This document provides an overview of music in the Middle Ages, beginning with challenges in studying medieval music due to a lack of surviving sources. It discusses the development of sacred music within the Catholic Church and monasteries, including Gregorian chant and early notation systems. Secular music began to develop at royal courts and cities, using new polyphonic techniques like organum and motets. Important composer figures included Leoninus, Perotinus, Machaut, and Dufay. A variety of instruments and musical genres, both sacred and secular, emerged across Europe during this period.
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This presentation explores basic information about opera. It briefly presents its history and evolution. It also presents a brief sample of the six major opera voices (three male and three female). This presentation was used in the backdrop to an oral presentation of the topic in an undergraduate class on Music History and as such it does not go into much detail on the slides. However, it may be useful for general knowledge and for persons seeking points of reference on the topic.
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2. Medieval Music Difficulties
Least surviving material
Longest period of music history
476-1475 Middle Ages
1475-1600 Renaissance
1600-1750 Baroque
1750-1820 Classical
1825-1900 Romantic
1900-2000 Modern
4. Music in the Monastery
Sacred music preserved in much greater
quantities than secular
The Church was the only real source of
education/literacy
Monastic life a rigorous combination of
work and prayer (sung – Gregorian Chant)
Music notation develops in monasteries
5. Neumes
Early chant notation
Small symbols written above text
Did not originally indicate a specific pitch
Evolved into system of square notes
7. Square Neumes on 4-Line Staff
Visit http://www.netaxs.com/~rmk/Chant/ for help reading neumatic notation
8. Gregorian Chant
Named for Pope Gregory the Great (540-604)
Also known as Plainsong or Plainchant
Single line melody (monophonic)
Free of accent or meter
Conjunct movement
Avoids leaps
Gentle contour
9. Modes
Modes were the scale patterns of Western
European music through the Renaissance
Music composed using modes is called
“modal” (as opposed to “tonal”)
Modes sound less familiar to our ears than
major/minor tonal scales
10. The Medieval Modes:
This is for your information & will not be on a test
Dorian
Hypodorian
Phrygian
Hypophrygian
Lydian
Hypolydian
Mixolydian
Hypomixolydian
For more extensive information
on modes click here
11. Text Settings
Syllabic
One note per text syllable
Neumatic
Two – four notes per text syllable
Melismatic
Long groups of notes per text syllable
14. Notes on Gradual Viderunt
Omnes
Monophonic texture
Alternation of soloist and choir (male)
Mixture of text settings
Mostly neumatic with some long melismas
Very smooth melodic contour (conjunct)
Note the free rhythm and lack of meter
A gradual from the proper of the Mass
15. Hildegard of Bingen (1098-1179)
10th child of noble parents, raised in convent
Founded her own convent in 1150
Experienced and recorded visions
Scivias is the 1st book of her writings
Wrote religious poetry and music
17. Notes on O Rubor Sanguinis
Monophonic texture
Sung by women
Predominantly neumatic text setting
Very smooth melodic contour (conjunct)
Note the lack of a regular beat
Text is not from the Mass
Hildegard wrote the text
18. Music in the Cathedral
Monasteries focused on traditional chant
Urban cathedrals were centers of musical
innovation
Composers began to make greater use of
polyphony
20. Polyphony
Extremely important development in
Western Music
Meter, notation, and composer’s role are all
affected by this development
Early polyphony generally consisted of
parallel lines
This early polyphony was called organum
21. Organum
Begins as improvised, parallel 4ths & 5ths
Second line of basically follows the chant –
no new, independent musical lines
Gradually musicians begin to compose
brand new melodies to accompany the chant
Composers at the Cathedral of Notre Dame
in Paris perfect this new style of organum
22. Notre Dame Style Organum
Notes of original chant tune “stretched” or
held out
Tenor comes from Latin word meaning hold
The line that contained the elongated chant was
called the tenor
Newly composed material sung above chant
Use of rhythmic modes (eg. long-short-long)
Leoninus and Perotinus
23. Leoninus and Perotinus
Composers at Cathedral of Notre Dame
Leoninus (fl. 1169-1201)
First polyphonic composer known by name
Two-voice organum
Magnus liber organi
Perotinus (fl. 1198-1236)
Successor to Leoninus
Wrote up to four-voice organum
25. Notes on Viderunt Omnes
Three active upper voices over sustained lower
voice
The upper voices feature LONG melismas
Listen for the held notes of the original chant
Notice the rhythmic mode in the upper voice
Repeated long-short pattern resembles triple meter
Open, hollow-sounding cadences
Cadences are the endings of musical phrases
26. The Medieval Motet
Evolved out of 13th century organum
French word for “word:” “mot”
New texts added to upper organum voices
Polytextual: texts could be different
Different words
Different languages
Sacred or secular
27. Medieval Motet Structure
Chant tune provides structural foundation
Chant tune held, but not as long as in organum
Tenor – Latin for “to hold” is “tenere”
Triple meter representing Trinity
Tenor can be sung or played
28. The Mass
Central worship service of Catholic Church
Mass texts divided into two categories
The Proper
Texts that vary from day to day
Viderunt omnes is a Gradual from the Proper
The Ordinary
Texts that are always the same
See page 75 for chart of Proper vs. Ordinary
29. Guillaume de Machaut
Dates: ca. 1300-1377
Worked in both sacred and secular worlds
Secretary to John I, King of Bohemia
Served in court of Charles, Duke of Normandy
Served as canon of cathedral at Rheims
Poet and composer
Admired by Geoffrey Chaucer
30. Guillaume de Machaut
Ca. 400 poems and 150 compositions
Composed both secular and sacred music
Best known for composing the first
complete setting of the Ordinary of the
Mass
Messe de Nostre Dame
32. Notes on Kyrie
Built on preexisting chant, notes held out
He then adds three new voices against the tenor
Contratenor superius and altus are above the tenor
Contratenor bassus is below the tenor
Contratenor parts feature greater rhythmic variety
Polyphonic texture
Characteristic medieval dissonance
Male voices
33. Rise of Music at Court
Early middle ages: Church is primary patron
of music
Late middle ages: Nobles increasingly
sponsor music to enhance their prestige
Due to their education, clergy often
composed courtly poetry and music
34. Court Poet-Musicians
Troubadours – Southern France
Troubadours (male, common or noble)
Trobairitz (female, noble)
Both words mean “inventors” (composers)
Trouvères – Northern France
Minnesingers – Germany
35. Courtly Poetry
Range of subject matter
Simple ballads/love songs
War stories
Moral tales
Chivalric values
Honor
Valor
Idealized, or “courtly,” love
36. Courtly Love
Idealized love
Variety of relationships described
Inspired to acts of chivalric valor
Unattainable object of affection
Unrequited, unconsummated relationship
Illicit romance
All in the general context of chivalric code
37. Women at Court
Women not allowed to sing at church
Women regularly composed and performed
at court
Played the soft instruments
Harp
Lute
Rebec
Flute
38. Troubador Songs
Early songs usually monphonic
Sometimes with instrumental doubling
No clear rhythm or meter
Later medieval songs often polyphonic
This polyphony was quite simple as we hear
in A Chantar M'er
39. Beatriz, Countess of Dia
Trobairitz in S. France in mid-12th century
to early 13th century
A Chantar M'er is the only trobairitz song to
survive with music intact
Three other poems extant, music lost
41. Notes on I Must Sing
Song of unrequited love
Full first line:
“I must sing of that which I’d rather not…”
Five strophes of seven lines each
Seven-line melodic form: ABABCDB
Vielle alternates with singer
Simple lute accompaniment
42. Medieval Chanson
Chanson is French for “song”
Chansons are always secular
They feature polyphonic texture
2-4 voices
Combinations of voices and instruments
Variety of subjects including courtly love
Chansons used fixed poetic forms
43. Fixed Forms
Poetic meters governed musical structure
Three most common forms:
Rondeau
Ballade
Virelai
Rondeau features a repeated line of text
This corresponds with a repeated melody
44. Guillaume Dufay (c1397-1474)
Probably born near Brussels
Involved in church music from early age
Was ordained a priest by 1428
Held many ecclesiastical positions
Also maintained close ties to numerous
courts and nobles
Composed sacred and secular music
46. Notes on Ce Moys de May
Rondeau form
Listen for the repeated refrain in the music
Voices doubled by instruments
Melismas at ends of phrases
Notice the irregular accents and dissonance
common to medieval polyphony
47. Instrumental Music
Most medieval instrumental music was for
courtly entertainment (secular)
Little written instrumental music survives
Much of it was improvised
Most instrumental music is dance music
48. Medieval Instruments
Instruments were much less standardized
than they are today
All were handmade and varied by location
The following slides list common kinds of
instruments and their modern descendants
49. Medieval Instruments
Shawm – double reed (oboe)
Slide trumpet – Sackbut (trombone)
Tabor (large drum)
Nakers (small drum)
Organs
Very large organs existed in large churches
Smaller portable organs could be outdoors