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| French chant that incorporated elements of the Byzantine Empire |
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“Teachings of the prophets”
a series of antiphons and responses, expressing the remonstrance of Jesus Christ with His people. Used in the 11’th and 12’th Centuries before being incorporated into the Roman Ordo in the 14’th Century. They are sung as part of the observance of the Passion, usually on the afternoon of Good Friday. |
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| the process by which folk melodies are ‘woven’ into chant. |
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| contains 2 choruses. the singing or musical playing of psalms by alternating groups of performers |
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from Greek ‘psalm’ — poems sung to stringed instruments
150 in total
may have been played with harp, lyre, viols, etc. |
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| Rhombus — native American drum (also Greek) — 2.6mil.BC
Mammoth Ivory Flute — 67,000 years ago
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Pan Pipes (syrinx) — 30,000 years ago
rattle, slit drum — (TIME?) |
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| Neander Valley, Germany,
approx. 40,000 years ago
large skull and nasal cavity as well as a different vocal trat probably gave their voices higher pitch. |
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Greek Notation Sys.
Used letters A-P
2 octave system with 4 tetrachords and one additional note, called the “proslambanomenos” |
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N. Italian monk (from Arrezo, ITA)
b. 995 in France
created a sight-singing system that uses interlocking hexachords
found a way to teach chant without using rote memorization |
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| “Ut Queant Laxis Resonare Fabris” |
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| Chant used as a sight singing tool by Guido d’Arezzo (b. 995.)
contains syllables still used in modern sight singing (Do, Re, Mi, Fa, So, La) |
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French musician and theorist
840-930 AD
Wrote “De Harmonic Institutione” which is the first known discussion of music theory
classified church modes
contributed to early chant. |
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mid 9’th Century Cleric
possibly a monk?
wrote “Musica Diciplina,” the only surviving treatise on medieval music. |
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French, b. 1753 d. 1804
Musical advisor to Charlamagne
Wrote both “Sequence in honor of St. Michael” and “Writings on the Trinity”
Introduced the Feast of All Saints
May have written a book on liturgical modes. |
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| Wrote “Entymologies” and “De Ecclesiastics Officiis, both of which contained liturgical Music. |
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b. 480 AD
Killed by Execution
Philosopher and Mathematician
Wrote “De Institutione Musica” or ‘Principles of music’
Built on Pythagorean theories of Music and Math |
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| Services officiated by bishops |
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| a book of commonly used Gregorian chants in the Catholic tradition, compiled by the monks of the Abbey of Solesmes in France.
contains chant for:
Kyrie, Gloria, Credo, Sanctus, and the Agnus Dei as well as the daily prayers of the church (Divine Office)
neumatic notation |
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| Includes generically the antiphons and antiphonal chants sung by cantor, congregation, and choir at Mass (antiphonarium Missarum, or graduale) and at the canonical Hours ( antiphonarium officii); but now it refers only to the sung portions of the Divine Office or Breviary |
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Mass chants and Music
sung after the reading or chanting of the Epistle and before the Alleluia, or, during penitential seasons
can also refer to a book collecting all the musical items of the Mass. The official such book for the Roman Rite is the Roman Gradual |
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| contains texts for the offices
“a liturgical book of the Latin liturgical rites of the Catholic Church containing the public or canonical prayers, hymns, the Psalms, readings, and notations for everyday use, especially by bishops, priests, and deacons in the Divine Office” (wikipedia). |
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| book of prayer/ chant
“the liturgical book that contains the texts and rubrics for the celebration of the Mass in the Roman Rite of the Catholic Church.” (wikipedia). |
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| 569 — 479 BC
found that music has mathematic principles
believed that musical intervals were somehow linked to planetary motion
“Doctrine of Ethos” states that music affects both Man and the Unverse, and that listening to certain kinds of music will being about changes in the individual. |
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| “a type of texture characterized by the simultaneous variation of a single melodic line. Such a texture can be regarded as a kind of complex monophony in which there is only one basic melody, but realized at the same time in multiple voices, each of which plays the melody differently, either in a different rhythm or tempo, or with various embellishments and elaborations.” (wikipedia) |
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| 325 — 450 BC
Monophonic, stresses conjunct motion |
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6’th Century
1’st programmatic piece |
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Lute Player
“orpheus in the underworld” (think ‘devil went down to Georgia’) |
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| 5-7 strings, later 11 stings (including drone and sympathetic strings)
Accompanied singing and poetry (Greece) |
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| God of Music
Played Lyre
Conducted the MUSES — 9 goddesses of music. |
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| an intellectual Mvt. that revived ancient (Greek) thought and learning.
12’th Cen (Notre Dame School) |
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| Voice over a drone OR tenor Mvt. in 4’th of 5’ths
“a plainchant melody with at least one added voice to enhance the harmony, developed in the Middle Ages.” (wikipedia). |
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| Began to develop in the Notre Dame school |
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| took 100+ years to construct
first mass was celebrated in 1183 |
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devised to help sing longer lines
put into groups of 3 (mirrors the Holy Trinity)
Parallels with poetic meter |
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notational tool to show long and short
Long = long
Breve = short |
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1185
Written by Leonin (1135 — 1201)
credited with the creation of Organum Duplum |
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Fixed, edited, and added voices to Organum
came up with Organum Triplum and Quadruplum
” He was the most famous member of the Notre Dame school of polyphony and the ars antiqua style. He was one of very few composers of his day whose name has been preserved, and can be reliably attached to individual compositions; this is due to the testimony of an anonymous English student at Notre Dame known as Anonymous IV, who wrote about him and his predecessor Leonin.” (wikipedia). |
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| Coronated in 800 king of Holy Roman Empire
forward-thinking court |
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| refers to the music of Europe of the late Middle Ages between approximately 1170 and 1310, covering the period of the Notre Dame school of polyphony and the subsequent years which saw the early development of the motet.
includes Leonin (late 12’th Century) and Perotin (1180-1220) |
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| Polyphonic composition
began in 13’th Century as a coallation of the Oragnum and Clasula traditions began in the Notre Dame School.
normally consisted of a Sequence in Latin sung as a discant over a Cantus Firmus (typically a fragment of plainchant)
marked the beginning of counterpoint in Western music (wikipedia)
often in vernacular languages, or combinations of languages |
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| Discant (note against note) music that could be substituted into a previously composed liturgical composition.
rhythmic treatment of the tenor line, long melismas were often shortened.
*** contains an ACTIVE tenor line *** |
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| surviving sections of Leonin’s “Magnus Liber Organi” (Organum Duplum) |
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| Oblique, Parallel, and Contrary Organum |
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| Oblique: upper voice moves, tenor holds
Parallel: voices move in parallel
Contrary: voices move in different directions
this led to more careful notatonal practices |
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| 11’th Cen. manuscript of liturgical music with “Heightened neumes,” which use different heights of each neume to show duration |
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| added text to a mass Mvt. |
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| a penitential Psalm used in Penetential mass, where one is called to be reflective etc. |
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| 12’th Cen. “Aquitainian polyphony”
Long notes in Principal voice
chant-based — contained a drone-like tenor line.
Freely embellished: organum duplum
“The basic principle of florid organum is that there are anywhere from two to six notes in the organal voice sung over a single sustained note in the tenor.” (wikipedia). |
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| rhythmic modes based in 3’s (after the holy trinity) |
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| Voice exchange
trading the same melodic material between two voices directly after one another |
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| organum in between parallel and discant styles.
sometimes used to connect movements of a mass. |
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| monophonic at first, then became polyphonic.
more active tenor
mainly secular
“The style of the conductus was usually rhythmic, as befitting music accompanying a procession, and almost always note-against-note. Stylistically it was utterly different from the other principal liturgical polyphonic form of the time, organum, in which the voices usually moved at different speeds; in conductus, the voices sang together, in a style also known as discant.” (wikipedia). |
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| 1160 — 1230 composed conductus.
represented a departure from the liturgy (these were mainly secular songs)
french and Latin, often with 2 or 3 texts |
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| a collection of 300+ motets |
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| combining two texts from different languages (usu. latin and french) |
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1250 — 1280 (active)
polyphonic motets
independent upper part |
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| 4000 BC Mesopotamia
some mention Music |
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date back to Babylon
possibly influenced Greek theorists |
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Aulos — used to worship Dionysus, goddess of fertility and wine.
Lyre — 7 strings, strummed with a pick
Kithara — large lyre, for processions and sacred ceremonies |
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one line
most Greek music was monophonic, but musicians often accompanied their own singing (creating polyphony) or create variations on a melody (heterophony) |
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| in the “Republic” used the term “melos” meaning ‘melody’ to mean a blend od text, rhythm, and simple harmony.
“music can distort one’s character. thus one should listen to appropriate music for one’s goals” |
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| in “Poetics” he said that ‘there is no name for artful speech that does not include music’ |
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the unification of parts into an orderly whole.
reflects the belief that music reflects the order of the universe. |
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127 — 48 BC
said that math and proportion are the underpinnings of Music. Also said that Music has to do with the alignment of the planets. |
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| Greek belief that music can affect one’s character and way of behaving |
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a pupil of Aristotle.
“Rhythmic Elements” (330 BC) — music is aligned with poetic rhythm.
Duration — “multiples of a basic unit of time” (Aristotle)
Harmonic Elements (300 BC)
2 kinds of speech:
1. continuous, voice slides up and down, as in speech
2. diastemic, voice moves in musical intervals
defined the terms ‘interval,’ and ‘scale’ |
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“four strings”
4 notes spanning a perfect 4’th
1.) diatonic — STT (or BCDE)
2.) chromatic — TTS (or CDEF)
3.) enharmonic –TST (or DEFG) |
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| Species of Octave in Ancient Greece (p. 17) |
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in the no sharp/no flat context
1.) Mixolydian — B to B
2.) Lydian — C to C
3.) Phrygian – D to D
4.) Dorian — E to E
5.) Hypodorian — F to F
6.) Hypophrygian — G to G
7. Hypodorian — A to A |
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| “the oldest surviving example of a complete musical composition, including musical notation, from anywhere in the world” (wikipedia). |
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| Chant from different regions
1. Gregorian
2. Byzantine
3. Ambrosian
4. Old Roman |
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| stems from 7’th Cen. papal choir, the “Schola Cantorum” |
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Attributed to St. Ambrosia, bishop of Milan 374-397
Similar to Roman chant |
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480 –524
authority on Music in the middle ages
Wrote “De Institutione Musica”
Odd-numbered modes are AUTHENTIC
Even-numbered modes are PLAGAL |
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| Heighted (diastemic) neumes |
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| raised above/below the bass line (in an early 1 or 3 lined staff) |
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around 1903
wrote and collected a modern edition of chant using modern notation
used a 4-line staff, one line of which is either F or C |
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a wavy line in an ascending neumatic interval denoting a scoop or vocal ornament
used widely by Hildegard Von Bingen |
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| books of chants groupes by mode |
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Guido d’Arezzo: invented for sight-singing
matched syllables to a pattern of tones and semitones |
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only 3 semitones in chant:
E-F, B-C, A-Bb
the hexachord is a pattern of 6 solfege notes (Do-La) that occurs in 3 ways:
1.) Natural — Begins on C
2.) Hard — begins on G
3.) Soft — begins on F (with a Bb)
“Mutation” — changing from one hexachord to another |
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| changing from one hexachord to another |
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| a cycle of commemorative stories, feasts, sermons etc. for each day of the year. |
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the most important service in the R.C. church
contains the Eucharist
Performed daily in convents/ Monasteries/ Large churches
and on sunday in all churches. |
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christians gather and sing songs at 8 times in the day:
1. matins — midnight
2. lauds — sunrise
3. prime — 6:00
4. terce — 9:00
5. Sext — Non
6. nones — 3:00
7. Vespers –sunset
8. compline — 9:00
Prime through Nones are called the “little hours” |
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A. Introductory Section: “(O)” denotes the ordinary (P.51)
1. Introit
2. (O) Kyrie
3. (O) Gloria
4. Collect
B. Liturgy of the Word
5. Epistle
6. Gradual
7. Alleluia (or tract)
8. Sequence (on major feasts)
9. Gospel
10. Sermon (optional)
11. (O) Credo
C. Liturgy of the Eucharist
12. Offeratory
13. (O) Prayers
14. Secret
15. Preface
16. (O) Sanctus
17. (O) Canon
18. (O) Lord’s Prayer
19. (O) Agnus Dei
20. Communion
21. Postcommunion
22. (O) Ite, Missa est |
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Sundays and Feast days
a praise to God that encapsulates the Trinity and asks for mercy |
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From Latin “Gradus” — stairstep
soloist and choral response
melismatic
Cantor begins, Choir completes. |
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“Praise God”
omitted in Lent
based on Psalm texts |
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From the Latin “tractus” meaning ‘drawn out’
Solemn
played during Lent
Longer
several verses of a Psalm set to Music |
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(P. 62) from the Latin “sequentia” ‘something that follows’
popular in the late 9’th through the 12’th Cen’s
Set syllabically to a text mostly in couplets
Sung after the alleluia
melodic material sometimes drawn from the alleluia, but most melodies were new.
new texts were often written for sequence melodies. |
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| a statement of faith summarizing Church Doctrine, telling the story of Jesus’ incarnation, crucifixion, and resurrection. |
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chant based on a psalm
sung by choir |
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| dialogue between priest and choir |
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| sung by choir — based on a psalm |
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| a chant sung before/after a psalm |
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Musical responses.
(p. 51) “Bible readings with musical responses” |
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| poetic passages drawn from parts of the Bible (not Psalms)
also included misc. prayers |
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Missa — text for the mass
Gradual — chant for mass
Antiphoner — Antiphons for the R.C. Liturgy (wikipedia)
Breviary — text for the offices
Liber Usuales — Gradual + Antiphon |
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| soloist alternates with Choir |
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| 2 halves of choir alternate |
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1. syllabic — one note per syllable
2. neumatic — several notes per syllable
3. melismatic — many notes per syllable |
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simple melodic outlines that can be used with many texts
Simplest chant
used for intoning prayers and Bible readings.
includes the Collect, Epistle, and Gospel
must be clear and without embellishment
mostly syllabic
chanted on a “Reciting Note” usu. A or C with small ornaments to show the ends of phrases.
predated the modal system
it had to be simple with a small ambitus b/c it was chanted by a priest/assistant, not a trained singer. |
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formulas for singing Psalms in the Office
can be adapted to any Psalm
there is one Psalm Tone for each of the 8 Liturgical modes
a ninth, archaic, mode had TWO reciting tones, giving it the moniker “Tonus Peregrinus” or ‘wandering tone’
Begins with an “Intonation” or a rising passage, then the Reciting Tone, and a “Mediant” or a cadence at the middle of each verse. Then back to the reciting tone before the “termination” or the final cadence. |
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| a formula of praise of the trinity sung to a Psalm Tone and printed as blank verses (without music attached) because it can be sung 8 different ways |
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AKA “Canticle”
not complete alone — preceded and followed by an antiphon |
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| several stanzas sung to the same music |
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singing psalms:
mass antiphons are more elaborate than the Office |
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| Respond –> Verse –> full/partial respond |
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| neumatic, repetitive text and repetitive music |
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| Neumatic, states a prayer 3 times, altering words each time |
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| 13’th Century: groupings of ordinary chants |
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| a melisma added into an alleluia |
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an elaborate play in Latin (catechistic)
not technically in the liturgy
linked to Bible and performed in church
contained processions and often ritualized actions
female parts sung by men |
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1098 — 1179
joined a convent to become educated
most of her compositions praise the Virgin Mary or various saints.
Melodies had wide ambitus (often above a P12’th), long melismas, and complicated use of melodic modes and patterns.
Von Bingen claimed she was divinely inspired to compose.
Wrote the “Ordo Virtutum,” (1151) a catechistic morality play with allegorical characters. |
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latin song form. rhymed poetry sung monophonically
11’th — 13’th centuries
performed in Southern France |
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Serous 12’th Cen. song
Rhymed, rhythmic text
set to new music, NOT BASED ON CHANT
in varnacular |
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medieval Latin song assiciated with wandering students, clerics, etc. called “goliards”
moralistic OR satirical OR love-based. Often about food, drink etc. |
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French, English, German, Italian, Spanish
(older forms of each) |
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| “song of deeds” an epic from Northern France |
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around 1100 AD
about a battle between Charlemagne and Spanish muslims. |
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| lower-class musicians (travelled in groups) |
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| more specialized musicians. Employed by the court and often travelling. |
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| Poet-Composers in Southern france who spoke OCCITAN |
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| Poet-Composers from Northern France who spoke Old French |
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| a knightly poet/musician — 12’th –14’th Century Germany |
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| “lives” fanciful (often completely fabricated) troubadour biographies |
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| Occitan (troubadour) for “love,” which expands to mean “courtly love” |
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| Northern French (trouveres) for “Love,” expands to courtly Love |
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strophic — each stanza has the same melody
mostly syllabic (contains groupetti)
narrow ambitus — conjunct motion
Mode 1 (dorian) and mode 7 (mixolydian) were common |
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a well-renowned Troubadour
his compositions often used AAB form. |
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7-line stanzas
used the following pattern:
ab ab cdb (line)
A A B (phrase)
mostly stepwise, small ambitus
open to free rhythmic interpretation |
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| Included “Adan de la Halle” (1284) and “Jeu de Robin et de Marion” (the play of Robin and Marion” |
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| allegedly wrote trouvere songs while awaiting rescue in a French prison |
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exactly what it sounds like. Recounts experiences from the Crusades.
“palistinalied” a famous crusade song by “Walther von der Vogelweide,” the best-known Minnesinger |
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sacred Italian Monophony
evolved into 14’th century polyphany
composed in cities, rather than in courts.
sung at processions of religious penitence. |
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| groups of citizens who came together for prayer and moral support. (Jesus’ book club) |
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| Galic-Portuguese song in honor of the Virgin Mary
“cantigas de Santa Maria” a collection of about 400 cantigas praising Virgin Mary. |
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a fiddle, the principle bowed instrument of the medieval period.
predecessor to the violin.
5 strings, tunes in 4’ths or 5’ths
used drones |
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| plucked strings over a wooden sounding board
ancestor to the piano/harpsichord |
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| similar to modern flute, but made of wood/ivory and no keys |
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a whistle and drum
REALLY? that’s the dumbest thing I’ve ever heard of. |
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1. Portative Organ
could be carried — player operated the bellows
2. Positive Organ
had to be placed on a table and required an assistant to pump the bellows. |
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a 12’th-14’th century French dance
only around 12 still exist |
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most common form of medieval dance
triple meter, short sections, often played twice with 2 different endings, with an “open” or incomplete cadence the 1’st time and a “closed” or final cadence at the end. |
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| 2+ voices dinging different notes in agreeable combinations according to given rules. |
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| Mixed Parallel and Oblique organum |
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permits the following:
1. deviance from parallel motion to avoid tritones (when moving in 4’ths and 5’ths)
2. the bottom voice often does not move until it may move by 4’th or 5’th up or down. |
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| the original voice had more freedom and prominance |
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| polyphany: voices written above text. |
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a seperate, self-contained section that may replace any part on the organum.
collated in large volumes by number (and referred to for the purposes of addition by these numbers) |
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each line contains text from a different poem
the texts often interplayed, creating a subtextual message, often a satirical commentary on the Church or on Politics |
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often added a 4’th voice for added texture
began adding sacle degrees 3 and 6 @ cadence points. |
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