1. Chapter 7 Early Western Music
Insert CD 1 and click to Contents. Click on “Dies irae” (CD 1, 15) and then minimize it. Remove CD 1. Insert CD 3 and click to Contents. Then bring up Hildegard’s Ordo virtutum (CD 3, 7) and minimize it.
Chapter 7
Early Western Music

2. Ancient Times From 800 B.C. to A.D. 476 city states dominant
Greek civilization flourished in Athens
Roman civilization adopted much of Greek civilization
Athens reached an acme of development in the arts, philosophy, and literature in Athens in the fifth century B.C. The Greeks wrote about music and had musical instruments, but unfortunately we can only guess at how it sounded. Music notation would not be developed until about 2,000 years in the future The Romans adopted much of the culture and religious beliefs of the Greeks, but were much stronger militarily and controlled most of the known world around the Mediterranean Sea.

3. Ancient Greece Doctrine of ethos
Pythagoras discovered acoustical ratios
Lyre
The ancient Greeks thought that music could influence a person’s character, which is often referred to as the Doctrine of Ethos. Thus music in certain modes or scales was believed to build certain qualities of character, and other modes would not.
Pythagoras, the same man who is prominent in geometry, discovered that particular combinations of vibrations produced certain intervals. A ratio of 2:1 produced an octave, 3:2 a fifth, and 4:3 a fourth. These he designated as “perfect.”
The Greeks developed several instruments. One was like a flute, and another was like an oboe. The most recognizable today was a simple harp-like instrument known as a lyre. It is often seen as a music emblem.

4. The Middle Ages About 476 to 1100 Otherworldly outlook
Monasteries preserved writings
The Middle Ages, sometimes called the “Dark Ages,” lasted for nearly 600 years after the fall of Rome in People were bound by a system of feudalism to the land and the lord of the manor; life was grim for most people. Cultural and intellectual accomplishments were largely overlooked, because of a strong otherworldly outlook that considered life on earth as a temporary prelude to an afterlife. Monasteries were largely responsible for preserving the writings of the ancient Greeks and Romans.

5. Gregorian chant
Developed under direction of Pope Gregory in sixth century
Created a liturgy for the Christian church
The purpose of Gregorian chant is to contribute to worship. Therefore, it is not concert music, and it makes no attempt to win over its audience. It is of more than historical interest, however, because it was influential in much other music that followed. And it is very effective in expressing an attitude of reverence.
Pope Gregory’s work created a standard form for worship for the Christian church, including words and music for all church observances.

6. Gregorian Chant Nonmetrical rhythm Monophonic texture Smooth contour
Modal scales
Latin text
Sung by monks and priests
Restrained, reverent mood
Gregorian chant does not have a metrical rhythm, although there is a logical flow of the notes. It consists of a single unaccompanied melodic line with few leaps. The major/minor scale patterns found in so much of Western music are seldom used; instead scales with different arrangements of whole and half steps, or modes, are encountered. The texts are in Latin, and the chants are performed only by monks or priests.
The features of Gregorian chant can be heard in “Dies irae” (CD 1, 15).

7. The Mass Symbolic re-enactment of Last Supper
Proper – for certain days in Church calendar
Ordinary – ordinarily included
Kyrie – “Lord have mercy”
Gloria – “Glory to God on high”
Credo – “We believe in one God,…”
Sanctus – “Holy, Holy, Holy”
Agnus Dei – “Lamb of God”
The Mass is central to the Roman Catholic Church, the only church until the Reformation in the sixteenth century. Its parts may be said or sung. The Kyrie (which is in Greek) has a three-line pattern, with “Christ have mercy” as the middle line. The Credo is longer and more chant-like, because it has a longer text. Originally the Mass was in Latin, but since Vatican Council II ( ) vernacular languages are permitted.

8. Requiem Mass Funeral Mass Gloria and Credo omitted Dies irae added
The Requiem features the chant “Dies irae,” “Day of wrath” in English, referring to the final judgment. The opening phrases of this chant have been used by a number of important composers in their works, two of which are presented in later chapters in the book. The “Gloria” and “Credo” are omitted in the funeral Mass.

9. Hildegard: Ordo virtutum
Morality play
Characters are the Devil and the sixteen Virtues – Humility, Mercy, Faith, and others
Melodies are chant-like
Sung by nuns, except Devil
We don’t know who composed some of the early Gothic works; humility was a virtue at that time. One remarkable woman composer we do know about is Hildegard of Bingen. Among her works is a morality play in which the Virtues successfully reject the Devil. The melodies are chant-like and sung in Latin by nuns (except for the Devil, a man who only speaks). Little except of the vocal music has come down to us, so performances of the work today require some creativity on the performers’ part. Ordo virtutum (CD 3, 7) contains a segment in which the Penitent Soul flees from the Devil and its supported by the Virtues.
Copyright © 2010 by Schirmer Cengage Learning

10. Summary Ancient Times Ancient Greece The Middle Ages Gregorian Chant
“Dies irae”
The Mass
Requiem Mass
Hildegard: Ordo virtutum
Potential examination items
Terms Liturgy
Mass
Gregorian chant
Plainsong
Proper
Ordinary
Kyrie
Gloria
Credo
Sanctus
Agnus Dei
Requiem
Information Greek beliefs about music
Pythagoras’ acoustical discoveries
Characteristics of Gregorian chant
Who Hildegard of Bingen was
Nature of a morality play