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| the central religious service of the Roman Catholic Church, one that incorporates singing for spiritual reflection or as accompaniment to sacred acts |
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| Gregorian chant (plainsong) |
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| a large body of unaccompanied monophonic vocal music, set to Latin texts, composed for the Western Church over the course of fifteen centuries, from the time of the earliest fathers to the Council of Trent (1545–1563) |
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| a Gregorian chant composed in the thirteenth century and used as the central portion of the Requiem Mass of the Catholic Church |
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| a style of singing in which each syllable of text has only one or two notes; the opposite of melismatic singing |
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| many notes sung to just one syllable |
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| a medieval style exemplified by cathedrals possessing such elements aspointed arches, high ceiling vaults, flying buttresses, and richly colored stained glass |
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| the name given to the early polyphony of the Western Church from the ninth through the thirteenth centuries |
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| measured notation that specified rhythm as well as pitch precisely |
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the five sung portions of the Mass for which the texts are
invariable |
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| a type of secular poet-musician that flourished in southern France during the twelfth and thirteenth centuries |
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| a type of secular poet-musician that flourished in northern France during the thirteenth and early fourteenth centuries |
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| a French term used broadly to indicate a lyrical song from the Middle Ages into the twentieth century |
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| Hundred Years’ War (1337–1453) |
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| the name given to a century-long series of military conflicts between the French and the English |
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| a song in the local language that marked Christmas, Easter, or even a military victory; most carols use strophic form |
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| Hildergard of Bingum, chant |
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| Kyrie from Messe de Notre Dame |
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| Kyrie from Pope Marcellus Mass |
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| period of intellectual and artistic flowering that occurred first in Italy, then in France, and finally in England, during the years 1350–1600 |
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| the Renaissance belief that people have the capacity to create many things that are both good and beautiful; it rejoiced in the human form in all its fullness, looked outward, and indulged a passion for invention and discovery |
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| the pope’s private chapel within his Vatican apartments |
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| a composition for choir or larger chorus setting a religious, devotional, or solemn text; often sung a cappella |
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| a polyphonic procedure whereby one or more voices, or parts, enter and duplicate exactly for a short period of time the music presented by the previous voice |
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| a male adult singer who was castrated as a boy to keep his voice from changing so that it would remain in the soprano or alto register |
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a high, soprano-like voice produced by adult male singers when they sing in head voice and not in full chest voice
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| a two-decades-long (1545–1563) conference at which leading cardinals and bishops undertook the reform of the Roman Catholic Church, including its music |
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| a movement that fostered reform in the Roman Catholic Church in response to the challenge of the Protestant Reformation and led to a conservative, austere approach to art |
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| a double-reed woodwind instrument of the late Middle Ages and Renaissance; the precursor of the oboe |
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| slow, gliding Renaissance dance in duple meter performed by couples holding hands |
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| a fast, leaping Renaissance dance in triple meter |
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| a popular genre of secular vocal music that originated in Italy during the Renaissance, in which usually four or five voices sing love poems |
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| the process of depicting the text in music, be it subtly, overtly, or even jokingly, by means of expressive musical devices |
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a device, originating in the madrigal, by which key words in a text spark a particularly expressive musical setting
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| Mainly stepwise motion within moderately narrow range; still mainly diatonic, but some intense chromaticism found in madrigals from end of period |
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| More careful use of dissonance than in Middle Ages as the triad, a consonant chord, becomes the basic building block of harmony |
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| Duple meter is now as common as triple meter; rhythm in sacred vocal music (Mass and motet) is relaxed and without strong downbeats; rhythm in secular music (madrigal and instrumental dance) usually lively and catchy |
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| Although more music for instruments alone has survived, the predominant sound remains that of unaccompanied (a cappella) vocal music, whether for soloists or for choir |
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| Mainly polyphonic: imitative counterpoint for four or five vocal lines heard throughout Masses, motets, and madrigals; occasional passages of chordal homophonic texture are inserted for variety |
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| Strict musical forms are not often used; most Masses, motets, madrigals, and instrumental dances are through composed—they have no musical repetitions and hence no standard formal plan |
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| Moves mostly by step within narrow range; rarely uses chromatic notes of the scale. |
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Most surviving medieval music, notably Gregorian chant and troubadour and trouvère songs, is monophonic—consisting of a single melodic line without harmonic support.
Medieval polyphony (Mass, organum, and carol) has dissonant phrases ending with open, hollow- sounding chords. |
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| Gregorian chant as well as troubadour and trouvère songs sung mainly in notes of equal value without clearly marked rhythms. Medieval polyphony is composed mostly in triple meter (in honor of the Holy Trinity, theorists said) and uses repeating rhythmic patterns. |
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| Mainly vocal sounds (choir or soloists) within the church. Popular music might include instruments like the trumpet, trombone, fiddle, or harp. |
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Mostly monophonic. Gregorian chant and troubadour and trouvère songs are monophonic
melodies.
Medieval polyphony (two, three, or four independent lines) is mainly contrapuntal. |
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Gregorian chant has no large-scale form, but each phrase of text generally receives its own phrase of
music: strophic form in troubadour and trouvère songs; rondo form in the French chanson. |
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He once enjoyed music so much that it might be said he was beguiled by the beauty of music, almost addicted to it.
God set him free from that, however, he continues to enjoy music, especially hymns because these texts, mixed with music, increase his devotion.
Nevertheless, as a Christian, he finds it hard to find the “proper place” for music in his life.
He recognizes that it helps him have greater devotion when God’s words are sung, but he also recognizes that certain forms of music simply stir him up emotionally and “gratify his senses.”
He also recognizes the tendency, on the other hand, to overreact to that and to be overly strict with himself, denying himself the pleasures of music.
He concludes that there is a legitimate place for music in the church and expresses his longing to always delight more in the truth that the music conveys than in the mere stimulation which music itself gives him. |
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He once enjoyed music so much that it might be said he was beguiled by the beauty of music, almost addicted to it.
God set him free from that, however, he continues to enjoy music, especially hymns because these texts, mixed with music, increase his devotion.
Nevertheless, as a Christian, he finds it hard to find the “proper place” for music in his life.
He recognizes that it helps him have greater devotion when God’s words are sung, but he also recognizes that certain forms of music simply stir him up emotionally and “gratify his senses.”
He also recognizes the tendency, on the other hand, to overreact to that and to be overly strict with himself, denying himself the pleasures of music.
He concludes that there is a legitimate place for music in the church and expresses his longing to always delight more in the truth that the music conveys than in the mere stimulation which music itself gives him. |
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Definition
He once enjoyed music so much that it might be said he was beguiled by the beauty of music, almost addicted to it.
God set him free from that, however, he continues to enjoy music, especially hymns because these texts, mixed with music, increase his devotion.
Nevertheless, as a Christian, he finds it hard to find the “proper place” for music in his life.
He recognizes that it helps him have greater devotion when God’s words are sung, but he also recognizes that certain forms of music simply stir him up emotionally and “gratify his senses.”
He also recognizes the tendency, on the other hand, to overreact to that and to be overly strict with himself, denying himself the pleasures of music.
He concludes that there is a legitimate place for music in the church and expresses his longing to always delight more in the truth that the music conveys than in the mere stimulation which music itself gives him. |
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Term
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Definition
He once enjoyed music so much that it might be said he was beguiled by the beauty of music, almost addicted to it.
God set him free from that, however, he continues to enjoy music, especially hymns because these texts, mixed with music, increase his devotion.
Nevertheless, as a Christian, he finds it hard to find the “proper place” for music in his life.
He recognizes that it helps him have greater devotion when God’s words are sung, but he also recognizes that certain forms of music simply stir him up emotionally and “gratify his senses.”
He also recognizes the tendency, on the other hand, to overreact to that and to be overly strict with himself, denying himself the pleasures of music.
He concludes that there is a legitimate place for music in the church and expresses his longing to always delight more in the truth that the music conveys than in the mere stimulation which music itself gives him. |
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Term
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Definition
He once enjoyed music so much that it might be said he was beguiled by the beauty of music, almost addicted to it.
God set him free from that, however, he continues to enjoy music, especially hymns because these texts, mixed with music, increase his devotion.
Nevertheless, as a Christian, he finds it hard to find the “proper place” for music in his life.
He recognizes that it helps him have greater devotion when God’s words are sung, but he also recognizes that certain forms of music simply stir him up emotionally and “gratify his senses.”
He also recognizes the tendency, on the other hand, to overreact to that and to be overly strict with himself, denying himself the pleasures of music.
He concludes that there is a legitimate place for music in the church and expresses his longing to always delight more in the truth that the music conveys than in the mere stimulation which music itself gives him. |
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| Hildergard of Bingum, chant |
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| Kyrie from Messe de Notre Dame |
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| Kyrie from Pope Marcellus Mass |
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Aristotle distinguishes four major disciplines of study: (1) reading and writing; (2) physical training or gymnastics; (3) music; and (4) drawing. Reading, writing, and drawing all have practical purposes and physical training promotes courage. Determining the value of music is trickier, but Aristotle suggests that it helps promote the proper use of leisure. In doing so, he distinguishes between work, play and relaxation, and leisure. Play and relaxation are forms of relief from hard work. Leisure is more than just relief; it is the medium in which happiness and a life of good quality can be pursued. If leisure consisted simply in play and relaxation, then a life of good quality—the end goal for which man strives—would be nothing more than play and relaxation. While music is not useful and does not promote courage, it helps man make use of his leisure. Similarly, the practical tools of reading, writing, and drawing can have application beyond their usefulness, and they can also widen man's knowledge and teach him to appreciate form and beauty.
Aristotle returns to the question of music's place in education. He offers three possible arguments for the use of music: (1) amusement and relaxation; (2) improvement of moral character; and (3) cultivation of the mind. Aristotle suggests that one learns a deeper and subtler appreciation of music by understanding what goes into its performance. However, education in music should not be taken beyond the point of learning an appreciation of rhythm and harmony: if students dedicate themselves to being skilled performers, they will be studying only to please others. For that reason, Aristotle suggests that students not learn the flute or harp, or, for that matter, any instrument requiring a great deal of skill. |
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Definition
Aristotle distinguishes four major disciplines of study: (1) reading and writing; (2) physical training or gymnastics; (3) music; and (4) drawing. Reading, writing, and drawing all have practical purposes and physical training promotes courage. Determining the value of music is trickier, but Aristotle suggests that it helps promote the proper use of leisure. In doing so, he distinguishes between work, play and relaxation, and leisure. Play and relaxation are forms of relief from hard work. Leisure is more than just relief; it is the medium in which happiness and a life of good quality can be pursued. If leisure consisted simply in play and relaxation, then a life of good quality—the end goal for which man strives—would be nothing more than play and relaxation. While music is not useful and does not promote courage, it helps man make use of his leisure. Similarly, the practical tools of reading, writing, and drawing can have application beyond their usefulness, and they can also widen man's knowledge and teach him to appreciate form and beauty.
Aristotle returns to the question of music's place in education. He offers three possible arguments for the use of music: (1) amusement and relaxation; (2) improvement of moral character; and (3) cultivation of the mind. Aristotle suggests that one learns a deeper and subtler appreciation of music by understanding what goes into its performance. However, education in music should not be taken beyond the point of learning an appreciation of rhythm and harmony: if students dedicate themselves to being skilled performers, they will be studying only to please others. For that reason, Aristotle suggests that students not learn the flute or harp, or, for that matter, any instrument requiring a great deal of skill. |
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Definition
Aristotle distinguishes four major disciplines of study: (1) reading and writing; (2) physical training or gymnastics; (3) music; and (4) drawing. Reading, writing, and drawing all have practical purposes and physical training promotes courage. Determining the value of music is trickier, but Aristotle suggests that it helps promote the proper use of leisure. In doing so, he distinguishes between work, play and relaxation, and leisure. Play and relaxation are forms of relief from hard work. Leisure is more than just relief; it is the medium in which happiness and a life of good quality can be pursued. If leisure consisted simply in play and relaxation, then a life of good quality—the end goal for which man strives—would be nothing more than play and relaxation. While music is not useful and does not promote courage, it helps man make use of his leisure. Similarly, the practical tools of reading, writing, and drawing can have application beyond their usefulness, and they can also widen man's knowledge and teach him to appreciate form and beauty.
Aristotle returns to the question of music's place in education. He offers three possible arguments for the use of music: (1) amusement and relaxation; (2) improvement of moral character; and (3) cultivation of the mind. Aristotle suggests that one learns a deeper and subtler appreciation of music by understanding what goes into its performance. However, education in music should not be taken beyond the point of learning an appreciation of rhythm and harmony: if students dedicate themselves to being skilled performers, they will be studying only to please others. For that reason, Aristotle suggests that students not learn the flute or harp, or, for that matter, any instrument requiring a great deal of skill. |
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Definition
Aristotle distinguishes four major disciplines of study: (1) reading and writing; (2) physical training or gymnastics; (3) music; and (4) drawing. Reading, writing, and drawing all have practical purposes and physical training promotes courage. Determining the value of music is trickier, but Aristotle suggests that it helps promote the proper use of leisure. In doing so, he distinguishes between work, play and relaxation, and leisure. Play and relaxation are forms of relief from hard work. Leisure is more than just relief; it is the medium in which happiness and a life of good quality can be pursued. If leisure consisted simply in play and relaxation, then a life of good quality—the end goal for which man strives—would be nothing more than play and relaxation. While music is not useful and does not promote courage, it helps man make use of his leisure. Similarly, the practical tools of reading, writing, and drawing can have application beyond their usefulness, and they can also widen man's knowledge and teach him to appreciate form and beauty.
Aristotle returns to the question of music's place in education. He offers three possible arguments for the use of music: (1) amusement and relaxation; (2) improvement of moral character; and (3) cultivation of the mind. Aristotle suggests that one learns a deeper and subtler appreciation of music by understanding what goes into its performance. However, education in music should not be taken beyond the point of learning an appreciation of rhythm and harmony: if students dedicate themselves to being skilled performers, they will be studying only to please others. For that reason, Aristotle suggests that students not learn the flute or harp, or, for that matter, any instrument requiring a great deal of skill. |
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Definition
Aristotle distinguishes four major disciplines of study: (1) reading and writing; (2) physical training or gymnastics; (3) music; and (4) drawing. Reading, writing, and drawing all have practical purposes and physical training promotes courage. Determining the value of music is trickier, but Aristotle suggests that it helps promote the proper use of leisure. In doing so, he distinguishes between work, play and relaxation, and leisure. Play and relaxation are forms of relief from hard work. Leisure is more than just relief; it is the medium in which happiness and a life of good quality can be pursued. If leisure consisted simply in play and relaxation, then a life of good quality—the end goal for which man strives—would be nothing more than play and relaxation. While music is not useful and does not promote courage, it helps man make use of his leisure. Similarly, the practical tools of reading, writing, and drawing can have application beyond their usefulness, and they can also widen man's knowledge and teach him to appreciate form and beauty.
Aristotle returns to the question of music's place in education. He offers three possible arguments for the use of music: (1) amusement and relaxation; (2) improvement of moral character; and (3) cultivation of the mind. Aristotle suggests that one learns a deeper and subtler appreciation of music by understanding what goes into its performance. However, education in music should not be taken beyond the point of learning an appreciation of rhythm and harmony: if students dedicate themselves to being skilled performers, they will be studying only to please others. For that reason, Aristotle suggests that students not learn the flute or harp, or, for that matter, any instrument requiring a great deal of skill. |
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| music, in the sense of a performing art |
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| a scale, or a well-ordered melody |
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Who is she?
How does she figure in art, architecture, theology, religion, education, popular culture? Example: Around 1300, Enrico Scrovegni built a chapel in Padua, Italy, in memory of his father, Reginaldo, a notorious usurer, mentioned by Dante in the Divine Comedy, where he is assigned to the 7th circle of Hell. To help atone for his father’s sins, Enrico dedicated the chapel to the Virgin Mary and placed special emphasis on the Annunciation in the artwork that he had the painter Giotto make in frescos for the walls. |
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| IMPORTANCE OF MARY’S SONG, the Magnificat: helps bolster the theology of Mary and Christ along with art, architecture, etc. |
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Liturgical context of the Magnificat
Eight Daily Offices (St. Benedict)
Office of Vespers contains the Magnificat. |
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| TWO QUALITIES OF MUSIC ARE TRACEABLE TO GREEK CIVILIZATION: |
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1) its ability to induce states or emotions in people (doctrine of ethos)
2) its relationship to the heavens (doctrine of music of the spheres) |
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| Forerunners of Greek civilization: |
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Definition
c. 3000 BC: Mesopotamia, built at the mouths of the Tigris and Euphrates Rivers
Egypt, along the Nile River.
c. 1500 BC: civilization in China
c. 1250-1050 BC: Hebrews in Palestine: King David wrote many of the Psalms |
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| ANCIENT GREECE By about 1100 BC |
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Definition
By about 1100 BC, 3 invader tribes rose to dominance:
Dorians, Aeolians, Ionians: names of these tribes later used by Greek music theorists to denote various modes (scale patterns) and moods of music.
City states (polis): Athens, Sparta, Corinth, Thebes, Argos Megara. |
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emergence of alphabetic writing, Iliad and Odyssey of Homer:
Solidified the concepts of gods and goddesses: Apollo and Orpheus, credited with “inventing” music. |
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| ANCIENT GREECE 750 to 500 BC |
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| Alexander the Great, King of Macedon, conquered the Persians. |
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| Efflorescence of arts: sculpture, architecture (Acropolis) |
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| Efflorescence of arts: sculpture, architecture (Acropolis) |
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| Philosophical enquiry of the Greeks touches on MUSIC: |
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| Philosophical enquiry of the Greeks touches on MUSIC: |
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| Pythagoras (6th c. BC) on MUSIC |
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| doctrine of music of the spheres |
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| Socrates (469-399 BC), Plato (429-347 BC) on MUSIC |
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--doctrine of ethos, doctrine of music of the spheres
--harmonia (Dorian, Phrygian, Ionian, Lydian) |
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| Aristotle (384-322 BC), Lyceum, Athens, on MUSIC: |
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--musician who studies music superior to one who performs it
--virtue needed to “feel” music rightly (aesthetic pleasure) |
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| studying music produces the “right kind” of person |
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| Literature: 3 great tragedians |
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| Aeschylus, Sophocles, and Euripides (5th c. BC) |
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| Greek plays preserve most of the extant musical specimens |
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| Greek plays preserve most of the extant musical specimens |
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| usic theorists Pythagoras, Ptolemy, Cleonides, Aristides Quintillianus, and Aristoxenus, who were also mathematicians (music is a mathematical science at this time), dealt with: notes, intervals, scales and keys (modes). These were tested on the monochord. |
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Definition
| usic theorists Pythagoras, Ptolemy, Cleonides, Aristides Quintillianus, and Aristoxenus, who were also mathematicians (music is a mathematical science at this time), dealt with: notes, intervals, scales and keys (modes). These were tested on the monochord. |
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| GENERAL CHARACTERISTICS OF GREEK MUSIC (including pieces for today, Seikilos Song and Stasimon Chorus): |
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Definition
--monophonic texture (some heterophony), but no polyphony
--melody and rhythm closely allied with the words being set |
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| gradual movement (translatio) of political power and cultural dominance from east to west. |
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| Rise and fall of Rome and the Roman Empire (200 BC - 350 AD) |
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| Rise and fall of Rome and the Roman Empire (200 BC - 350 AD) |
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| culture: poet Vergil (Aeneid), historian Livy (History of Rome), poet Ovid (Metamorphoses) |
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| culture: poet Vergil (Aeneid), historian Livy (History of Rome), poet Ovid (Metamorphoses) |
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| Rise of Christianity (Jesus of Nazareth, St. Paul, St. Peter) |
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| Rise of Christianity (Jesus of Nazareth, St. Paul, St. Peter) |
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| Rise of centers west of Rome (later, Western European capitals) |
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Definition
| Rise of centers west of Rome (later, Western European capitals) |
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| The Early Church hierachical |
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| under direction of a bishop (Latin episcopus, transliterated from Greek επισκoπoς, “the one who watches over”) |
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| THE EARLY CHURCH Church services included celebration of the MASS, a recreation of the Last Supper, which featured “proper” and “ordinary” musical items: Introit, Kyrie, etc. Technical terms for describing chant styles: syllabic, melismatic, neumatic. |
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| THE EARLY CHURCH Church services included celebration of the MASS, a recreation of the Last Supper, which featured “proper” and “ordinary” musical items: Introit, Kyrie, etc. Technical terms for describing chant styles: syllabic, melismatic, neumatic. |
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| The early church Persecutions, and 3 ways that Christians resisted: hymns, catacomb art, lives of martyrs |
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Definition
| early church Persecutions, and 3 ways that Christians resisted: hymns, catacomb art, lives of martyrs |
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| 4th c. AD: Roman Emperor Constantine makes Christianity legal and the favored religion. |
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Definition
| 4th c. AD: Roman Emperor Constantine makes Christianity legal and the favored religion. |
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Term
| 5th c: 5 important bishoprics in Rome, Constantinople, Antioch, Jerusalem, Alexandria. |
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Definition
| 5th c: 5 important bishoprics in Rome, Constantinople, Antioch, Jerusalem, Alexandria. |
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| Bishop of Rome was supreme, acknowledged as the successor to St. Peter, became pope. |
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Definition
| Bishop of Rome was supreme, acknowledged as the successor to St. Peter, became pope. |
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| hilosophy about the religion: St. Augustine’s (354-430) Confessions |
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Definition
| hilosophy about the religion: St. Augustine’s (354-430) Confessions |
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Definition
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| 400-900: West overrun by a series of invasions of barbarians |
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Definition
| 400-900: West overrun by a series of invasions of barbarians |
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Term
| 5th c: Kingdom of the Franks (King Clovis) |
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Definition
| 5th c: Kingdom of the Franks (King Clovis) |
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Term
| 6th c: Rise of monasticism: Benedict of Nursia, monk of Monte Cassino in Italy, wrote rule |
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Definition
| 6th c: Rise of monasticism: Benedict of Nursia, monk of Monte Cassino in Italy, wrote rule |
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Society and Culture: 7 liberal arts
Trivium: grammar, rhetoric, logic
Quadrivium: arithmetic, geometry, astronomy, music |
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Definition
Society and Culture: 7 liberal arts
Trivium: grammar, rhetoric, logic
Quadrivium: arithmetic, geometry, astronomy, music |
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Term
| Boethius (d. 524) - treatise on music theory, also Consolation of Philosophy |
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Definition
| Boethius (d. 524) - treatise on music theory, also Consolation of Philosophy |
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Term
Pope Gregory the Great (r. 590-604)
John the Deacon tells us that Gregory I: 1) compiled an antiphoner (a book of music for the church), and 2) founded a singing school (schola cantorum); more likely Gregory II. |
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Definition
Pope Gregory the Great (r. 590-604)
John the Deacon tells us that Gregory I: 1) compiled an antiphoner (a book of music for the church), and 2) founded a singing school (schola cantorum); more likely Gregory II. |
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Term
| Chant attributed to Gregory because of his auctoritas (authority arising from his “accomplishments”). |
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Definition
| Chant attributed to Gregory because of his auctoritas (authority arising from his “accomplishments”). |
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Term
| 754 AD: Pepin the Short became king of the Franks, consecrated by Pope Stephen II, according the rites of ancient Hebrew kingship: “rex christianissimus” (= “most anointed”) |
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Definition
| 754 AD: Pepin the Short became king of the Franks, consecrated by Pope Stephen II, according the rites of ancient Hebrew kingship: “rex christianissimus” (= “most anointed”) |
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Term
| Charles the Great, Charlemagne (son of Pepin) |
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Definition
Crowned as emperor on Christmas Day in 800 AD in Rome by Pope Leo III.
Viewed as a latter day Caesar (translatio imperii) of Holy Roman Empire.
New Carolingian dynasty (named for Charlemagne = Carolus Magnus)
Carolingian Renaissance of learning, architecture, culture to unify the kingdom
Anonymous Monk of St. Gall’s life of Charlemagne (c. 884).
Book illumination and writing, the latter called Carolingian minuscule.
Music also underwent reform: standardization acc. to presumed Roman models.
Music for the OFFICES: antiphons, psalms, responsories written first in neumes (signs showing general shape of a melodic line but not exact pitch): oral practice moves toward literate. |
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Term
| End of the Carolingian Empire, Rise of New Structures, and Challenges to “Traditional” Gregorian Chant |
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Definition
| WHEN: c. 900-1125 (death of Charlemagne to high middle ages) |
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Term
| End of the Carolingian Empire, Rise of New Structures, and Challenges to “Traditional” Gregorian Chant |
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Definition
| WHERE: France, for the most part. |
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Term
| End of the Carolingian Empire, Rise of New Structures, and Challenges to “Traditional” Gregorian Chant |
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Definition
| WHAT: End of the kingdoms that followed the breakup of the Roman Empire, moving into what is more rightly called “European History.” Western civilization continues its shift from east to west. New center of civilization, Western Europe, fragments into many nation-states. |
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Term
| End of the Carolingian Empire, Rise of New Structures, and Challenges to “Traditional” Gregorian Chant |
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Definition
WHY: 1) barbarian invasions from the North and East (the Vikings and Huns), 9th c.
Result: feudal system develops for protection.
2) division of Charlemagne’s Empire in 843 by son Louis the Pious among his 3 sons: Result: weakened Empire, decentralized state. |
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Term
| End of the Carolingian Empire, Rise of New Structures, and Challenges to “Traditional” Gregorian Chant |
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Definition
MUSIC: Because church structure, like political structure, fragmented, there was a breakdown of the hegemony of “Gregorian chant.” New, non-Gregorian, musical forms arose:
1) sequences, tropes, chants with florid, non-Biblical texts
2) secular music and polyphony (next week). |
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Term
| End of the Carolingian Empire, Rise of New Structures, and Challenges to “Traditional” Gregorian Chant |
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Definition
FEUDAL LIFE
Manor system: CHURCH was also contained within this structure, because church was part of each manor and received its tithes from the manor.
Knightly class
Feudal system: fiefs, little central power
Intertwining of Church and State: 2 parallel feudal systems.
Secular influence over church:
Abbey (monastery) of Cluny founded (910) by Duke William of Aquitaine.
Ecclesiastical influence over state:
William believes he’ll reduce time in Purgatory by building church
Purgatory: place between heaven/hell (idea of Gregory the Great). |
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Term
| End of the Carolingian Empire, Rise of New Structures, and Challenges to “Traditional” Gregorian Chant |
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Definition
CULTURE: new structures
Architecture: Romanesque style: e.g. Cluny monastery.
Music: “Gregorian chant” lost its premier position, and new forms of chant developed:
Sequence: Chant with newly composed poetic text, that is, text NOT taken from the Bible (Texts of other chants we’ve studied do come from the Bible.)
Sung in the Proper of the Mass
Trope: Music, text, or music and text added to a chant to give it more relevance.
Chants with florid, non-Biblical texts and unusually sweeping melodies:
Hildegard’s Antiphon O rubor sanguinis
Continuing development of musical notation
Innovations by Guido of Arezzo, a Benedictine monk:
1) invented musical staff (one line guided placement of notes, or neumes)
2) invented solmization (pedagogical) syllables (do, re, mi, fa, so, la, ti, do) |
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Term
Ile-de-France: the only area of France where the kings had real influence by mid 12th c.
Ex.: King Henry II of England held much of France in 12th c. |
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Definition
Ile-de-France: the only area of France where the kings had real influence by mid 12th c.
Ex.: King Henry II of England held much of France in 12th c. |
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Term
| Mid-13th c: French kings regained prestige and most fiefs, except southern France. |
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Definition
| Mid-13th c: French kings regained prestige and most fiefs, except southern France. |
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Term
| Carolingian kings had died out in the tenth century. |
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Definition
| Carolingian kings had died out in the tenth century. |
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Term
| Capetian kings, a new dynasty, begun by Hugh Capet in 987, lasted until early 14th c. |
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Definition
| Capetian kings, a new dynasty, begun by Hugh Capet in 987, lasted until early 14th c. |
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Term
| Strength of Capetians due to 3 things: |
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Definition
strong personalities of many Capetian kings
support from the pope at critical moments
strength of the feudal system, which in the end benefitted French monarch. |
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Term
| Arts and learning flourish: “Renaissance of the 12th c.” |
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Definition
| In POLITICAL THEORY (e.g. John of Salisbury’s Policraticus from the 1150's): growing strength of monarchies inspired seminal writings that emphasized centrality and divine mission of king. |
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Term
| Arts and learning flourish: “Renaissance of the 12th c.” |
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Definition
| In RELIGION, great churches and cathedrals were built. |
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Term
| Gothic architecture replaces Romanesque in 12th c. |
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Definition
Romanesque churches: round arches, lack of light (Toulouse, Angoulême).
Gothic churches: arches supported by vaulting, weight in walls dispersed out through flying buttresses. Windows possible in walls.
Ex. of Gothic: St-Denis, monastery north of Paris, c. 1140. |
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Term
Abbot Suger of St-Denis (in Consecration of Saint-Denis) discusses neo-Platonic ideas about the efficacy of light.
Ring of chapels on the east end could shine.
Church “alive” with music: masses at all altars celebrated simultaneously.
Strong aesthetic attitude: kings’ tombs, stained glass, bejewled altars. |
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Definition
Abbot Suger of St-Denis (in Consecration of Saint-Denis) discusses neo-Platonic ideas about the efficacy of light.
Ring of chapels on the east end could shine.
Church “alive” with music: masses at all altars celebrated simultaneously.
Strong aesthetic attitude: kings’ tombs, stained glass, bejewled altars. |
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Term
| POLYPHONY: Musica Enchiriadis (9th c) shows earliest kind of polyphony, called organum: doubling a Gregorian chant at the musical interval (distance) of a 4th or 5th: simple parallel organum, duplex parallel organum, oblique organum. |
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Definition
| POLYPHONY: Musica Enchiriadis (9th c) shows earliest kind of polyphony, called organum: doubling a Gregorian chant at the musical interval (distance) of a 4th or 5th: simple parallel organum, duplex parallel organum, oblique organum. |
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Term
POLYPHONIC MUSIC continued to develop at Notre Dame of Paris (Gothic church).
2 musicians in late 12th c Notre Dame, as Anonymous IV reports:
1) Leoninus’ (fl. 1169-1201) Magnus Liber Organi (Great Book of Organum) featured a completely autonomous voice that moved against the original chant. Added voice moves faster than chant, competes with chant: “melismatic organum.” Chant like pillars, autonomous voice like walls penetrated by light. Style similar to literary “glossing” technique. Ex.: Leoninus’ 2-voice Gradual Viderunt omnes.
2) Perotinus (fl. 1198-1236), successor to Leoninus, wrote 3 voices above the chant. Ex.: Perotinus’ 4-voice Gradual Viderunt omnes.
Archbishop Odo of Sully nervous about the polyphony and curtailed its use. |
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Definition
POLYPHONIC MUSIC continued to develop at Notre Dame of Paris (Gothic church).
2 musicians in late 12th c Notre Dame, as Anonymous IV reports:
1) Leoninus’ (fl. 1169-1201) Magnus Liber Organi (Great Book of Organum) featured a completely autonomous voice that moved against the original chant. Added voice moves faster than chant, competes with chant: “melismatic organum.” Chant like pillars, autonomous voice like walls penetrated by light. Style similar to literary “glossing” technique. Ex.: Leoninus’ 2-voice Gradual Viderunt omnes.
2) Perotinus (fl. 1198-1236), successor to Leoninus, wrote 3 voices above the chant. Ex.: Perotinus’ 4-voice Gradual Viderunt omnes.
Archbishop Odo of Sully nervous about the polyphony and curtailed its use. |
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Term
RHYTHM necessary, especially in Perotinus’ music, to keep voices together.
Six rhythmic modes developed to define rhythmic patterns, based on triple meter. |
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Definition
RHYTHM necessary, especially in Perotinus’ music, to keep voices together.
Six rhythmic modes developed to define rhythmic patterns, based on triple meter. |
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Term
| Papal Upheaval, War, Plague, Famine in 14th/15th Centuries: Music for Dire Times |
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Definition
WHAT: How did people prepare for death in the Middle Ages?
Kept in mind the concept of Purgatory
Relied on Virgin Mary as intercessor = older idea
Tried to help themselves = new humanistic attitude. Music is part of the old/new struggle. |
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Term
| Papal Upheaval, War, Plague, Famine in 14th/15th Centuries: Music for Dire Times |
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Definition
WHEN: 14th c = Late Middle Ages (pre-dawn of modern times)
General political stability of the High Middle Ages now diminishing. |
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Term
| NARRATIVE: General confusion in western Europe, beginning around 1300 |
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Definition
Hundred Years War (1338-1453) betw. England/France over land/succession.
City states in Italy with extremely diverse interests.
Complicated political maneuvers in Germany.
Contradictory cultural values:
Signs of Renaissance in literature in Italy: Dante, Boccacio, Petrarch.
Decline of Latin and rise of vernacular languages.
Political writings in France openly criticize government and church.
Roman de Fauvel: Fauvel = acronym for deadly sins in French (Flatterie, Avarice, Vilanie, Variété, Envie, Lascheté). Roman de Fauvel was something like an extended political cartoon.
General weakening of Christian values: Giotto = humanistic spirit in art.
Christian mysticism (emotional, one-on-one relationship with God).
Seeds of the 16th-c Reformation: man could approach God directly.
Humanistic effect of technological changes
Man could “take care of himself” (exx: power-driven machines, spinning wheel, eyeglasses, compass, larger ships, crossbow, longbow, gunpowder, escape mechanism for clocks).
Decreasing papal influence: papacy waned after the Crusades (12th/13th c.); papacy moved from Rome to Avignon (southern France) in 1305. |
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Term
| NEW, AND REBELLIOUS, ATTITUDES ABOUT MUSICAL COMPOSITION |
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Definition
Emphasis on music as “sounding number”
Musical rhythm: duple, as well as triple. Earlier, triple rhythm = Holy Trinity.
Jehan de Murs (young upstart) advocates twofold (duple) divisions of notes.
Jacques de Liège (old fogey) advocates older triple rhythm, older forms of music. |
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Term
| MACHAUT (c. 1300-77), poet/composer, friend of King John of Luxembourg and Charles V of France, canon of Cathedral of Reims (French kings crowned here). |
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Definition
| Machaut’s sense of impending doom/death led him to compose his “Mass of Our Lady.” |
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Term
| Virgin Mary = ultimate mediator for humans; Machaut honors Virgin with his Mass (old-fashioned), but he says in his epitaph that he was adding a prayer for himself and his brother to the mass (new idea). |
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Definition
Kyrie of Machaut’s Mass
Polyphonic, written in 4 voices: soprano, alto, tenor, bass
Gregorian chant in the tenor has long notes, other voices have faster notes.
Uses isorhythm (“same rhythm”=repeating rhythmic pattern) throughout. |
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Term
| TROUBADOURS begin to write songs called chansons. First written records in 11thc. but likely existed earlier. |
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Definition
| TROUBADOURS begin to write songs called chansons. First written records in 11thc. but likely existed earlier. |
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Term
| Emerged in courts of Southern France (but spread to other places); secular; monophonic; in vernacular language (not Latin); embodied courtly love (chivalrous, almost spiritual veneration of high-status, often unattainable noble women) |
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Definition
William, ninth duke of Aquitaine (1071-ca.1127) is one of the first troubadours.
• Beatriz de Dia (troubairitz or female troubadour). A chantar m’er – ababcbd form.
• This style takes root in other places: TROUVÈRES in the north of France, Minnesingers in Germany. Genres that mirror the chanson: canso, lauda, cantiga, minnelied, etc. |
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Term
| In northern France in the late 13thc , trouvères beging to write the first polyphonic secular songs, started to use FORMES FIXES: ballade (aab); virelai (Abba A), rondeau (ABaAabAB) |
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Definition
| In northern France in the late 13thc , trouvères beging to write the first polyphonic secular songs, started to use FORMES FIXES: ballade (aab); virelai (Abba A), rondeau (ABaAabAB) |
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Term
| Culminate in complex structures exemplified by Guillaume de Machaut writing in ARS NOVA style. Ars nova innovations in rhythm: duple divisions of note values in addition to triple divisions, smaller note divisions). |
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Definition
| Culminate in complex structures exemplified by Guillaume de Machaut writing in ARS NOVA style. Ars nova innovations in rhythm: duple divisions of note values in addition to triple divisions, smaller note divisions). |
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Term
| ARS SUBTILIOR – late 14th century, rhythmic complexity, ornate notations, Avignon is the hub. Eg. “Tout par compas suy composés” by Baude Cordier |
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Definition
| ARS SUBTILIOR – late 14th century, rhythmic complexity, ornate notations, Avignon is the hub. Eg. “Tout par compas suy composés” by Baude Cordier |
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Term
| ENGLAND – more insular than the rest of Europe |
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Definition
| ENGLAND – more insular than the rest of Europe |
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Term
| English compositions known for “sweet” sounds (3rds and 6ths). |
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Definition
| English compositions known for “sweet” sounds (3rds and 6ths). |
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Term
| 13th century – “Sumer is icumen in” in English (Wessex dialect) and Latin. It is a round or a canon. |
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Definition
| 13th century – “Sumer is icumen in” in English (Wessex dialect) and Latin. It is a round or a canon. |
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Term
| 15th century – Hundred Year’s War between English and French (1337-1453). |
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Definition
| 15th century – Hundred Year’s War between English and French (1337-1453). |
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Term
| “Agincourt Carol” celebrates Henry V’s victory at the Battle of Agincourt where the British defeated four times as many French. (The French would later win the Hundred Years War). |
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Definition
| “Agincourt Carol” celebrates Henry V’s victory at the Battle of Agincourt where the British defeated four times as many French. (The French would later win the Hundred Years War). |
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Term
| CAROL - an English musical form dating back to the Middle Ages. It was a song in the local language that marked Christmas, Easter, or even, as here, a military victory. |
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Definition
| CAROL - an English musical form dating back to the Middle Ages. It was a song in the local language that marked Christmas, Easter, or even, as here, a military victory. |
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Term
| BURGUNDIAN COURT – emerged as a major artistic centre end of 14thc – end of 15th. |
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Definition
| BURGUNDIAN COURT – emerged as a major artistic centre end of 14thc – end of 15th. |
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Term
| Guillaume Du Fay known for writing polyphonic chansons with using formes fixes. Eg. “Ce moys de mai” in rondeau form. Influenced by English composer John Dunstable and the “sweetness” of English music. |
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Definition
| Guillaume Du Fay known for writing polyphonic chansons with using formes fixes. Eg. “Ce moys de mai” in rondeau form. Influenced by English composer John Dunstable and the “sweetness” of English music. |
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Term
IMPORTANT 15th-CENTURY INVENTION = printing press (Johannes Gutenberg’s Bible).
Results: |
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Definition
Manuscript copying began to decline
Books cheaper, more people from different classes able to acquire them.
Gap between the intellectual elite and the common man narrows.
Music books printed: music more available to general public (middle/upper middle class). |
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Term
| BEGINNING OF THE RENAISSANCE in city states of Italy (Venice, Milan under Sforza family, Florence under Medicis were the most powerful). |
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Definition
Resplendent courts patronized artists and musicians and composers.
Emphasis now on translations of ancient Greek texts and humanistic studies.
In art, natural figures of 14th c (Giotto) more true to life in 15th c, dev’t of perspective (Lippi).
“Renaissance ideal” for humans stressed manners and grace, cultivated ways of living.
Individual fame prized over anonymity in arts and literature.
Renaissance composers tried to adopt what they thought were classical attitudes re music.
Music less a science now, closer to the rhetorical arts.
Composer = noble professional, whose names Tinctoris lists. Composers now writing both for church services and for aesthetic pleasure. |
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Term
Composer = noble professional, whose names Tinctoris lists. Composers now writing both for church services and for aesthetic pleasure.
JOSQUIN DESPREZ (c. 1455-1521): worked in both Franco-Netherlands and in Italy (Milan with the Sforza family, Ferrara with family of Hercules, Duke of Ferrara, also in papal chapel in Rome).
Humanistic (Renaissance) tendencies in Josquin’s music: |
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Definition
Incorporated vowels of Hercules’ name, converted into musical notes, into tenor of his Mass for Hercules Dux Ferrarie (re-ut-re-ut-re-fa-mi-re: D-C-D-C-D-F-E-D).
Wrote settings of the Ordinary of the Mass, like Machaut, but also wrote MOTETS (a sacred musical composition for choir, usually sung a cappella).
Motet no longer uses a Gregorian chant tenor. Ex: his Motet Ave Maria: rhetorical style, uses varying textures [homophonic, polyphonic], emphasis through imitative counterpoint, contrast through use of chordal, homophonic sections and through changes in meter. |
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Term
| Humanistic tendencies in music |
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Definition
By now, for ex, duple meter accepted and widely used.
Tinctoris justifies its use by saying that Christ was twofold: God and man.
When he names the composers Dunstable, Dufay, Binchois, Ockeghem, Busnois, Regis, and Caron, he is acknowledging that composers are worthy of being remembered for their own achievements.
Josquin asks in the Ave Maria motet that the Virgin Mary remember him. |
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Term
| Religious reform (earlier reforms = Charlemagne in Carolingian Empire, Cluniac reform). |
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Definition
| Religious reform (earlier reforms = Charlemagne in Carolingian Empire, Cluniac reform). |
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Term
| Reformation of 16th c: much bigger, shaped subsequent western religious history. |
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Definition
Criticism of church hierarchy: too many levels of clergy, insurmountable obstacles for common man.
MARTIN LUTHER (1483-1546) challenged church=s practices: men didn’t need to be saved by good works; could be saved “sola fide” (“by faith alone”), based on Romans 1:17 - “The just shall live by faith.”
1517: Luther nailed 95 theses to door of the Wittenberg church, protested need for indulgences.
Translated New Testament into German, composed a Mass in German. |
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Term
| Reformers’ ideas on music: people should participate, everything sung in vernacular, polyphony allowed, but no bawdy songs in tenor voice, music important for edification of souls (Platonic). |
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Definition
| Reformers’ ideas on music: people should participate, everything sung in vernacular, polyphony allowed, but no bawdy songs in tenor voice, music important for edification of souls (Platonic). |
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Term
| Reformers broke with papacy, established Lutheran churches. |
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Definition
| Reformers broke with papacy, established Lutheran churches. |
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Term
| Echoes of Luther’s work: Huldreich Zwingli (1484-1531) in Switzerland, John Calvin (1509-64) in France (wrote metric psalms in French). |
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Definition
| Echoes of Luther’s work: Huldreich Zwingli (1484-1531) in Switzerland, John Calvin (1509-64) in France (wrote metric psalms in French). |
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Term
| Reformed churches appear: much simpler in design, low-key in ornateness. |
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Definition
| Reformed churches appear: much simpler in design, low-key in ornateness. |
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Term
| Anglicanism in England: Henry VIII broke with Catholic Church over the divorce from Katherine of Aragon, prayer book in English, 39 articles of Anglican doctrine. |
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Definition
| Anglicanism in England: Henry VIII broke with Catholic Church over the divorce from Katherine of Aragon, prayer book in English, 39 articles of Anglican doctrine. |
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Term
| Other protestant sects arose: emphasis on Bible, experience of emotional conversion between a person and God. |
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Definition
| Other protestant sects arose: emphasis on Bible, experience of emotional conversion between a person and God. |
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Term
| Roman Catholic Reform (COUNTER-REFORMATION): Catholic church slow to react: |
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Definition
| Roman Catholic Reform (COUNTER-REFORMATION): Catholic church slow to react: |
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Term
| Michelangelo’s Sistine Chapel ceiling, early 16th c: connection between God and man in Creation, but terrible, inevitable judgment, vengeful God. |
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Definition
| Michelangelo’s Sistine Chapel ceiling, early 16th c: connection between God and man in Creation, but terrible, inevitable judgment, vengeful God. |
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Term
| COUNCIL OF TRENT (1545-63) = Counter-Reformation |
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Definition
| COUNCIL OF TRENT (1545-63) = Counter-Reformation |
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Term
| Papal supremacy reaffirmed. |
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Definition
| Papal supremacy reaffirmed. |
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Term
| No more sale of church offices (indulgences). |
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Definition
| No more sale of church offices (indulgences). |
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Term
| ncient church tradition had equal weight with Bible (Bible = sole authority for Protestants). |
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Definition
| ncient church tradition had equal weight with Bible (Bible = sole authority for Protestants). |
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Term
| USICAL REFORMS OF COUNTER-REFORMATION: |
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Definition
Eliminated all but 4 sequences (Dies Irae was kept!) because texts non-biblical.
Eliminated music based on melodies not from chant (ex: Josquin’s Mass for Duke Hercules).
Words had to be intelligible: imitative polyphonic texture decreased, homophonic textures increased.
Long melismas frowned upon (Pope Gregory XII’s letter).
Densely imitative polyphony now abandoned: ex. Clemens non Papa’s (1510-c.1556) Mass uses “seamless (non-stop) polyphony,” few cadences.
Model Catholic composer = Giovanni Perluigi da Palestrina (1525-94), known as “savior of church music:” Kyrie from “Mass of Pope Marcellus” use points of imitation, but text always intelligible, cadences clearer than Clemens non Papa, few dissonances, more consonances. |
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Term
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Definition
“To get a good idea of public education, read Plato’s Republic. It is not a political treatise, as those who merely judge books by their title think, but it is the finest, most beautiful work on education ever written.” – Jean-Jacques Rousseau
To conceive the ideal city and individual, we would need to have the ideal education. The four aspects of education in the Republic are Music, Gymnastics, Mathematics and Dialectics.
There are three key components in our soul: the appetitive, the spirited, and the rational. The appetitive part of the soul desires pleasure (lust, greed, materialistic desires), the spirited part is aggressive and seeks honor, while the rational part is concerned with acquiring wisdom and knowledge.
Plato’s education of music, gymnastics, mathematics and dialectics in the Republic helps to ensure that these three components of the soul are in harmony with each other. If the appetitive component is too strong, we would have an unhealthy soul with too much greed and lust. If we were too spirited, we would become overly aggressive. Finally, if we were too concerned with gaining wisdom at the expense of developing other parts of our soul, we would not be well-balanced individuals (or as known in modern times, nerds). Therefore, having a proper education is important to keep these three components balanced.
“Music” in the Republic refers to both literary education and conventional music/melody. For literary education, children should be told stories and tales that exemplify courage, temperance, and justice. These stories would help to carve a proper moral nature from young. The stories should not reward unjust actions or encourage improper behavior. For example, the story of Achilles lamenting the loss of Patroclus in Homer’s “The Iliad” should be excluded from all tales as it shows overly excessive emotion. In this epic poem, Achilles displays an extreme outpouring of grief when his cousin Patroclus is killed in the Trojan War. This is a quote from the Republic: “…Achilles, who is the son of a goddess, first lying on his side, then on his back, and then on his face; then starting up and sailing in a frenzy along the shores of the barren sea; now taking the sooty ashes in both his hands and pouring them over his head, or weeping and wailing…rolling in the dirt, calling each man loudly by his name…” (you get the idea)
For conventional melody and song, the Republic advocates that we should only listen to sober music that expresses courage and temperance. Therefore, music should only be composed in two harmonies: the “Dorian” and the “Phrygian”. According to Plato, these two harmonies would imitate “the note or accent note or accent which a brave man utters in warlike action and in stern resolve”. Similarly, the rhythms in music should also be “good rhythms” that represent the aforementioned qualities of courage and temperance. |
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Term
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Definition
| For conventional melody and song, the Republic advocates that we should only listen to sober music that expresses courage and temperance. Therefore, music should only be composed in two harmonies: the “Dorian” and the “Phrygian”. According to Plato, these two harmonies would imitate “the note or accent note or accent which a brave man utters in warlike action and in stern resolve”. Similarly, the rhythms in music should also be “good rhythms” that represent the aforementioned qualities of courage and temperance. |
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Term
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Definition
| For conventional melody and song, the Republic advocates that we should only listen to sober music that expresses courage and temperance. Therefore, music should only be composed in two harmonies: the “Dorian” and the “Phrygian”. According to Plato, these two harmonies would imitate “the note or accent note or accent which a brave man utters in warlike action and in stern resolve”. Similarly, the rhythms in music should also be “good rhythms” that represent the aforementioned qualities of courage and temperance. |
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Term
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Definition
| For conventional melody and song, the Republic advocates that we should only listen to sober music that expresses courage and temperance. Therefore, music should only be composed in two harmonies: the “Dorian” and the “Phrygian”. According to Plato, these two harmonies would imitate “the note or accent note or accent which a brave man utters in warlike action and in stern resolve”. Similarly, the rhythms in music should also be “good rhythms” that represent the aforementioned qualities of courage and temperance. |
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Term
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Definition
| For conventional melody and song, the Republic advocates that we should only listen to sober music that expresses courage and temperance. Therefore, music should only be composed in two harmonies: the “Dorian” and the “Phrygian”. According to Plato, these two harmonies would imitate “the note or accent note or accent which a brave man utters in warlike action and in stern resolve”. Similarly, the rhythms in music should also be “good rhythms” that represent the aforementioned qualities of courage and temperance. |
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