6 th Brief Edition by Roger Kamien Part II: The Middle Ages and Renaissance © 2008 The McGraw-Hill...

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


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


Architecture

– Early: Romanesque

Visual Arts– Stressed iconic/symbolic, not realism

Late Middle Ages saw technological progress

– Late: Gothic

The Middle AgesThe Middle Ages


The RenaissanceThe Renaissance

Rebirth of human learning and creativity

Time of great explorers

Humanism

Fascination with ancient Greece and Rome


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


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


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



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



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

6 th Brief Edition by Roger Kamien Part II: The Middle Ages and Renaissance © 2008 The McGraw-Hill...

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