The Calamitous Fourteenth Century Famine, War, Plague and Death.
FOURTEENTH CENTURY - San Jose State University€¦ · Performing Fourteenth-Century Music!! There...
Transcript of FOURTEENTH CENTURY - San Jose State University€¦ · Performing Fourteenth-Century Music!! There...
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������
FOURTEENTH CENTURY ������
MUSIC������
Increased attention to secular song, ���though much sacred music continued���
to be composed. ���������������
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������
FOURTEENTH CENTURY ������
ROMAN de FAUVEL ������
Flatterie (Flattery)���Avarice (Greed)���
Villanie (Villany)���Variété (Fickleness)���
Envie (Envy)���Lâcheté (Cowardice)���
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������
FOURTEENTH CENTURY ������
ROMAN de FAUVEL ������
Flatterie (Flattery)���Avarice (Greed)���
Villanie (Villany)���Variété (Fickleness)���
Envie (Envy)���Lâcheté (Cowardice)���
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������
ROMAN de FAUVEL ������
Flatterie (Flattery)���Avarice (Greed)���
Villanie (Villany)���Variété (Fickleness)���
Envie (Envy)���Lâcheté (Cowardice)���
Fond Français 146, Paris, Bibliothèque Nationale
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������
ROMAN de FAUVEL ������
Flatterie (Flattery)���Avarice (Greed)���
Villanie (Villany)���Variété (Fickleness)���
Envie (Envy)���Lâcheté (Cowardice)���
Fond Français 146, Paris, Bibliothèque Nationale
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������
ARS NOVA������
Philippe de Vitry (1291-1361) ������
Ars Nova (c. 1320) ���“This completes the ars nova of Magister
Philippe de Vitry”������������
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������
ARS NOVA������
Philippe de Vitry (1291-1361) ������
Ars Nova (c. 1320) ���“This completes the ars nova of Magister
Philippe de Vitry”������
Vitry’s compositions among the 169 pieces of music in Fauvel���
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������
ARS NOVA������
MENSURATION SIGNS ������
MODE = Division of the Long���TIME = Division of the Breve���
���PROLATION= Division of the Semibreve���
Major / Minor ������
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MODE TIME PROLATION Division of Long Division of Breve
Perfect : Imperfect Division of Semibreve
Major : Minor
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������
ARS NOVA������
MENSURATION SIGNS ������
Temporary changes of Mode or Time are indicated by���
COLORATION ������
Use of Red Ink, rather than Black ������
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ARS NOVA������
Shifting emphasis to duple meters was criticized���by Jacque de Liège���
���“Perfection is brought low, and imperfection
exalted.”������������
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ISORHYTHM ������
Motets of Philippe de Vitry some of the earliest uses of ISORHYTHM ���
������������������
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������
ISORHYTHM ������
Motets of Philippe de Vitry some of the earliest uses of ISORHYTHM ���
���Rhythmic structure of the tenor of motet ���
������������
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ISORHYTHM ������
TALEA��� “cuttings” (pl. taleae) ���
Rhythmic pattern������
COLOR���“color” (pl. colores)���
The melodic notes of the tenor������
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������
ISORHYTHM ������
TALEA��� “cuttings” (pl. taleae) ���
Rhythmic pattern������
The tenor is laid out in segments of identical���rhythm.���
������
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������
ISORHYTHM ������
TALEA��� “cuttings” (pl. taleae) ���
Rhythmic pattern������
Taleae in tenors in 1200s = short patterns ���Taleae in tenors in 1300s = longer patterns ���
������
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������
ISORHYTHM ������
TALEA��� “cuttings” (pl. taleae) ���
Rhythmic pattern������
The slow pace of the tenor makes it less a���melody and more of a foundational structure.���
������
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������
ISORHYTHM ������
COLOR���“color” (pl. colores)���
The melodic notes of the tenor���������
The color may repeat,���but not necessarily in line with the rhythm.���
������
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������
ISORHYTHM ������
“In arboris / Tuba sacre fidei / Virgo sum” ���attributed to Vitry ���
������������������
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������
ISORHYTHM ������
“In arboris / Tuba sacre fidei / Virgo sum” ���attributed to Vitry ���
������
Tenor refers to the Virgin Mary���Duplum (Motetus) and Triplum also refer to
Virgin Mary���������
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������
ISORHYTHM ������
“In arboris / Tuba sacre fidei / Virgo sum” ���attributed to Vitry ���
��� The tenor includes ���
two statements of the color������
6 repetitions of the talea ������
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������
ISORHYTHM ������
“In arboris / Tuba sacre fidei / Virgo sum” ���attributed to Vitry ���
��� Coloration indicates changes from duple to triple���
���Introitus ���
������
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���������
HOCKET��� ���
“Hiccup” ������
Two voices alternating in rapid succession,���each resting while the other sings ���
��� The device was developed in the thirteenth���
century������������
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���������
ARS NOVA HARMONIC PRACTICES������
Greater prominence of imperfect consonances ������
Cadences required perfect consonances,���but their resolution could be sustained���
���Parallel octaves and fifths continued to be used���
���������
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���������
GUILLAUME de MACHAUT���(c. 1300-1377)���
���������������������������
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���������
GUILLAUME de MACHAUT���(c. 1300-1377)���
������
The leading composer of the French Ars Nova ������
Born in northeastern France, middle-class family������
Educated as a cleric and took Holy Orders ���������
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���������
GUILLAUME de MACHAUT���(c. 1300-1377)���
��� 1323–1340, worked as secretary for John���
of Luxembourg, King of Bohemia,������
Resided in Reims after 1340������
Royal patrons supported him, including the���kings of Navarre and France���
���
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���������
GUILLAUME de MACHAUT���(c. 1300-1377)���
��� First composer to compile his complete works ���
and to discuss his working method ������
He wrote his poems first, then the music ���������������
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���������
GUILLAUME de MACHAUT���(c. 1300-1377)���
��� First composer to compile his complete works ���
and to discuss his working method ������
He wrote his poems first, then the music ������
Liked music “sweet and pleasing”���������
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���������
GUILLAUME de MACHAUT���(c. 1300-1377)���
��� He paid for the preparation of several���
illuminated manuscripts of his works ������
He composed many major musical works and���numerous narrative poems ���
���������
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���������
GUILLAUME de MACHAUT���(c. 1300-1377)���
��� 23 motets, most from early in his career���
���20 are isorhythmic, 3 which use���
secular songs as tenors.������
Often include hockets ���������
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���������
GUILLAUME de MACHAUT���(c. 1300-1377)���
���Messe de Nostre Dame���“Mass of Our Lady”���
������������������
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���������������
GUILLAUME de MACHAUT���(c. 1300-1377)���
��� Probably the earliest polyphonic setting of the���
Mass Ordinary to be composed by a single���composer and conceived as a unit���
���Kyrie, Gloria, Credo, Santus, Agnus Dei���
&���Ite missa est ���
���������
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���������������
GUILLAUME de MACHAUT���(c. 1300-1377)���
��� In the fourteenth century, anonymous ���composers in France, England, and Italy���
set individual movements polyphonically.������
A few mass “cycles” were assembled from���individual movements ���
������������
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���������������
GUILLAUME de MACHAUT���(c. 1300-1377)���
���Composed for the cathedral in Reims ���
���Performed at a Mass for the Virgin Mary���
celebrated every Saturday ������
After Machaut’s death, an oration for���Machaut’s soul was added to the service,���
and performed until fifteenth century���������
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���������������
GUILLAUME de MACHAUT���(c. 1300-1377)���
��� UNIFYING DEVICES ���
���Recurring motives ���
���Tonal focus on D in the first three���
movements and on F in the last three���������������
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���������������
GUILLAUME de MACHAUT���(c. 1300-1377)���
��� UNIFYING DEVICES���
���All six movements are for four voices,���
including a contratenor (“against the tenor”)���that moves in the same range as the tenor.���
���������������
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���������������
GUILLAUME de MACHAUT���(c. 1300-1377)���
��� UNIFYING DEVICES���
��� Kyrie, Sanctus, Agnus Dei, and���Ite, missa est are isorhythmic.���
������������������
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���������������
GUILLAUME de MACHAUT���(c. 1300-1377)���
��� KYRIE���
��� Chant Kyrie Cunctipotens Genitor ���
������������������
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���������������
GUILLAUME de MACHAUT���(c. 1300-1377)���
��� KYRIE���
���TENOR: 28 notes of chant, 4-note talea x 7���
������������������
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���������������
GUILLAUME de MACHAUT���(c. 1300-1377)���
��� KYRIE���
���TENOR: 28 notes of chant, 4-note talea x 7���
Contratenor also isorhythmic������������������
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���������������
GUILLAUME de MACHAUT���(c. 1300-1377)���
��� KYRIE���
���TENOR: 28 notes of chant, 4-note talea x 7���
Contratenor also isorhythmic���Upper voices partially isorhythmic���
������������
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���������������
GUILLAUME de MACHAUT���(c. 1300-1377)���
��� Kyrie I: Polyphony, Chant, Polyphony���
���Christe: Chant, Polyphony, Chant���
���Kyrie II: Polyphony, Chant���
Kyrie III: Polyphony������������
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���������������
GUILLAUME de MACHAUT���(c. 1300-1377)���
��� Polyphonic songs (chansons, “songs”)���
in the formes fixes ���������������������������
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���������������
GUILLAUME de MACHAUT���(c. 1300-1377)���
��� “Treble-dominated” songs major���
innovation of the Ars Nova ������
The treble or cantus carries the text���Slower untexted tenor supports the cantus.���
���A contratenor may be added,���
Triplum in same range as cantus ���������
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GUILLAUME de MACHAUT���(c. 1300-1377)���
��� RONDEAUX ���
Two musical phrases ( A and B) ���Text includes a “refrain” (AB)���
���Form: [AB] aA [ab] [AB]���
���������������
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GUILLAUME de MACHAUT���(c. 1300-1377)���
��� RONDEAUX ���
���“Rose, liz, printemps, verdure”���
���������������������
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������������������A Rose, liz, printemps, verdure, ���
Fleur, baume et tres douce odour, ���B Bele, passés en douçour, ������a Et tous les biens de Nature, ���
Avez dont je vous aour. ���A Rose, liz, printemps, verdure, ���
Fleur, baume et tres douce oudour.��� ���a Et quant toute creature ���
Seurmonte vostre valour, ���b Bien puis dire et par honnour: ������A Rose, liz, printemps, verdure, ���
Fleur, baume et tres douce oudour, ���B Bele, passés en douçour.������
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���������������
ARS NOVA ARS SUBTILIOR������
Composers at the court of the Avignon popes ���across southern France and northern Italy���
cultivated complex secular music.���������������������������
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Palace of the Popes, Avignon
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���������������
ARS NOVA ARS SUBTILIOR������
ARS SUBTILIOR a continuation of Ars Nova���in���
secular polyphonic songs in the formes fixes ��� and���
developing the complexities of Ars Nova notation ������������������
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���������������
ARS NOVA ARS SUBTILIOR������
Love songs intended for an elite audience ��� ���
Pieces notated in fanciful shapes ������
Rhythmically complex ������������������
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���������������������������������
“Belle, bonne, sage” Baude Cordier
Coloration
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“Tout par compas” Baude Cordier
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���������������������������������
“Tout par compas” Baude Cordier
It’s a Rondeau!
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���������������
Performing Fourteenth-Century Music ������
There was no uniform way to perform polyphonic music.���
���Pictorial and literary sources indicate vocal,���
instrumental, and mixed groups.������
All vocal performance was most common.������������
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���������������
INSTRUMENTS ������
Instruments separated into 2 categories: ������
HAUT and BAS ������������������������
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���������������
INSTRUMENTS ������
HAUT (“high”) instruments were loud,���for outdoors and dancing.���
���Cornetts ���Trumpets ���Shawms ���Sackbuts ���
���������
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���������������
INSTRUMENTS ������
BAS (“low”) instruments were soft in volume���and were played indoors ���
���Stringed instruments: harps, lutes, and vielles ���
Portative organs ���Transverse Flutes ���
Recorders ������������
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INSTRUMENTS ������
Percussion instruments were common in all���kinds of ensembles ���
������������������������
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���������������
“FALSE MUSIC”������
MUSICA FICTA, or Chromatic Alterations ������������������������������
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“FALSE MUSIC”������
Raising or lowering a note by a half-step���to avoid the tritone���
���Pitches altered to make a smoother melodic line,���
especially at cadences.������������������
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���������������
“FALSE MUSIC”������
Raising or lowering a note by a half-step���to avoid the tritone���
���Pitches altered to make a smoother melodic line,���
especially at cadences.������
The resulting pitches lay “outside the gamut” and���were thus “false”, or ficta ���
������
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���������������
“FALSE MUSIC”������
Raising or lowering a note by a half-step���to avoid the tritone���
���Pitches altered to make a smoother melodic line.���
���The resulting pitches lay “outside the gamut” and���
were thus “false” or ficta ������������
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���������������
“FALSE MUSIC”������
Medieval singers were trained to recognize situations in which a ficta were needed,���
so accidentals were rarely notated. ������
(Modern editions ficta accidentals above the staff, to indicate editorial intervention)���
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