Music in the Middle Ages ( )

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Presentation transcript:

Music in the Middle Ages (450-1450) “Dark Ages” Social classes Nobility Peasantry Clergy Influence of Roman Catholic Church Learning centered in monasteries

Music in the Middle Ages (450-1450) Center of musical life – cathedrals Musicians in the church priests monks boys in church-associated schools nuns Primarily vocal music used Instruments used for accompaniment considered inappropriate for church after ca. 1100 – increased use in church

Gregorian Chant Official music of Roman Catholic Church in the Middle Ages melody set to sacred Latin texts unaccompanied monophonic calm, otherworldly quality voice of the church flexible rhythm, without meter, little sense of beat

Gregorian Chant Named after Pope Gregory I (the Great) reigned A.D. 590-604 Composed over many centuries A.D. 600-1300 – several thousand melodies known today originally passed along by oral tradition notated as number of chants grew most composers completely unknown church modes

Listening Examples Kyrie from Mass IX (“Orbis Factor”) notated in the Liber Usualis monophonic ternary form

Listening Examples O Successores Hildegard of Bingen drone 1098-1179 Abbess of Rupertsburg drone foreshadows word painting

Secular Music in the Middle Ages 12th and 13th century French nobles troubadours – South trouvères – North composed songs of love, Crusades, dance, spinning melodies notated w/o rhythm performed with a regular meter Listening Example Estampie – unknown composer triple meter with fast, strong beat Instrumentation: rebec, pipe, psaltery

The Development of Polyphony Organum chant with one or more additional melodic lines ca. 700-900 – improvised at strict intervals of fifth or fourth; not notated ca. 900-1200 – organum becomes polyphonic not in strict parallel motion ca. 1100 – rhythmic differences begin to occur low voice – chant in very long notes upper voice – organum line in shorter notes

The Development of Polyphony School of Notre Dame Composers: Leonin, Perotin, & followers centered in Cathedral of Notre Dame developed measured rhythm definite time values / clearly defined meter limited rhythms (subdivided in three) Listening example Alleluya. Pascha nostrum immolatus est – Leonin cantus firmus examples of measured and unmeasured rhythm

14th Century Music in Italy & France Historical background Hundred Years War (1337-1453) Bubonic plague (ca. 1350) kills ¼ of Europe Weakening feudal system / Rivaling popes Secular music takes precedence Ars nova (“new art”) new system of rhythmic notation (almost any rhythm) / use of syncopation polyphonic music not based on chant being composed

Ars Nova Composers Francesco Landini (?-1397, Italy) Background blind from childhood organist, poet, scholar, invented new string instument exclusively secular subjects for his music Ecco la primavera ballata written for two voices instrumental accompaniment added (sackbut, shawm, drum) Form: Intro (AB) – ABBAA [ternary]

Ars Nova Composers Guillaume de Machaut (ca. 1300-1377, France) Background court official for various royal families at age 60, fell in love with 19-year-old exchanged letters & poems age difference ended relationship writes narrative poem to immortalize their love Le Livre Dou Voir Dit (The Book of the True Poem)

Listening Examples - Machaut Puis qu’en oubli sui de vous (Since I am forgotten by you, ca. 1363) also contained in Voir Dit “farewell to joy” vocal melody with two accompanying parts with exceptionally low range (performed by two solo voices) Notre Dame Mass first complete polyphonic treatment of mass ordinary Kyrie, Gloria, Credo, Sanctus, Agnus Dei Agnus Dei ternary form, triple meter, based on chant