Enjoyment of Music, Ess. Listening Ed. 4th Ed. Prelude 2

1. PRELUDE 2
Music as Commodity and
Social Activity
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Part 2
The Middle Ages and Renaissance

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Music Enhances Communication, Part 1
I. Music Enhances Communication
A. European musical tradition is influential throughout the world
1. notation: sound to paper
a. invented to further goals of Christian worship
2. music as product, commodity
a. preserved, taught and learned, bought and sold
3. social activity: recreational and spiritual
a. sacred music: Christian worship, inspire faithful to worship
b. early worship: music traditions shift to meet needs of changing society
c. secular music: social, entertainment, personal expression

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Music Enhances Communication, Part 2

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Ancient Period
Beg of time unknown to
1300
Up until birth of Christ-
Ancient Music, 0-1300-
Medieval Period
Instruments-violin, flute,
versions of trumpet, oboe
Rna-chum-Tibet, made
of human skulls
(Damaru?)
No known composers, mostly
passed down orally between
generations

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Greek & Roman Civilizations
1st written music found
in Greece, 600 B.C.
Golden Age of Pericles-
value of music in Greek
society
Plato-considered music
essential part of
education, influenced
moral character

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Greek & Roman Civilizations
Greeks developed
instruments
Zither or Lyre
Harp-like Instrument
 Romans emphasized
military music

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From Antiquity to the Middle of Things, Part 1
II. From Antiquity to the Middle of Things
A. Ancient Mediterranean cultures: foundation of Western music
B. Fall of Roman Empire (476 CE): marked beginning of Middle Ages
1. Early Middle Ages (500–1000)
a. power from kings, approval of Roman Catholic Church
b. Charlemagne (742–814): encouraged education; music notation systematized
2. Later Middle Ages (1000–1450)
a. universities founded throughout Europe
b. cities emerged: cultural centers
c. literary landmarks helped shape languages
d. cathedrals: Notre Dame in Paris, musical center
i. polyphony notated (multivoiced music), integrated into worship

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From Antiquity to the Middle of Things, Part 2

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Markets and Courts, Part 1
III. Markets and Courts
A. Late Middle Ages: trade routes throughout Europe
1. merchant class arose outside feudal society
2. music: necessity, recreational, crucial commodity
B. Crusades: era of violence
1. knights embarked on holy Crusades
2. raised status of women
a. concept of chivalry rose among the knights
b. universal cult of the Virgin Mary

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Markets and Courts, Part 2

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Markets and Courts, Part 3
c. songs about romantic love: court (and traveling) minstrels
i. faithful knight worshiped his lady from afar
C. Flowering of secular music in the vernacular
1. troubadours and trouvères
a. French poet-musicians
b. introduced complex instruments
c. song styles adapted from Middle Eastern traditions

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Looking Out and Looking In, Part 1
IV. Looking Out and Looking In
A. Early Renaissance (1450–1520)
1. compass: voyages, discovery
2. invention of printing (c. 1455), Johannes Gutenberg
3. fall of Constantinople (1453): ancient writings distributed
a. increased interest in human concerns
b. influenced architecture, painting, and sculpture
c. palaces, villas: classical style, order and balance

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Looking Out and Looking In, Part 2

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Looking Out and Looking In, Part 3

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Musicians in Medieval and Renaissance Society, Part 1
V. Musicians in Medieval and Renaissance Society
A. Supported by church, city, and state; royal and aristocratic courts
1. choirmasters, singers, organists, instrumentalists, copyists, composers,
teachers, instrument builders, music printers (sixteenth century)
2. institutions: church choirs and schools, music-publishing houses, civic
3. wind bands
4. increased opportunities for apprentices
5. few opportunities for professional women: court singers

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Musicians in Medieval and Renaissance Society, Part 2
B. Rise of merchant class
1. new group of music patrons
2. cultivated middle and upper classes
3. emergence of amateur musicians
4. printed music books available, affordable; music literacy spread

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Credits
This concludes the Lecture PowerPoint presentation for “The Enjoyment of Music, 4th Edition, Prelude 2: Music as Commodity
and Social Activity”
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