6 th Brief Edition by Roger Kamien Part II: The Middle Ages and Renaissance © 2008 The McGraw-Hill Companies, Inc. All rights reserved. Music: An Appreciation.
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6th Brief Editionby Roger Kamien
Part II:Part II:The Middle Ages The Middle Ages
and and RenaissanceRenaissance
© 2008 The McGraw-Hill Companies, Inc. All rights reserved.
Music: An AppreciationMusic: An Appreciation
Presentation Development by Robert ElliottTennessee State University
Part II – The Middle Ages and RenaissancePart II – The Middle Ages and Renaissance
Time LineTime Line
Rome sacked by VandalsRome sacked by Vandals 455 455
BeowolfBeowolf c. 700 c. 700
First CrusadeFirst Crusade 10661066
Black DeathBlack Death 1347-52 1347-52
Joan of Arc executed by English 1431Joan of Arc executed by English 1431
Middle Ages (450-1450)
Renaissance (1450-1600)
Guttenberg Bible 1456
Columbus reaches America 1492
Leonardo da Vinci: Mona Lisa c. 1503
Michelangelo: David 1504
Time LineTime Line
Raphael: School of Athens 1505
Martin Luther’s 95 Theses 1517
Shakespeare: Romeo and Juliet 1596
Part II – The Middle Ages and RenaissancePart II – The Middle Ages and Renaissance
The Middle AgesThe Middle Ages
Period of wars and mass migrationPeriod of wars and mass migration
Strong class distinctions
– Nobility: castles, knights in armor, feasting
– Peasantry: lived in huts; serfs—part of land
– Clergy: ruled everyone; only monks literate
Part II – The Middle Ages and RenaissancePart II – The Middle Ages and Renaissance
Architecture
– Early: Romanesque
Visual Arts– Stressed iconic/symbolic, not realism
Late Middle Ages saw technological progress
– Late: Gothic
The Middle AgesThe Middle Ages
Part II – The Middle Ages and RenaissancePart II – The Middle Ages and Renaissance
The RenaissanceThe Renaissance
Rebirth of human learning and creativity
Time of great explorers
Humanism
Fascination with ancient Greece and Rome
Part II – The Middle Ages and RenaissancePart II – The Middle Ages and Renaissance
The RenaissanceThe Renaissance
– Mythology is favorite subjectMythology is favorite subject
– Nude body, as in ancient times, is shownNude body, as in ancient times, is shown
Visual art becomes more realistic
Weakening of the Catholic Church
Education and literacy now status symbol– Result of invention of printing press
David by Michelangelo
Part II – The Middle Ages and RenaissancePart II – The Middle Ages and Renaissance
Chapter 1: Chapter 1: Music in the Middle AgesMusic in the Middle Ages
Church dominates musical activityChurch dominates musical activity
Music primarily vocal and sacred– Instruments not used in church
– Women did not sing in mixed church settings
– Most musicians were priests
Chapter 1Chapter 1
Gregorian Chant
Was official music of Roman Catholic Church
Flexible rhythm without meter and beat
Monophonic melody set to Latin text
Named for Pope Gregory I (r. 590-604)
Originally no music notation system
– No longer common since Second Vatican Council
– Notation developed over several centuries
The Church Modes
“Otherworldly” sound—basis of Gregorian Chant
Different ½ and whole steps than modern scales
Middle Ages and Renaissance used these scales
– Some Western Music uses these scale patterns
- What Do You Do With a Drunken Sailor?—Dorian mode
- When Johnny Comes Marching Home—Aeolian mode
Chapter 1Chapter 1
ListeningListening
Alleluia: Vidimus stellamAlleluia: Vidimus stellam(We Have Seen His Star)(We Have Seen His Star)
Listening Outline: p. 68Listening Outline: p. 68
Brief set, CD 1:47Brief set, CD 1:47
Listen for:Listen for: Gregorian Chant (Latin language)Gregorian Chant (Latin language)
Many notes per syllable of textMany notes per syllable of text
Monophonic textureMonophonic texture
Ternary form—A B ATernary form—A B A
Chapter 1Chapter 1
ListeningListening
O Successores O Successores (You Successors)(You Successors)Hildegard of BingenHildegard of Bingen
Listening Guide: p. 70Listening Guide: p. 70
Brief Set, CD 1:50Brief Set, CD 1:50
ChantChantOriginally written without accompanimentOriginally written without accompaniment
This recording includes a This recording includes a drone—drone—long, sustained noteslong, sustained notes
Note extended range of melodyNote extended range of melodyWritten for nuns by a nunWritten for nuns by a nun (to be sung in convent) (to be sung in convent)
Chapter 1Chapter 1
Troubadours (southern France) and Trouveres (northern France)Troubadours (southern France) and Trouveres (northern France)
Secular Music in the Middle Ages
– Nobles wrote poems/songs for court use
– Topics: courtly love, Crusades, dancing
- Performed by jongleurs (minstrels)
Chapter 1Chapter 1
Estampie
Medieval (Middle Ages) dance music
– Notated as chant: only a single melody line
Triple meter with strong beat (for dancing)
Listening example—Brief Set, CD 1:51
- Performers probably improvised accompaniment
– This performance played on period instruments
- Melody played on rebec (bowed string instrument and pipe
(tubular wind instrument)
- Drone on psaltery (plucked or struck string instrument)
Chapter 1Chapter 1
Between 700-900 a second line added to chantBetween 700-900 a second line added to chant
The Development of Polyphony: Organum
900-1200 added line grew more independent
– Contrary motion, then later a separate melodic curve
– c. 1100 note-against-note motion abandoned
- 2 lines with individual rhythmic and melodic content
- New part, in top voice, moved faster than the chant line
– Additional part initially improvised, not written
– Paralleled chant line at a different pitch
Chapter 1Chapter 1
School of Notre Dame: Measured Rhythm
Parisian composers developed a rhythmic notation
Medieval thought was that interval of third dissonant
– Modern chords built of thirds are now considered consonant
Notre Dame Cathedral
– Chant notation had only indicated pitch, not rhythm
- Writing with notated rhythm came to be called the Notre Dame style
– Notre Dame’s choirmasters Leonin and Perotin were leaders
Chapter 1Chapter 1
Composers wrote music not based on chantComposers wrote music not based on chant
14th-Century Music: “New Art” In France
New music notation system had developed
– New system allowed for better rhythmic notation
– Syncopation, now possible, became common
The new type of music was called ars nova
– Borrowed secular melodies to put in sacred music
Chapter 1Chapter 1
Guillaume de Machaut
– Also famous as a poet
– Though a priest, spent most of life working at court
Wrote both sacred and secular music
Mid- to late-14th-century composer (1300-1377)
Best known for his Notre Dame Mass
ListeningListening
Puis qu’en oubli sui de vousPuis qu’en oubli sui de vous((Since I am forgotten by you; Since I am forgotten by you; around 1363)around 1363)
by Guillaume de Machautby Guillaume de Machaut
Vocal Music Guide: p. 75Vocal Music Guide: p. 75
Brief Set, CD 1:52Brief Set, CD 1:52
Listen for:Listen for: Melancholy feelMelancholy feel
RondeauRondeau form (8 lines, ab aa ab ab,) form (8 lines, ab aa ab ab,)
SyncopationSyncopation
Interpretation (3 notated lines, 1 text)Interpretation (3 notated lines, 1 text)
Chapter 1Chapter 1
ListeningListening
Agnus Dei Agnus Dei from from Notre Dame Notre Dame MassMassby Guillaume de Machautby Guillaume de Machaut
Vocal Music Guide: p. 79Vocal Music Guide: p. 79Brief Set, CD 1:53Brief Set, CD 1:53
1414thth century, part of mass century, part of mass ordinaryordinaryPolyphonic—4 voices (parts)Polyphonic—4 voices (parts)Ternary form: A B A (form results from the text)Ternary form: A B A (form results from the text)
Agnus Dei, qui tollis peccata mundi: miserere nobisAgnus Dei, qui tollis peccata mundi: miserere nobisAgnus Dei, qui tollis peccata mundi: miserere nobisAgnus Dei, qui tollis peccata mundi: miserere nobisAgnus Dei, qui tollis peccata mundi: dona nobis pacemAgnus Dei, qui tollis peccata mundi: dona nobis pacem
Performance Profile: Performance Profile:
Andrew Parrott-conductorAndrew Parrott-conductor
Listen for conductor’s Listen for conductor’s
interpretation, interpretation, use of solo use of solo
voices, and attempt to voices, and attempt to
create an historically create an historically
accurate performanceaccurate performance
Chapter 1Chapter 1
Chapter 2: Chapter 2: Music in the RenaissanceMusic in the Renaissance
Church choirs grew in size (all male)Church choirs grew in size (all male)
– Women did not sing in mixed church settings
– Musical center shifted from church to courts
– Court composers wrote secular and sacred music
Rise of the individual patron
Chapter 2Chapter 2
Musicians: higher status and pay than before
Italy became music capital in 16th century
– Composers became known for their work
– Worked throughout Europe, especially in Italy
Many composers were Franco-Flemish
– Other important centers: Germany, England, Spain
Chapter 2Chapter 2
Words and MusicWords and Music
Characteristics of Renaissance Music
Vocal music more important than instrumental
Word painting/text painting
Chapter 2Chapter 2
Polyphonic
– Instruments, if present, doubled the vocal parts
Texture
Primarily vocal - a cappella
Rhythm and Melody
Rhythm “flows” and overlaps– Composers less concerned with metrical accents
Smooth, stepwise melodies predominate– Melodies overlap rhythmically between voices
Chapter 2Chapter 2
Sacred Music in the RenaissanceSacred Music in the Renaissance
Two main forms:Two main forms:
– Short polyphonic choral work
– Latin text usually overlaid with vernacular text
– Often borrows lowest voice part from a chant
Motet
Mass—the Catholic worship service– Long work that includes five main parts of service
- Kyrie
- Gloria
- Credo
- Sanctus
- Agnus Dei
Chapter 2Chapter 2
Josquin Desprez
– His work influenced other composers
– Was highly praised by Martin Luther
1440-1521 (contemporary of Columbus & da Vinci)
Wrote both sacred and secular music
– Worked with the Papal Choir in Rome
– Worked for King Louis XII of France
Leading composer of his time; famous while alive
Chapter 2Chapter 2
ListeningListening
Ave Maria…Virgo SerenaAve Maria…Virgo SerenaJosquin DesprezJosquin Desprez
Vocal Music Guide: p. 82Vocal Music Guide: p. 82
Brief Set, CD 1:56Brief Set, CD 1:56
Listen for:Listen for: Four voicesFour voices
Polyphonic imitationPolyphonic imitation
Overlapping voice partsOverlapping voice parts
Chapter 2Chapter 2
PalestrinaPalestrinaCulmination of the Renaissance (1525-1594)Culmination of the Renaissance (1525-1594)
– Music director at St. Peter’s
Worked primarily in Rome
Worked during and after Council of Trent– Council of Trent (1545-1563) addressed:
- Abuses and malpractice within church
- Emerging Protestantism
- Role of music in worship
- Some advocated a return to monophonic music
- Finally decided on non-theatrical worship music
Wrote music meeting demands of Trent– His work became the model for mass composers
Chapter 2Chapter 2
ListeningListening
Pope MarcellusPope Marcellus Mass (1562-63) Mass (1562-63)KyrieKyrieby Palestrinaby Palestrina
Vocal Music Guide: p. 85Vocal Music Guide: p. 85Brief Set, CD 1:59Brief Set, CD 1:59
Six voicesSix voicesPolyphonic imitation w/ overlapping voice partsPolyphonic imitation w/ overlapping voice partsText:Text: Kyrie eleisonKyrie eleison
Christe eleisonChriste eleisonKyrie eleisonKyrie eleison
Chapter 2Chapter 2
Secular Music in the RenaissanceSecular Music in the Renaissance
MadrigalMadrigal
– Extensive use of text painting
– Intended for amateur performers (after dinner music)
- English madrigal
lighter and simpler
– Originated in Italy
Printing Printing
PrintingPrinting– Printed in part-book or
opposing-sheet format
Chapter 2Chapter 2
ListeningListening
As Vesta was DescendingAs Vesta was Descending (1601) (1601)by Thomas Weelkesby Thomas Weelkes
Vocal Music Guide: p. 87Vocal Music Guide: p. 87
Brief Set, CD 1:62Brief Set, CD 1:62
Follow text (English) throughout songFollow text (English) throughout song
Note text painting:Note text painting:Pitches rise on “ascending”Pitches rise on “ascending”
Pitches fall on “descending”Pitches fall on “descending”
““Running down”Running down”
““Two by two,” “three by three,” “all alone”Two by two,” “three by three,” “all alone”
Chapter 2Chapter 2
Instrumental MusicInstrumental Music
Still subordinate to vocal musicStill subordinate to vocal music
– Increasingly, instruments accompanied voices
– Sometimes played adapted vocal music alone
Published music stated that various parts of the
music could be sung or played
Chapter 2Chapter 2
– Dancing became ever more popular during the Renaissance
Purely instrumental music existed almost
exclusively for dancing
Distinction between loud outdoor instruments and
softer indoor ones
Composers did not specify instrumentation
Chapter 2Chapter 2
ListeningListening
Passamezzo and GalliardPassamezzo and Galliardby Pierre Francisque Caroubelby Pierre Francisque CaroubelFrom From Terpsichore Terpsichore (1612) by Michael Praetorius(1612) by Michael Praetorius
Listening Guide: p. 91Listening Guide: p. 91Basic Set, CD 1:81Basic Set, CD 1:81
Renaissance dance musicRenaissance dance musicDances frequently played in pairsDances frequently played in pairs
Passamezzo in duple meter (form: a a’ b b’ c c’)Passamezzo in duple meter (form: a a’ b b’ c c’)Galliard in triple meter (form: a a’ b b’ c c’ a’ b’ c’)Galliard in triple meter (form: a a’ b b’ c c’ a’ b’ c’)
Instrumentation not specified in written musicInstrumentation not specified in written music
Chapter 2Chapter 2
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