The Enjoyment of Music 11th, Shorter Edition

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2 PART II Medieval and Renaissance Music Hearing from The Lady and the Unicorn tapestry (late 15th century)

3 Prelude 2: The Culture of the Middle Ages and Renaissance Nothing exists without music, for the universe itself is said to have been framed by a kind of harmony of sounds, and the heaven itself revolves under the tone of that harmony. Isidore of Seville The writer Geoffrey Chaucer (c ), as depicted in a famous manuscript of his epic Canterbury Tales (c. 1410).

4 Prelude 2: The Culture of the Middle Ages and Renaissance Spans nearly 1,000 years Early Christian church and state Most patronage (sponsorship) from the church Most surviving music is sacred

5 Prelude 2: The Culture of the Middle Ages and Renaissance The Medieval Church Universities were founded throughout Europe Construction of Notre Dame in Paris ( ) Cities emerged as center of art and culture as trade flourished Literary masterpieces: Chanson de Roland; Divine Comedy (Dante); Canterbury Tales (Chaucer) Cathedral of Notre Dame, Paris ( ) Crusades brought era of violence, turmoil, and change

6 Prelude 2: The Culture of the Middle Ages and Renaissance The Arts in the Renaissance Age of humanism Voyages of Columbus, Vespucci, and Ponce de Leon Invention of printing (c. 1455) Realism in visual arts Mona Lisa, Leonardo da Vinci

7 Prelude 2: The Culture of the Middle Ages and Renaissance Musicians in Medieval and Renaissance Society Musicians were supported by public institutions as well as aristocracy. Employment in music-related fields was abundant. The merchant class emerged as a new group of music patrons. Most cultivated middle and upper class were amateur musicians. Music literacy increased due to the invention of music printing. The Concert (c )

8 12. Sacred Music in the Middle Ages Scene from the life of the Virgin, Giotto di Bondone ( ) Early Church Music Liturgy Gregorian chant (plainchant, plainsong) Monophonic Nonmetric Latin text Whitsunday Mass, Alleluia, emitte spiritum

9 12. Sacred Music in the Middle Ages Classes of Chant: Syllabic Psalm 94, Venite, exsultemus domino Neumatic Melismatic Whitsunday Mass, Alleluia, emitte spiritum Melismatic: many notes per syllable

10 12. Sacred Music in the Middle Ages Chant 3,000-plus surviving melodies Oral transmission Early notation = neumes Scale patterns = modes Manuscript illumination of Pope Gregory the Great dictating to his scribe Peter

11 Early Church Modes Lydian Ionian (major) Mixolydian Dorian Aolean (minor) Phrygian Locrian Modal (old system) vs. Tonal (major/minor system used later)

12 12. Sacred Music in the Middle Ages The Mass Two types of prayer in the daily Offices and Mass Proper Ordinary

13 Mass Ordinary Text is the same each day Ordinary text has been set by multiple composers and is also sung at concerts The Ordinary: Kyrie Gloria Credo Sanctus Agnus Dei Proper Text changes based on the church calendar Examples of Proper items: Introit Collect Sequence Offertory

14 Cloister 12. Sacred Music in the Middle Ages Life in the Medieval Cloister Monastery Convent

15 12. Sacred Music in the Middle Ages The Music of Hildegard of Bingen Hildegard of Bingen ( ) In 1150 founded convent in Germany Known for miracles and prophecies Works include collections of visions and prophecies, music, and scientific writing. Consulted with the pope and politicians Writer, poet, and musician Monophonic and nonmetric music with larger melodic leaps than traditional chant

16 Listening Guide: O pastor animarum ( Shepard of Souls ) by Hildegard Sacred Monophonic (single line texture) A cappella Female singer Latin text Listen to the wide melodic leaps in this song written for a nun in Hildegard s convent to sing:

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18 The Rise of Polyphony: The Notre Dame School Cathedral of Notre Dame in Paris Romanesque period (c ) Notated rhythm and pitch

19 Organum Earliest form of polyphony texture with more than one melodic line Evolved from 12 th - 14 th centuries in northern France Léonin and Pérotin, composers of the Notre Dame School, lead organum development Pérotin s manuscript

20 Organum s Influence Transition from monophonic to polyphonic textures Transition from nonmetric chant to measured rhythm created need for precise musical notation Mensural notation manuscript

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22 Guillaume de Machaut Northern France, ca Clergyman, scribe, secretary; best known as a poet during his life Machaut s manuscript. Credited with composing the earliest polyphonic setting of the complete Ordinary Messe de Nostre Dame written for four voices

23 Listening Guide: Agnus Dei ( Lamb of God ) from Messe de Nostre Dame (Mass of our Lady) Composed c by Machaut Movement from Mass ordinary Polyphonic texture A cappella Triple meter Originally performed in cathedrals as part of the Mass service.

24 13. Secular Music in the Middle Ages Medieval Minstrels Secular music in courts Aristocratic artists France: troubadours (south) and trouvères (north) Germany: Minnesingers Women: trobairitz Idealized love and chivalry Secular songs sung monophonically, with improvised accompaniment

25 Anonymous: Sumer is icumen in (Summer is come) (Listening Guide) One of the earliest examples of polyphony from England Set as a round Composed around 1250 Text in Middle English Lower voices sing ostinato. The original notation of the canon Sumer is icumen in (c. 1250)

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28 Sacred/Secular Music: Motet Latin, sacred chant performed in lower voice Two-part organa Added mot, French for word Vernacular, secular text(s) performed in upper voices Polyphonic, polytextual, sacred and secular mixture Eventually returned to one sacred text for all voices Motet

29 Development of Medieval Genres Chant Monophonic Nonmetric Sacred Organa Polyphonic Measured Sacred Motet Polyphonic Measured Sacred-Secular

30 Characteristics of Secular Music Secular = non-religious topics including love, politics, and stories written in the vernacular (language of the county of origin) Monophonic texture single melodic line Usually syllabic (one note per syllable) setting with occasional melisma (multiple notes per syllable) Strophic forms (same melody for each verse) and refrains (recurring text and melody) were common Instrumentalists may have improvised accompaniment, creating a homophonic texture

31 13. Secular Music in the Middle Ages The French Ars nova Ars nova Ars antiqua Machaut: Nesque on porroit... Gregorian chant: Whitsunday Mass... Guillaume de Machaut

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34 A Chantar m er Beatriz de Dia (trobairitz ( female troubadour)) Comtessa de Die or the Countess of Dia is an aristocratic trobairitz born about The Countess is an enigmatic =igure, and scholars are unsure of the exact circumstances of her birth and events in her life Of her extant poems, only A chantar m er de so qu ieu non volria, I am obliged to sing of that which I would not, contains musical notation. The poem exists in several different manuscripts, but the melody is found in only one manuscript. The lyrics are direct, immediate, and have a personal point of view. In a con=ident manner, the Countess berates her unfaithful lover and reminds him of her courtly virtues and beauty. There are =ive strophes or stanzas to the poem, A chantar m er de so qu ieu non volria, and the musical setting is strophic. The form of the music is ABABCDB. In the Medieval period, the voice as an instrument was held in highest esteem, because it could best portray highly expressive texts like A chantar. A chantar has several characteristics in common with the troubadour form canso. The poetry expresses in the view of the =irst person the theme of an unhappy courtship by using words as amor (love), amia (lover), cortesia (courtesy), and tragida (betrayed).

35 A CHANTAR M'ER (La Comtessa de Dia, =l. late 12th Century; Language: French, Dialect: Old Provençal) 1. A chantar m'er de so qu'eu no volria, tant me rancur de lui cui sui amia; car eu l'am mais que nuilla ren que sia: vas lui no.m val merces ni cortezia ni ma beltatz ni mos pretz ni mos sens; c'atressi.m sui enganad' e trahia Com degr' esser, s'eu fos dezavinens. 2. D'aisso.m conort, car anc non =i faillensa, Amics, vas vos per nuilla captenenssa; ans vo am mais non fetz Seguis Valensa, e platz mi mout quez eu d'amar vos vensa, lo meus amics, car etz lo plus valens; mi faitz orgoil en digz et en parvensa, et si etz francs vas totas autras gens. 3. Meraveill me cum vostre cors s'orgoilla, amics, vas me, per qui'ai razon queu.m doilla; non es ges dreitz c'autr' amors vos mi toilla, per nuilla ren que.us diga ni acoilla. E membre vos cals fo.l comensamens de nostr'amor! Ja Dompnedeus non voilla qu'en ma colpa sia.l departimens. 4. Proeza grans, qu'el vostre cors s'aizina e lo rics pretz qu'avetz, m'en ataïna, c'una non sai, loindana ni vezina, si vol amar, vas vos no si' aclina; mas vos, amics, etz ben tant conoissens que ben devetz conoisser la plus =ina; e membre vos de nostres partimens. 5. Valer mi deu mos pretz e mos paratges e ma beutatz e plus mos =ins coratges; per qu'eu vos man lai on es vostr' estatges esta chanson, que me sia messatges: e voill saber, lo meus bels amics gens, per que vos m'etz tant fers ni tant salvatges; no sai si s'es orgoills o mal talens. 6. Mais aitan plus voill li digas, messatges, qu'en trop d'orgoill an gran dan maintas gens. I AM OBLIGED TO SING 1. I must sing of what I do not want, I am so angry with the one whom I love, Because I love him more than anything: Mercy nor courtesy moves him, Neither does my beauty, nor my worthiness, nor my good sense, For I am deceived and betrayed As much as I should be, if I were ugly. 2. I take comfort because I never did anything wrong, Friend, towards you in anything, Rather I love you more than Seguin did Valensa, And I am greatly pleased that I conquered you in love, My friend, because you are the most worthy; You are arrogant to me in words and appearance, And yet you are so friendly towards everyone else. 3. I wonder at how you have become so proud, Friend, towards me, and I have reason to lament; It is not right that another love take you away from me No matter what is said or granted to you. And remember how it was at the beginning Of our love! May Lord God never wish That it was my fault for our separation. 4. The great prowess that dwells in you And your noble worth retain me, For I do not know of any woman, far or near, Who, if she wants to love, would not incline to you; But you, friend, have such understanding That you can tell the best, And I remind you of our sharing. 5. My worth and my nobility should help me, My beauty and my =ine heart; Therefore, I send this song down to you So that it would be my messenger. I want to know, my fair and noble friend, Why you are so cruel and savage to me; I don't know if it is arrogance or ill will. 6. But I especially want you, messenger, to tell him That many people suffer for having too much pride. Edited by Frederick Goldin Translated by Craig E. Bertolet

36 13. Secular Music in the Middle Ages Early Instrumental Music Praetorius: Terpsichore, Volte (bas) Praetorius: Terpsichore, Courante (haut) Central role in art music reserved for vocal music Instrumental music mostly improvised Soft (bas) or loud (haut) instruments Categorized by their use (indoor or outdoor)

37 13. Secular Music in the Middle Ages Early Instrumental Music Early stringed instruments included: Lute Mandolin Vielle

38 13. Secular Music in the Middle Ages Early Instrumental Music Other soft instruments included: dulcimer psaltery Loud instruments: shawm sackbut Percussion instruments: tabor nakers

39 13. Secular Music in the Middle Ages Early Instrumental Music Medieval organs: Large instruments Small instruments (portative, positive) Use of authentic instruments in recordings Bach: Jesu, Joy of Man s Desiring

40 14. Renaissance Sacred Music We know by experience that song has great force and vigor to move and inflame the hearts of men to invoke and praise God with a more vehement and ardent zeal. John Calvin

41 14. Renaissance Sacred Music Golden age of the a cappella style Polyphony based on principle of imitation Harmonies based on sweeter sounds of thirds and sixths Use of fixed melody (cantus firmus) and triple meter Palestrina: Missa in Festis Apostolorum I, Agnus Dei

42 Renaissance Music Sacred Secular Music became longer and more complex Increase in secular vocal and instrumental music Composers wrote for multiple voices Printing press made music available for average person

43 Sacred Music: Mass and Motet Characteristics Four independent voice parts A cappella Polyphonic texture Use of imitation, particularly at the beginning Composition Options Chant melody in any voice, no longer exclusively in bass Secular melody used in lieu of chant basis Completely new music composed

44 14. Renaissance Sacred Music Josquin des Prez and the Motet Single Latin text Marian motets (Virgin Mary) Written for three, four, or more voices Cantus firmus Josquin: Ave Maria... virgo serena

45 14. Renaissance Sacred Music Josquin des Prez and the Motet Josquin des Prez (c ) Called Josquin Franco-Flemish origin Italian career

46 14. Renaissance Sacred Music Josquin des Prez and the Motet Patrons Milan, Cardinal Ascanio Sforza Ferrara, Ercole d Este Rome, papal choir Humanistic writing Sacred and secular music

47 Josquin des Prez (c ) Born in N. France or Belgium Employed as a singer in Italy and France Taught students and composed music Wrote motets, Masses, and secular music Influenced the next generation of composers

48 Josquin: Ave Maria... virgo serena (Listening Guide) Renaissance motet Combinations of voices and textures Imitative vs. homorhythmic sections Final couplet: simple texture, example of humanistic spirit

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51 14. Renaissance Sacred Music The Renaissance Mass The Ordinary or fixed portion of the mass was set to music. The five movements of the Ordinary are: Kyrie, Gloria, Credo, Sanctus, and Agnus Dei Originally sung in Latin, now the Ordinary is recited or sung in the vernacular. Settings of the mass are often based on fixed voice or cantus firmus.

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53 14. Renaissance Sacred Music The Reformation and Counter-Reformation Martin Luther ( ): Reformation Counter-Reformation (1530s 1590s) Council of Trent Corruption of chant by embellishment Use of certain instruments in religious services Incorporation of popular music in Masses Secularism of music Irreverent attitude of church musicians Pure vocal style that respected the integrity of the sacred texts

54 Counter-Reformation and Music Return to simple vocal style for text clarity(less polyphony) Use Latin texts instead of vernacular Council of Trent Avoid loud instruments for indoor services Abolish secular melodies from Mass settings

55 14. Renaissance Sacred Music Palestrina and the Pope Marcellus Mass Giovanni Pierluigi da Palestrina (c ) Called Palestrina Italian composer, organist, and choirmaster Sistine Chapel Choir Wrote mostly sacred music

56 Palestrina: Pope Marcellus Mass, Gloria (Listening Guide) Foreshadows the strict demands of the Council of Trent Probably performed a cappella Written for six voice parts Soprano (sung by boys or male falsettists) Alto (sung by male altos or countertenors tenors with high voices) Tenor I Tenor II Bass I Bass II Opens with a monophonic intonation Choral sections are polyphonic. Text is clear and audible.

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60 The Enjoyment of Music 11th Shorter Edition

61 15. Renaissance Secular Music Music in Court and City Life Professional musicians: courts and civic functions Merchant-class amateurs: played and sang at home Lute, keyboard instrument Women and music Chanson and madrigal The Prodigal Son among the Courtesans Word painting

62 Renaissance Secular Music France: chanson Germany: lied Italy: madrigal

63 15. Renaissance Secular Music The Italian Madrigal Chief form of Renaissance secular music Text: short poem of lyric or reflective nature Italian courts

64 15. Renaissance Secular Music The Italian Madrigal Music: sets text expressively Instruments double or substitute for the voices Three phases of the madrigal First phase (c ) Second phase (c ) Third phase (c ) Marenzio: La bella ninfa mia

65 Secular Music: Italian Madrigal Early type: 14th century Homophonic Three or four voices Limited expressive qualities Later type: 16th century Polyphony and homophony mixed Four to six voices Expanded expressiveness through word painting music represented the word being sung

66 El Grillo Joquin Listen for the cricket sound El grillo è buon cantore, Che tienne longo verso, Dalle beve grillo canta. Ma non fa come gli altri uccelli, Come li han cantato un poco, Van' de fatto in altro loco Sempre el grillo sta pur saldo, Quando la maggior è'l caldo Al' hor canta sol per amore. The cricket is a good singer He can sing very long - He sings all the time. But he doesn't act like the birds. If they've sung a little bit They go somewhere else The cricket remains where he is... If the month of May is warm Because he sings out of love.

67 15. Renaissance Secular Music Arcadelt and the Madrigal Jacques Arcadelt (c ) Italian composer Published book of madrigals in 1538 that included Il bianco e dolce cigno (The white and sweet swan)

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69 15. Renaissance Secular Music The English Madrigal English further developed the Italian madrigal Musica transalpina, 1588 Simpler and lighter in style Refrain syllables (fa-la-la) Weelkes: Welcome Sweet Pleasure Morley: Those Dainty Daffadillies Since singing is so good a thing, I wish that all men would learne to sing. William Byrd

70 15. Renaissance Secular Music The English Madrigal John Farmer (c ) Active in 1590s in Dublin Organist and master of choirboys at Christ Church Published one collection of fourvoice madrigals.

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72 Secular Music: French Chanson & German Lied French Chanson 3-5 voices Accented rhythms Frequent repetitions; short phrases ending simultaneously in all parts Word painting German Lied Some monophonic; others for 3 voices and polyphonic Provided melodies for chorale tunes (hymns) Later style more similar to madrigal and chanson

73 15. Renaissance Secular Music Instrumental Dance Music Period of growth in instrumental music Published music Played vocal music Did not specify instrumentation

74 Renaissance Instruments Lute most popular instrument Englishman John Dowland wrote ayres - vocal songs with lute accompaniment Other original, polyphonic compositions for lute called ricercari and fantasias were composed Keyboards Clavichord Harpsichord Organ Consorts chamber ensembles for the home Whole Consort All instruments in a family Broken Mixture of instruments from different families Brass and reeds were popular for outdoors performances

75 15. Renaissance Secular Music Instrumental Dance Music Popular dance types: Pavane Saltarello Ronde Praetorius: Terpsichore, Courante Praetorius: Terpsichore, Volte

76 Susato: Three Dances (Listening Guide) Set of three rondes from the 1551 Danserye collection Instrumental dances published by Tielman Susato (c c. 1571) Performed by a loud wind band Loud instruments included: shawm, sackbut, cornetto, tabor, tambourine Binary form (A-A-B-B) Repeated sections with added improvised embellishments

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79 15. Renaissance Secular Music From the Renaissance to the Baroque Texture of vocal works simplified Rise of opera, cantata, and oratorio to follow Development of purely instrumental forms Gabrieli: Hodie Christus natus est

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