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Ancient greece and medieval music
1. The periods of Music
The history of Music can be divided into periods
which we will be exploring over the next few weeks.
Each period of music has different
characteristics,but it is important to remember that
the changes did not happen overnight...Beethoven
didn´t wake up on New Year´s Day 1820 and decided
to compose Romantic Music,The change from each
period into the next was gradual and organic.
3. Edaddad edad
APORÑPAPApolo with the tortoise-shell lyre. Christian and Muslim playing lutes.
LESSON 1:Music of Ancient Greece and
Medieval Ages
4. Introduction
The music of ancient Greece(500b.C-500
A.C) was almost universally present in
society, from marriages and funerals to
religious ceremonies, theatre, folk music and
the ballad like reciting of epic poetry. It
played an integral role in the lives of ancient
Greeks.
The word Music comes from the Muses, the
daughters of Zeus.
5. GREEK MUSIC CHARACTERISTICS
1. The concept of Music includes Music,Poetry and Dance.
2.The voice is accompanied by an instrument.
17. ROMAN MUSIC CHARACTERISTICS
1. The Roman Empire consolidated their military power,but their
contribution to Music was limited.
1. Rome adopted Greek Music,Art an Philosophy to their
necessities.
2. The musical celebrations were really important and there were a
lot of musicians and choruses.Those musical celebrations were
called -torneos.
3. The music had a very important role in the theatre and the army.
18. 4.The music had a very important role in the
theatre and the army.
El coliseo de Roma, anfiteatro Flavio, albergaba las
luchas de los gladiadores que podían ser vistos por
más de 50.000 espectadores...
25. AUDITION :EPITAFIO DE SEIKILOS,CANTO
GREGORIANO,ORGANUM
FLute:
EPTAFIO DE SEIKILOS.
VOICE:KALENDA MAYA.
DANCE:GRIEGA
26. DANZA GRECIA:PERA STUS PERA CAMPUS
Disposición: Se baila en corro cogidos con manos en “ V” y con un número
indeterminado de personas. (Fig. 1)
Introducción: frase B.
Frase A
*Comp.1: A ritmo de negras y mirando al centro: Separar el pie derecho y juntar el pie
izquierdo.
*Comp.2: Lo mismo que comp. 1.
*Comp.3: Separar el pie izquierdo hacia el centro del círculo (poniéndose de lado) y
juntar la punta del pie derecho poniéndola detrás.
*Comp.4: Llevar el pie derecho a la posición inicial (exterior del círculo y juntar el pie
izquierdo).
*Comp. 5-8: Lo mismo que comp. 1 a 4.
Se repite todo.
Frase B
*Comp. 9: Se elevan los brazos a la vez que se salta, recayendo el peso del cuerpo
sobre el pie derecho que queda detrás del izquierdo, que se cruza por delante (Fig.2))
*Comp.10: Lo mismo que comp. 9, pero llevando ahora el peso sobre el pie izquierdo.
*Comp.11-12: Dos pasos hacia la derecha y mirando en esa dirección. Los brazos
bajados. Se comienza con el pie izquierdo por delante del derecho, paso y luego por
detrás.
*Comp. 13-16: Lo mismo que comp. 9-12.
27. GREEK DANCE: PERA STUS PERA CAMPUS
Arrangement: It is danced in a circle holding the hands in “V” shape and
with an indeterminate number of people.
Phrase A
•Bar.1: Step your right foot to the right and join your left one.
•Bar.2: The same as Bar.1.
• Bar 3: Step your left foot towards the centre of the circle (putting it
sideways) and join your right tiptoe putting it behind.
• Bar.4: Take your right foot to the initial position and join your left one.
•Bar.5-8: The same as Bar 1 to 4.
Repeat the same.
Phrase B
•Bar. 9: Put your arms up and kick your left foot towards the circle then step
it back, do the same then with your right.
• Bar 10: The same as Bar.9, but falling your body weight on your right
foot.
•Bar 11-12: Take Two steps to the right, looking at that direction. The arms
down. It is started with your left foot in front of your right one, step and then
behind.
•. Bar 13-16: The same as Bar.9-12.
28.
29. AUDICIONES EN PDF DEL EPITAFIO
http://musiclavero.wikispaces.com/M
%C3%BAsica+e+im
%C3%A1genes+3%C2%BA.1b
AUDICIONES 3º ESO
32. Middle Ages
1. Around 450 A.C. the Roman
Empire began to disintegrate.
2. This was the beginning of the “dark
ages”.
3. Life was hard and full of migrations,
upheavals, and wars.
33. 4.In the later Middle Ages churches and monasteries
were constructed,towns grew and universities were
founded.
HOMEWORK!!!:
What Medieval
Universities are in
Spain?
Explain the origin of
Carmina Burana.
34. 5.This was a time of three social classes:
NOBILITY
38. NOBILITY
Nobles were sheltered within
castles surrounded by
moats.
The men were often knights
during war time.
In peace time, they amused
themselves with hunting,
feasting, and tournaments.
39. •Peasants – the majority of people –
lived miserably in one-room huts.
•Many were bound to the soil and
subject to feudal overlords.
•Homes were damp and cold.The
entire family shared one room.
PEASANTS
40. CLERGYCLERGY
•Monks in monasteries held a monopoly on
learning.
•The church was the center of musical life.
•Musicians were servants and worked for the
church.
•An important occupation in monasteries
was liturgical singing.
•Women were not allowed to sing in the
church.
41. 6.The medieval Era is the longest and
most remote period of musical history.
42. 7.The church was the focal
point of social life,learning
and the arts.
43. 8.Saint Gregory,who was pope from 590-604
A.C,was the organiser of a huge repertoire of
chants that developed during the first
centuries of the Christian Church.
45. A)NOTATION:
Early Medieval music notation did not look like the
notation is used in the present day music.The earliest
signs of a notational system for music used NEUMES.
THE NEUMES WERE SYMBOLS THAT SPECIFIED
PITCH AND MANNER OF PERFOMANCE BUT NOT
EXACTLY THE PITCH(STAFF WERE NOT
INVENTED),NEITHER THE RHYTHM(NOTE VALUES
WERE NOT CREATED TOO).SO ,THESE SCORES
WERE VERY DIFFICULT TO BE PERFORMED AND
NOWADAYS WE CAN´T TRANSLATE MOST OF THEM.
OTHER MUSICAL NOTATION,SUCH US RHYTHM,
DIDN´T BEGIN UNTIL THE 12TH OR 13TH CENTURIES.
46.
47. B)THREEE KINDS OF MUSIC:
-FIRST KIND,GREGORIAN CHANT(PLAIN SONG):IT´S THE MAIN
FORM OF THIS PERIOD
-IT WAS MONOPHONIC(ONE MELODIC LINE WITH NO
ACCOMPANIMENT).
-VERY SERENE IN RHYTHM.
-SMALL MELODIC RANGES.
-WRITTEN IN LATIN.
-THEY WERE ANONYMUS.
48. -SECOND KIND OF MUSIC:EARLY POLYPHONY.
-IN THE LAST PART OF THE MIDDLE AGES.
-IT WAS MUSIC WHICH CONSISTED OF TWO OR
MORE MELODIC LINES THAT WERE HEARD
SIMULTANEOUSLY,SO IT WAS CALLED
POLYPHONY.
-THIS APPEARED AROUND THE 1200S.
-WRITTEN IN LATIN.
-MOST OF THE PIECES WERE RELIGIOUS BUT
THERE WERE SOME SECULAR PIECES TOO.
49. -THIRD KIND OF MUSIC IN THIS
PERIOD WAS THE SECULAR SONG
-IT WAS MONOPHONIC.
-IT COULD HAVE INSTRUMENTAL
ACCOMPANIMENT
-IT HAD STRONG AND REGULAR
RHYTHMS.
-IT WAS SECULAR MUSIC,NOT
RELIGIOUS MUSIC.
51. TROBADOUR IS THE
GENERIC TERM FOR
POETS AND
MINSTRELS WHO
FLOURISHED IN
SOUTHERN FRANCE
AND IN NOTHERN
ITALY FROM THE 11TH
THROUGH THE 13TH
CENTURIES.
52. Normally, they used new
musical instruments,brought
back to Western Europe from
the Crusades.
56. SUMMARY CHART.
1. SECULAR MUSIC TEXT WRITTEN IN
COMMON LANGUAGE.
2. MONOPHONIC TEXTURE.(ONE MELODIC
LINE).
3. FASTER THAN PLAIN SONG.
4. VOCAL MUSIC WITH
INSTRUMENTS,STRINGS AND
PERCUSSION INSTRUMENTS.
5. COMPOSERS WERE WELL KNOWN.
6. TROBADOURS OPPOSITE JONGLEURS.
57. REVIEW QUESTIONS:
1. WHAT IS THE ORIGIN OF THE
NAME GREGORIAN CHANT?
2. WHAT IS A NEUMA?
3. WHEN DID THE WRITTEN
MUSIC START?
4. WHAT WERE THE USES FOR
THE PLAIN SONG?
58. 5.WHAT WERE THE BASICS
TOPICS OF THE PLAIN SONG?
6.WHAT´S THE DIFFERENCE
BETWEEN GREGORIAN CHANT
AND PLAIN SONG?
7.HOW MANY KINDS OF
GREGORIAN CHANT DO YOU
KNOW?
59. 8.WHAT IS THE DIFFERENCE
BETWEEN TROBADOUR AND
JONGLEURS?
9.HOW MANY KINDS OF SECULAR
MUSIC HAVE WE GOT?
10.WHAT TYPE OF INSTRUMENTS CAN
BE USED IN SECULAR MUSIC?
11.WHAT KIND OF STRINGED
INSTRUMENTS DO YOU REMEMBER?
12.WHAT TEXT WAS USED IN SECULAR
MUSIC?
13.HOW MANY VOICES ARE THERE IN
TROBADOUR MUSIC?
62. WE CAN DEFINE POLYPHONY AS TWO OR
MORE MELODIES TOGETHER WITH NONE
BEING MORE IMPORTANT THAN THE
OTHER(ALL OF THEM WERE ,NOT
ACCOMPANIMENT VOICES)
70. OTHER POLYPHONIC
MUSICAL FORMS:
CONDUCTUS:A medieval vocal
composition consisting of one to four
voice parts the lowest of which is
composed of a Latin text set to an
invented melody and accompanied
homophonically by the other voices.
73. The first
polyphonic works
were religious
music but by the
end of this period
composers began
to write religious
works that will be
very important in
the Renaissance
period.
95. REVIEW QUESTIONS:
1.¿CUÁL ES LA IMPORTANCIA DEL TRABAJO
DE GUIDO D´AREZZO?
2.CITA EL NOMBRE DE LOS INSTRUMENTOS
MEDIEVALES DE CUERDA.
3.CITA EL NOMBRE DE LOS INSTRUMENTOS
DE VIENTO.
4.CITA EL NOMBRE DE LOS INSTRUMENTOS
DE PERCUSIÓN.
5.¿QUÉ ES UN CONDUCTUS?
96. 6.WHAT IS AN ORGANUM?
7.CITA LOS TIPOS DE MÚSICA PROFANA.
8.¿EN QUÉ IDIOMA ESTÁN ESCRITAS LAS
CANTIGAS?
9.¿QUIÉNES ERAN LOS GOLIARDOS?
98. GUIDO D’AREZZOHe was an
Benedictine monk
who invented Do-
Re-Mi-Fa-Sol-La-
Ti-Do and the
staff system that
modern music is
written on. Are
you stunned? Did
you think those
things always
existed?ND
99. Guido is most famous for what is known as
Guido’s Hand, but it was probably developed
after his lifetime. This particularly charming
invention uses the creases on a hand to show the
placement of the notes, each corresponding to a
note from solfeggio.
Using this, Guido (or any choir director) could
point to a place on his hand, and the choir would
sing the corresponding note. Suddenly, entirely
rote memorization for learning music evolved to
use visual aids.
100. Although neumes existed already, and scholars
at Notre Dame in Paris studied and scrupulously
applied them to the collections of chant texts that
Pope Gregorius (c540-604) had ordered.
These neumes provided information about the
movement between notes and a little about their
duration, but no information about which specific
note to sing.
A great deal of memorization (and guessing) was
involved.
Guido suggested the use of lines and spaces to
depict which note was sung (including a red line
for F and a yellow line for C).
101. It could be accurately reproduced by someone
else who had never heard it.
The method was widely adopted, and neumes
changed to accommodate the format, becoming
less florid, and more regular.
The modern staff had five lines.
This invention made it easier to memorize music
(because of the visual aspect), and it became
possible for individuals to study separately and
come together with the same music learned.
The memorization factor went away.
107. Himno a San Juan Bautista (Pablo el Diácono, en el Siglo VIII)
Guido d’Arezzo lo utilizó con sus discípulos para recordar la entonación de los
sonidos mediante las primeras sílabas de cada verso en el S. X
108. Mano guidoniana
La mano guidoniana fue un
sistema mnemotécnico utilizado
para ayudar a los cantantes a leer
a primera vista.
Cada porción de la mano
representa una nota específica.
Para enseñar el sistema, el
maestro indica una serie de notas
sobre la palma de la mano, y el
estudiante debe entonarlas, en
forma similar a los ademanes
utilizados en conjunción con el
solfeo.
109.
110. ¿Y que hay de la
duración?
La notación neumática así como
la cuadrada supusieron grandes
progresos en la escritura musical,
pero quedaba impreciso el ritmo a
adoptar, era pues necesario
introducir la dimensión de tiempo -
duración en la escritura musical.
Surge la notación mensural (S.
XIII), en la que las notas tendrán
formas diferentes según su
duración. Aparecen, por lo tanto,
las figuras.
111. La invención de la imprenta en supuso un cambio radical para la
divulgación de las partituras.
112. Primera edición
de música
impresa de la
historia
Harmonice Musices
Odhecaton libro de
música renacentista
publicado en 1501 en
Venecia por el editor
Ottaviano Petrucci, quien
empleó el procedimiento
de impresión triple,
imprimiendo primero los
pentagramas, luego los
textos y finalmente las
notas.
113. Juan Sebastián Bach (1685-1750)
Partitura autógrafa de la Sonata
para violín nº 1 en sol menor (BWV
1001).
