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1. The Medieval Times
of Music.
By, The Crescendo’s

2. Medieval music
encompasses the sacred
and secular music of
Western Europe during
the Middle Ages, from
approximately the 6th to
15th centuries. It is the
first and longest major era
of Western classical
music.

3. Medieval music includes
liturgical music used for the
church, and secular music;
solely vocal music, such as
Gregorian chant and choral
music (music for a group of
singers), solely instrumental
music, and music that uses
both voices and instruments
(typically with the instruments
accompanying the voices).

4. Let us give some examples,
Candigas de Santa Maria
(Spain, 13th century)
Organum Duplum
( France, 13th century )
( by Alfonso X El Sabio )
( by Leonin )
Lauda and Motet
( Italy, 13th century )
( Unknown )

5. Early medieval music (500–1000)
Chant (or plainsong) is a monophonic sacred (single,
unaccompanied melody) form which represents the earliest
known music of the Christian church. Chant developed
separately in several European centres.
The most important were Rome, Hispania, Gaul, Milan,
and Ireland, there were others as well.
These styles were all developed to support the regional
liturgies used when celebrating the Mass there. Each area
developed its own chant and rules for celebration.

6. High medieval music (1000–1300)
The Goliards were itinerant poet-musicians of Europe from the
tenth to the middle of the thirteenth century. Most were scholars
or ecclesiastics, and they wrote and sang in Latin.
Although many of the poems have survived, very little of the
music has. They were possibly influential—even decisively so—
on the troubadour-trouvère tradition which was to follow.
Most of their poetry is secular and, while some of the songs
celebrate religious ideals, others are frankly profane, dealing with
drunkenness, debauchery and lechery. One of the most important
extant sources of Goliards chansons is the Carmina Burana.

7. High medieval music (1000–1300)
Also called ars veterum or ars vetus, is a term
used by modern scholars to refer to the Medieval
music of Europe during the High Middle Ages,
between approximately 1170 and 1310.
This covers the period of the Notre-Dame
school of polyphony, and the subsequent years
which saw the early development of the motet, a
highly varied choral musical composition.
The term ars antiqua is used in opposition to ars
nova (meaning "new art", "new technique"
or "new style").
Ars
antiqua
Pérotin, one of the few composers of Ars
Antiqua who is known by name, composed this
Alleluia nativitas in the third rhythmic mode.

8. Late medieval music (1300–1400)
Ars nova (Latin for new art) refers to a
musical style which flourished in the Kingdom of
France and its surroundings during the Late
Middle Ages.
The beginning of the Ars nova is one of the few
clear chronological divisions in medieval music,
since it corresponds to the publication of the
Roman de Fauvel, a huge compilation of poetry
and music, in 1310 and 1314. The Roman de
Fauvel is a satire on abuses in the medieval
church, and is filled with medieval motets, lais,
rondeaux and other new secular forms.
Page of the French manuscript Roman de
Fauvel, Paris, B.N. Fr. 146 (ca. 1318), "the
first practical source of Ars nova music"

9. Composers of the Arv Novas style
Name Lifetime Works
Philippe de Vitry 1291–1361 Aman novi, Cum statua , Douce
playsence and more
Jehan de Lescurel fl. early 14th century Many ballades and rondeaus;
two "Diz entez"
P. des Molins fl. mid 14th century The ballade De ce que fol pensé
and the rondeau Amis, tout
dous vis
Jehan Vaillant fl. 1360–1390 Three rondeau a ballades and
virelai Notably Par maintes foys
Grimace fl. mid-to-late 14th century Three ballades, a virelai and
rondeau
F. Andrieu fl. late 14th century The (double) ballade Armes
amours