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Part iI : The Middle Ages and renaissance

Music: An Appreciation, Brief, 8 th edition | Roger Kamien. Part iI : The Middle Ages and renaissance. time line. Middle Ages (450 – 1450) Rome sacked by Vandals 455 Beowulf c. 700 First Crusade 1066 Black Death 1346 – 72 Chaucer, The Canterbury Tales 1387 – 1400

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Part iI : The Middle Ages and renaissance

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  1. Music: An Appreciation, Brief, 8th edition | Roger Kamien Part iI: The Middle Ages and renaissance

  2. time line • Middle Ages (450 – 1450) • Rome sacked by Vandals 455 • Beowulf c. 700 • First Crusade 1066 • Black Death 1346 – 72 • Chaucer, The Canterbury Tales 1387 – 1400 • Joan of Arc executed by English 1431

  3. time line • Renaissance (1450 – 1600) • Gutenberg Bible 1456 • Columbus reaches America 1492 • Leonardo da Vinci, Mona Lisa c. 1503 • Michelangelo, David 1504 • Raphael, School of Athens 1505 • Martin Luther’s 95 theses 1517 • Shakespeare, Romeo and Juliet 1596

  4. the Middle Ages • A thousand years of European history • Early – a time of migrations, upheavals, and wars • Later – a period of cultural growth • Romanesque churches & monasteries; Gothic cathedrals; Crusades to recover the Holy City from the Muslims • Class distinctions • Nobility sheltered in fortified castles; knights in armor; amused themselves with hunting, feasting, & tournaments • Peasants: vast majority of population; lived miserably; subject to feudal overlords • Clergy: Roman Catholic church exerted power; monks held a virtual monopoly on learning

  5. the Renaissance • Rebirth of human creativity • Time of exploration & adventure voyages of Christopher Columbus, Vasco da Gama, and Ferdinand Magellan • Age of curiosity and individualism Leonardo da Vinci • Intellectual movement—Humanism captivated by ancient Greek & Roman cultures • Visual arts depicted realism with linear perspective and illusion of space & depth • Catholic Church was far less powerful • Education was a status symbol for the aristocracy & upper middle class

  6. music in the Middle Ages • Church was the center of musical life • Important musicians were priests • Women were not allowed to sing in church, but did make music in convents • Only sacred music was notated • Music was primarily vocal and sacred • Instruments were not used in church • Few medieval instruments have survived • Music manuscripts did not indicate tempo, dynamics, or rhythm

  7. Gregorian chant • Official music of the Roman Catholic church • No longer common since 2nd Vatican Council (1962 – 1965) • Represents the voice of the church rather than an individual • Monophonic melody set to Latin text • Melodies tend to move by steps in a narrow range • Flexible rhythm: without meter and sense of beat • Named for Pope Gregory I (r. 590 – 604) • Later the melodies were notated Notation developed over several centuries • The Church Modes • Basic scales, consisting of seven tones, comprised of unique whole and half-step patterns

  8. Listen, then follow the vocal music guide to this selection in CONNECT MUSIC Note: Gregorian chant Monophonic texture Ternary form: A B A LISTENING Alleluia: Vidimusstellam(We Have Seen His Star)

  9. Listen, then follow the vocal music guide to this selection in CONNECT MUSIC Note: Gregorian chant Originally written without accompaniment(this recording includes a drone) Extended range of melody LISTENING O successores(You successors) Hildegard of Bingen

  10. secular music in the Middle Ages • Composed by French nobles who were poet-musicians troubadours (southern France) trouvères(northern France) • Performed by jongleurs (traveling minstrels) • Song topics: love Crusades dancing spinning songs • Instrumental dances

  11. Listen to this selection in CONNECT MUSIC Note: Medieval dance music Strong beat (for dancing) Single melody line is notated Performers improvised instrumental accompaniment LISTENING Estampie

  12. the development of polyphony: organum • Between 700 and 900, a 2nd melody line was added to chant • Additional part initially improvised, not written • Paralleled chant line at a different pitch • 900 to 1200, the added line grew more independent • Developed its own melodic curve (no longer parallel) • 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 • School of Notre Dame (Paris): Measured Rhythm • Leonin & Perotin developed notation of precise rhythms Chant notation had only indicated pitch • Medieval theorists considered interval of 3rd as dissonant • Modern triads, built from 3rds, are considered consonant

  13. Fourteenth-century music:the “new art” in Italy & France • Secular music more important than sacred • Changes in musical style, known as new art (ars nova, Latin) • New music notation system evolved • Beats could be subdivided into 2 as well as 3 • Syncopation became important rhythmic practice

  14. Listen, then follow the vocal music guide to this selection in CONNECT MUSIC Note: Vocal melody accompanied by two lower parts Syncopation LISTENING Puisqu’enoubli sui de vous(Since I am forgotten by you) (around 1363) Guillaume de Machaut

  15. Listen, then follow the vocal music guide to this selection in CONNECT MUSIC Note: Polyphonic Triple meter Syncopation Ternary form: A B A (form results from text) LISTENING Agnus Dei from Notre Dame Mass Guillaume de Machaut

  16. music in the Renaissance • Invention of printing widened the circulation of music • Musicians worked in churches, courts, and towns • Church remained an important patron of music • Growth in size of church choirs (all male) • Musical activity shifted to the courts • Town musicians played for civic processions, weddings • Musicians enjoyed higher status and pay • Composers sought credit for their work • Italy became leading music center

  17. characteristics of Renaissance music • Words and Music • Vocal music was more important than instrumental • Word painting • Wide range of emotion without extreme contrasts • Texture • Polyphonic • Imitation among the voices • Sounds fuller; expanded pitch range; consonant chords are favored with use of triads • Rhythm and Melody • Rhythm was a gentle flow rather than sharply defined beat • Melodic line has greater rhythmic independence • Melody usually moves along a scale with few large leaps

  18. sacred music in the Renaissance • Motet – JosquinDesprez • Short polyphonic choral work • Latin text usually overlaid with vernacular text • Mass – GiocanniPierluigi da Palestrina • Polyphonic choral composition of the Catholic church • Made up of 5 sections: Kyrie Gloria Credo Sanctus Agnus Dei

  19. Listen, then follow the vocal music guide to this selection in CONNECT MUSIC Note: Four voice motet Polyphonic imitation Overlapping voice parts LISTENING Ave Maria…virgoserena JosquinDesprez

  20. Listen, then follow the vocal music guide to this selection in CONNECT MUSIC Note: Rich polyphonic texture (6 voices) Vocal imitation Spirit of Gregorian chant Palestrina’s work because the model for mass composers LISTENING Kyrie from Pope Marcellus Mass Palestrina (1525 – 1594)

  21. secular music in the Renaissance • VOCAL MUSIC • Music was an important leisure activity • Particular arrangement of note lengths • Madrigal • For several solo voices set to a short poem, usually about love • Combined homophonic and polyphonic textures • Word painting and unusual harmonies • Renaissance Lute Song • Song for solo voice and lute (plucked string instrument) • Popular instrument in the Renaissance home • Homophonic texture • Lute accompanies the vocal melody

  22. Listen, then follow the vocal music guide to this selection in CONNECT MUSIC Note: Madrigal Pitches rise on “ascending” Pitches fall on “descending,” “running down,” “two by two,” “three by three,” “all alone” LISTENING As Vesta was Descending (1601) Thomas Weelkes

  23. Listen, then follow the vocal music guide to this selection in CONNECT MUSIC Note: Very popular lute song Recorded by Sting (rock star) Expression of melancholy—descending four-note pattern Three brief musical sections: A B C LISTENING Flow My Tears (about 1600) John Dowland (1563 – 1626)

  24. INSTRUMENTAL MUSIC • Still subordinate to vocal music • Instrumentalists accompanied voices harpsichord, organ, or lute • More music written specifically for instruments • Instrumental music intended for dancing • Pavane or passamezzo in duple meter • Galliard in triple meter • Distinguished between loud and soft instruments • Outdoor (loud): trumpet, shawm • Indoor (soft): lute, recorder

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