Transcript PPT Middle Ages - Semiahmoo IB Music

Music: An Appreciation
9th Edition
by Roger Kamien
Part II
The Middle Ages
© McGraw-Hill Higher Education
Time-Line
• Middle Ages (450-1450)
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Rome sacked by Vandals—455
Beowolf—c. 700
First Crusade—1066
Black Death—1347-52
Joan of Arc executed by English—1431
The Middle Ages
• Period 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
• Architecture
• Early: Romanesque
• Late: Gothic
• Visual Arts
• Stressed iconic/symbolic, not realism
• Late Middle Ages saw technological progress
Ch. 1: Music in the Middle Ages
• Church dominates musical activity
• Most musicians were priests
• Women did not sing in mixed church settings
• Music primarily vocal and sacred
• Instruments not used in church
Ch. 2: Gregorian Chant
• Was official music of Roman Catholic Church
• No longer common since 2nd Vatican Council
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Monophonic melody set to Latin text
Flexible rhythm without meter and beat
Named for Pope Gregory I (r. 590-604)
Originally no music notation system
• Notation developed over several centuries (see p. 66)
The Church Modes
• Different ½ and whole steps than modern scales
Listening
Alleluia: Vidimus stellam
(We Have Seen His Star)
Vocal Music Guide: p. 86
Basic Set, CD 1:63 Brief Set, CD 1:47
Early Gregorian Chant
Monophonic
Ternary form: A B A
Listening
O successores (You successors)
Hildegard of Bingen
Vocal Music Guide: p. 88
Basic Set, CD 1:66 Brief Set, CD 1:50
Chant
Originally written without accompaniment
This recording includes a drone—long,
sustained notes
Note extended range of melody
Written for nuns by a nun (to be sung in convent)
Ch. 3: Secular Music in the Middle
Ages
Troubadours (southern France) and
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Trouveres (northern France)
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Nobles wrote poems/songs for court use
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Performed by jongleurs (minstrels)
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Topics: courtly love, Crusades, dancing
Estampie
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Medieval dance music
Strong beat (for dancing)
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Notated as chant: only a single melody line
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Performers probably improvised accompaniment
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• Listening example—Basic Set, CD 1:67
Brief Set, CD 1:51
Ch. 4: The Development of
Polyphony: Organum
• Between 700-900 a 2nd line added to chant
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Additional part initially improvised, not written
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Paralleled chant line at a different pitch
• 900-1200 added line grew more independent
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Contrary motion, then separate melodic curve
c. 1100 note-against-note motion abandoned
• 2 lines w/ individual rhythmic and melodic content
• New part, in top voice, moved faster than the chant line
School of Notre Dame: Measured Rhythm
• Parisian composers developed a rhythmic notation
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Chant notation had only indicated pitch, not rhythm
Notre Dame’s choirmasters Leonin & Perotin were leaders
• Medieval thought was that interval of 3rd dissonant
• Modern chords built of 3rds, considered consonant
Ch. 5: Fourteenth-Century Music: The
“New Art” In Italy and France
• Composers wrote music not based on chant
• Borrowed secular melodies to put in sacred music
• 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
Guillaume de Machaut
• Mid- to late 14th Century composer (1300-1377)
• Also famous as a poet
• Though a priest, spent most of life working at court
• Wrote both sacred and secular music
• Best known for his Notre Dame Mass
Listening
Agnus Dei from Notre Dame Mass
by Guillaume de Machaut
Vocal Music Guide: p. 99
Basic Set, CD 1:71 Brief Set, CD 1:53
14th Century, part of mass ordinary
Polyphonic—4 voices (parts)
Ternary form: A B A (form results from the text)
Agnus Dei, qui tollis peccata mundi: miserere nobis
Agnus Dei, qui tollis peccata mundi: miserere nobis
Agnus Dei, qui tollis peccata mundi: dona nobis pacem