music APPRECIATION - WEEK 4
Primary Focus: Music and style in the Medieval Period (Gregorian Chant, Church Modes, Organum, Catholic Mass, Hildegard of Bingen, Machaut, Chansons, Motets)
(EBOOK: Chapters 13-15)
(EBOOK: Chapters 13-15)
lecture_notes_d.pdf | |
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medieval_timeline.pdf | |
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medieval_ren_outline.pdf | |
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medieval_ren_baroque_art.pdf | |
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Topic for Discussion: "HISTORY and PERSPECTIVE"
discussion3.pdf | |
File Size: | 127 kb |
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MUSICAL EXAMPLES | ||
Gregorian Chant example in syllabic style; begins with an antiphonal setting (soloist followed by choir). | ||
Gregorian Chant example, primarily in neumatic style; notice the elementary music notation shown in the image. | ||
Gregorian Chant example with original notation system (neums); monophonic texture; neumatic style. | ||
Solo aria (song) from Handel's Messiah; NOTE: this example was composed much later than the Medieval period of music, but it is included with this class presentation as a great example of melismatic style. | ||
Kyrie (part of a gothic mass, written anonymously); melismatic style organum; note the three part form A-B-A, with the A section consisting of three statements of "Kyrie Eleison" (Lord, have mercy) and the B section consisting of three statements of "Christe Eleison" (Christ, have mercy). | ||
Kyrie; organum anonymously written around 1304 for the induction Eleanor of Brittany as a nun -- this is a gradual (a musical composition in which phrases are answered/echoed between the cantors and choir). | ||
Hildegard of Bingen (1098 - 1179): Alleluia, O virga mediatrix Medieval plainsong (late 12th century) from the Proper of the Mass on feasts for the Virgin Mary. |
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Leonin (1150 - 1200), organum duplum example from the Notre Dame School; note the cantus firmus lowest voice which is very similar to a Gregorian Chant. Leonin composed many organum works, compiled in a book "The Great Book of Organum". | ||
Perotin (1200-?) organum, a composer of the Notre Dame School; increased voices (organum triplum and organum quadruplum) and added melodic complexity; triplet rhythmic patterns dominate this musical period (sometimes referred to as rhythmic modes). | ||
An unknown French chanson from the Ars Antiqua period; note the characteristic triple meter and improvised instrumental accompaniment. These songs, usually secular, were performed by Troubadours, Trouveres, and Minnesingers. | ||
Guillaume de Machaut (1300 - 1377): Puis qu'en oubli Medieval polyphonic chanson (mid-14th century) from the Ars Nova period based on the French rondeau setting. |
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Anonymous: Sumer is icumen in Anonymous Medieval English perpetual round (c. 1250). This was a different approach to polyphony (compared to the popular motets of the period). |
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Guillaume de Machaut, isoryhthmic motet; with more sophisticated polyphony from the Ars Nova period (1300 - 1450); recurring ryhthmic motives or "rhthmic modes" appearing in all voices to help unify and organize this piece. | ||
Guillaume de Machaut Motet; note the relative "confusion" of multiple and different lines of text. | ||
Guillaume Dufay (1397 - 1474) Motet for five voices. More sophisticated polyphony from the late Ars Nova/early Renaissance Period; the use of multiple but different lines of text sung simultaneously are still present, but sound a little more gentle. | ||
L'homme arme mass -- a mass by Dufay (composed probably between 1430 - 1460) which incorporated a popular French chanson of the day within the ordinary of the Mass (functioning as the cantus firmus or underlying melody supporting the other polyphonic melodic lines). Many composers used this song as the basis of the mass in the Ars Nova and Renaissance periods, but Dufay's mass is considered by many to be one of the very earliest examples. | ||
Guillaume Dufay motet; begins with a monophonic chant, followed by a multi-voice section composed in the FAUX BOURDON style, which was a technique in which the composer treated the cantus firmus rhythmically and placed it in the upper voice, adding two additional melodic lines beneath them, but in a relatively consonant sonority moving in parallel motion using the same rhythm as the upper voice (foreshadowing the homophonic texture common in later periods. | ||
Instrumental/vocal dance music of the Medieval period.
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Roselli and Aisles TV show theme.
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