Caccia--hunting songs
Listen to This PRENTICE HALL
1-41
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 42. Chapter 4: Alfonso el Sabio--
“He Who Gladly Serves”
From Songs to the Virgin Mary, no. 249
A collection of more than 400 songs
A piece using voice, drums (percussion)
and shawms (woodwinds, like the oboe)
Shawm = double reed instrument
Player blows through a pair of reeds that
vibrate; vibrations are magnified by a long
wooden tubular instrument.
Has a raucous, rough sound
Listen to This PRENTICE HALL
1-42
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 43. Alfonso el Sabio--“He Who
Gladly Serves”
Form: The form of this piece is ABA ABA
AA
Based on 2 relatively short melodic units
A and B move similarly, but B moves to a
higher register.
The whole form (ABA) is repeated twice.
The A section is then repeated twice
again at the end.
Listen to This PRENTICE HALL
1-43
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 44. Alfonso el Sabio--“He Who
Gladly Serves”
Texture--three kinds in this piece
Monophony--both instruments play same
notes together.
Homophony--one instrument plays
melody while the other plays a single long
note underneath (called a drone bass).
Heterophony--both instruments play
same melody at same time, but one is
embellished and more elaborate than the
other.
Listen to This PRENTICE HALL
1-44
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458
- 45. Alfonso el Sabio
The Composer
Ruled the Kingdom of Castile and León (in
modern central and northwestern Spain) during
the 13th century.
May not be the real composer; probably
attributed to him, but really by an anonymous
person.
Possibly a monk, priest, or nun
Could have been a court musician or a traveling
musician (called a troubadour, trouvère, or
minnesinger).
Listen to This PRENTICE HALL
1-45
By Mark Evan Bonds
©2009 Pearson Education, Inc.
Upper Saddle River, NJ 07458