The periods of Music The history of Music can be divided into periods which we will be exploring over the next few weeks.

Each period of music has different characteristics,but it is important to remember that the changes did not happen overnight...Beethoven didn´t wake up on New Year´s Day 1820 and decided to compose Romantic Music,The change from each period into the next was gradual and organic.

Twentieth Century

(1910-Present)Romantic

(1820 – 1910)

Classical (1750-1820)

Baroque (1600-1750)Renaissanc

e (1450-1600)

Medieval (500-

1450)

Ancient(-500)

Edaddad edad

APORÑPAPApolo with the tortoise-shell lyre. Christian and Muslim playing lutes.

LESSON 1:Music of Ancient Greece and Medieval Ages

IntroductionThe music of ancient Greece(500b.C-500

A.C) was almost universally present in society, from marriages and funerals to religious ceremonies, theatre, folk music and the ballad like reciting of epic poetry. It played an integral role in the lives of ancient Greeks.

The word Music comes from the Muses, the daughters of Zeus.

GREEK MUSIC CHARACTERISTICS

1. The concept of Music includes Music,Poetry and Dance.

2.The voice is accompanied by an instrument.

3.The musical system was based on MODES.

4.They use the alphabetical notation to indicate the

high of the sound.

5.The lyre and the aulos were the most important instruments.6.Music was essential for the education of young people.

GREEK INSTRUMENTS

LYRE

LIRA.EPITAFIO DE SEIKILOS.

STRING INSTRUMENTS:

ZITHER

AEROPHONES

LY

LOS

AULOS

PAN FLUTE

Percussion:

TAMBOURINE

CYMBALS

CASTANETS

PANDEIRO

ROMAN MUSIC CHARACTERISTICS1. The Roman Empire consolidated their military power,but their

contribution to Music was limited.

1. Rome adopted Greek Music,Art an Philosophy to their necessities.

2. The musical celebrations were really important and there were a lot of musicians and choruses.Those musical celebrations were called -torneos.

3. The music had a very important role in the theatre and the army.

4.The music had a very important role in the theatre and the army.

El coliseo de Roma, anfiteatro Flavio, albergaba las luchas de los gladiadores que podían ser vistos por más de 50.000 espectadores...

ROMAN INSTRUMENTS

STRING INSTRUMENTSSTRING INSTRUMENTS

ZHITER

LYRE

WIND INSTRUMENTS

TUBA

CORNU

PERCUSSION

Tympanum

CROTALA

AUDITION :EPITAFIO DE SEIKILOS,CANTO GREGORIANO,ORGANUM

FLute:EPTAFIO DE SEIKILOS.

VOICE:KALENDA MAYA.

DANCE:GRIEGA

DANZA GRECIA:PERA STUS PERA CAMPUS

Disposición: Se baila en corro cogidos con manos en “ V” y con un número indeterminado de personas. (Fig. 1) Introducción: frase B.

Frase A *Comp.1: A ritmo de negras y mirando al centro: Separar el pie derecho y juntar el pie izquierdo. *Comp.2: Lo mismo que comp. 1. *Comp.3: Separar el pie izquierdo hacia el centro del círculo (poniéndose de lado) y juntar la punta del pie derecho poniéndola detrás. *Comp.4: Llevar el pie derecho a la posición inicial (exterior del círculo y juntar el pie izquierdo). *Comp. 5-8: Lo mismo que comp. 1 a 4. Se repite todo.

Frase B *Comp. 9: Se elevan los brazos a la vez que se salta, recayendo el peso del cuerpo sobre el pie derecho que queda detrás del izquierdo, que se cruza por delante (Fig.2)) *Comp.10: Lo mismo que comp. 9, pero llevando ahora el peso sobre el pie izquierdo. *Comp.11-12: Dos pasos hacia la derecha y mirando en esa dirección. Los brazos bajados. Se comienza con el pie izquierdo por delante del derecho, paso y luego por detrás. *Comp. 13-16: Lo mismo que comp. 9-12.

GREEK DANCE: PERA STUS PERA CAMPUSArrangement: It is danced in a circle holding the hands in “V” shape and with an indeterminate number of people. Phrase A•Bar.1: Step your right foot to the right and join your left one.•Bar.2: The same as Bar.1.• Bar 3: Step your left foot towards the centre of the circle (putting it sideways) and join your right tiptoe putting it behind.• Bar.4: Take your right foot to the initial position and join your left one.•Bar.5-8: The same as Bar 1 to 4.Repeat the same.Phrase B•Bar. 9: Put your arms up and kick your left foot towards the circle then step it back, do the same then with your right.• Bar 10: The same as Bar.9, but falling your body weight on your right foot.•Bar 11-12: Take Two steps to the right, looking at that direction. The arms down. It is started with your left foot in front of your right one, step and then behind.•. Bar 13-16: The same as Bar.9-12.

AUDICIONES EN PDF DEL EPITAFIO

http://musiclavero.wikispaces.com/M%C3%BAsica+e+im%C3%A1genes+3%C2%BA.1b

AUDICIONES 3º ESO

EARLY MIDDLE AGES LATE MIDDLE AGES

V-XII XIII-XV

Middle Ages

1. Around 450 A.C. the Roman Empire began to disintegrate.

2. This was the beginning of the “dark ages”.

3. Life was hard and full of migrations, upheavals, and wars.

4.In the later Middle Ages churches and monasteries were constructed,towns grew and universities were founded.

HOMEWORK!!!:

What Medieval Universities are in Spain?

Explain the origin of Carmina Burana.

5.This was a time of three social classes:NOBILITY

PEASANTRY

•CLERGY

NOBILITYNobles were sheltered within

castles surrounded by moats.

The men were often knights during war time.

In peace time, they amused themselves with hunting, feasting, and tournaments.

•Peasants – the majority of people – lived miserably in one-room huts.

•Many were bound to the soil and subject to feudal overlords.

•Homes were damp and cold.The entire family shared one room.

PEASANTS

CLERGYCLERGY

•Monks in monasteries held a monopoly on learning.

•The church was the center of musical life.

•Musicians were servants and worked for the church.

•An important occupation in monasteries was liturgical singing.

•Women were not allowed to sing in the church.

6.The medieval Era is the longest and most remote period of musical history.

7.The church was the focal point of social life,learning and the arts.

8.Saint Gregory,who was pope from 590-604 A.C,was the organiser of a huge repertoire of chants that developed during the first centuries of the Christian Church.

GENERAL MUSIC CHARACTERISTICS:

A)NOTATION:

Early Medieval music notation did not look like the notation is used in the present day music.The earliest signs of a notational system for music used NEUMES.

THE NEUMES WERE SYMBOLS THAT SPECIFIED PITCH AND MANNER OF PERFOMANCE BUT NOT EXACTLY THE PITCH(STAFF WERE NOT INVENTED),NEITHER THE RHYTHM(NOTE VALUES WERE NOT CREATED TOO).SO ,THESE SCORES WERE VERY DIFFICULT TO BE PERFORMED AND NOWADAYS WE CAN´T TRANSLATE MOST OF THEM.

OTHER MUSICAL NOTATION,SUCH US RHYTHM, DIDN´T BEGIN UNTIL THE 12TH OR 13TH CENTURIES.

B)THREEE KINDS OF MUSIC:

-FIRST KIND,GREGORIAN CHANT(PLAIN SONG):IT´S THE MAIN FORM OF THIS PERIOD

-IT WAS MONOPHONIC(ONE MELODIC LINE WITH NO

ACCOMPANIMENT).

-VERY SERENE IN RHYTHM.

-SMALL MELODIC RANGES.

-WRITTEN IN LATIN.

-THEY WERE ANONYMUS.

-SECOND KIND OF MUSIC:EARLY POLYPHONY.

-IN THE LAST PART OF THE MIDDLE AGES.

-IT WAS MUSIC WHICH CONSISTED OF TWO OR MORE MELODIC LINES THAT WERE HEARD SIMULTANEOUSLY,SO IT WAS CALLED POLYPHONY.

-THIS APPEARED AROUND THE 1200S.

-WRITTEN IN LATIN.

-MOST OF THE PIECES WERE RELIGIOUS BUT THERE WERE SOME SECULAR PIECES TOO.

-THIRD KIND OF MUSIC IN THIS PERIOD WAS THE SECULAR SONG

-IT WAS MONOPHONIC.

-IT COULD HAVE INSTRUMENTAL ACCOMPANIMENT

-IT HAD STRONG AND REGULAR RHYTHMS.

-IT WAS SECULAR MUSIC,NOT RELIGIOUS MUSIC.

SECULAR MUSIC:TROBADOURS

TROBADOUR IS THE GENERIC TERM FOR POETS AND MINSTRELS WHO FLOURISHED IN SOUTHERN FRANCE AND IN NOTHERN ITALY FROM THE 11TH THROUGH THE 13TH CENTURIES.

Normally, they used new musical instruments,brought back to Western Europe from the Crusades.

Trobadours were not professional musicians,however,

they were educated people and rich nobleman who spent most of his time WRITING AND PERFORMING SONGS.

JONGLEURSJongleurs were

professional singers who performed these compositions from town to town but they did not compose the scores.

These artists converted story telling into an art,and often enterteined hugh crowds at fairs,weddings and other medieval celebrations.

SUMMARY CHART.1. SECULAR MUSIC TEXT WRITTEN IN

COMMON LANGUAGE.

2. MONOPHONIC TEXTURE.(ONE MELODIC LINE).

3. FASTER THAN PLAIN SONG.

4. VOCAL MUSIC WITH INSTRUMENTS,STRINGS AND PERCUSSION INSTRUMENTS.

5. COMPOSERS WERE WELL KNOWN.

6. TROBADOURS OPPOSITE JONGLEURS.

REVIEW QUESTIONS:

1. WHAT IS THE ORIGIN OF THE NAME GREGORIAN CHANT?

2. WHAT IS A NEUMA?3. WHEN DID THE WRITTEN

MUSIC START?4. WHAT WERE THE USES FOR

THE PLAIN SONG?

5.WHAT WERE THE BASICS TOPICS OF THE PLAIN SONG?

6.WHAT´S THE DIFFERENCE BETWEEN GREGORIAN CHANT AND PLAIN SONG?

7.HOW MANY KINDS OF GREGORIAN CHANT DO YOU KNOW?

8.WHAT IS THE DIFFERENCE BETWEEN TROBADOUR AND JONGLEURS?

9.HOW MANY KINDS OF SECULAR MUSIC HAVE WE GOT?

10.WHAT TYPE OF INSTRUMENTS CAN BE USED IN SECULAR MUSIC?

11.WHAT KIND OF STRINGED INSTRUMENTS DO YOU REMEMBER?

12.WHAT TEXT WAS USED IN SECULAR MUSIC?

13.HOW MANY VOICES ARE THERE IN TROBADOUR MUSIC?

POLYPHONY

WE CAN DEFINE POLYPHONY AS TWO OR MORE MELODIES TOGETHER WITH NONE OF

THEM BEING MORE IMPORTANT THAN THE OTHER.

POLYPHONY

WE CAN DEFINE POLYPHONY AS TWO OR MORE MELODIES TOGETHER WITH NONE BEING MORE IMPORTANT THAN THE OTHER(ALL OF THEM WERE ,NOT ACCOMPANIMENT VOICES)

POLIPHONY EXAMPLEhttp://www.youtube.com/watch?v=1GG1QxzJFU

Y

THE FIRST POLYPHONY WAS KNOWN AS ORGANUM AND YOU CAN FIND DIFFERENT TYPES OF ORGANUM.

SIMPLE ORGANUM

TWO VOICES WITH PARALELL MOTION AT AN OCTAVE,

5TH OR 4TH.

FREE

ORGANUM

PHRASES BEGIN AND END IN UNISON,WITH ONE VOICE MOVING IN OBLIQUE MOTION AWAY FROM THE OTHER VOICE.

DISCANTUS.

THE VOICES PRODUCE OPPOSITE MOVEMENTS BETWEEN THEM.SO IF THE FIRST VOICE RAISES UP A SECOND INTERVAL THE OPPOSITE VOICE LOWERS A SECOND INTERVAL TOO.

MELISMATIC

(OR FLORID ORGANUM)

IN WHICH SEVERAL NOTES IN THE ORIGINAL VOICE ARE SET AGAINST EACH NOTE OF THE ORIGINAL CHANT.

OTHER POLYPHONIC MUSICAL FORMS:

CONDUCTUS:A medieval vocal composition consisting of one to four voice parts the lowest of which is composed of a Latin text set to an invented melody and accompanied homophonically by the other voices.

MOTET:the name describes the movement of the different voices against one another.

The first polyphonic works were religious music but by the end of this period composers began to write religious works that will be very important in the Renaissance period.

MEDIEVAL AGES,SUMMARY

http://musicameruelo.wordpress.com/category/temas-de-musica/histres/oria-y-composito

http://cmapspublic2.ihmc.us/rid=1K21X3QQ3-1G3PXBJ-14XX/Edad%20Media.cmap

APÉNDICE:

AUDICIÓN INSTRUMENTOS:http://www.music.iastate.edu/antiqua/instrumt.htm

l

ee: http:/ / www.music.iastate.edu/ antiqua/ instrumt.html f or homework!

REVIEW QUESTIONS:1.¿CUÁL ES LA IMPORTANCIA DEL TRABAJO

DE GUIDO D´AREZZO?2.CITA EL NOMBRE DE LOS INSTRUMENTOS

MEDIEVALES DE CUERDA.3.CITA EL NOMBRE DE LOS INSTRUMENTOS

DE VIENTO.4.CITA EL NOMBRE DE LOS INSTRUMENTOS

DE PERCUSIÓN.5.¿QUÉ ES UN CONDUCTUS?

6.WHAT IS AN ORGANUM?7.CITA LOS TIPOS DE MÚSICA PROFANA.8.¿EN QUÉ IDIOMA ESTÁN ESCRITAS LAS

CANTIGAS?9.¿QUIÉNES ERAN LOS GOLIARDOS?

APENDIX:MUSIC PRINTING

GUIDO D’AREZZOHe was an Benedictine monk who invented Do-Re-Mi-Fa-Sol-La-Ti-Do and the staff system that modern music is written on. Are you stunned? Did you think those things always existed?ND

Guido is most famous for what is known as Guido’s Hand, but it was probably developed after his lifetime. This particularly charming invention uses the creases on a hand to show the placement of the notes, each corresponding to a note from solfeggio.

Using this, Guido (or any choir director) could point to a place on his hand, and the choir would sing the corresponding note. Suddenly, entirely rote memorization for learning music evolved to use visual aids.

Although neumes existed already, and scholars at Notre Dame in Paris studied and scrupulously applied them to the collections of chant texts that Pope Gregorius (c540-604) had ordered.

These neumes provided information about the movement between notes and a little about their duration, but no information about which specific note to sing.

A great deal of memorization (and guessing) was involved.

Guido suggested the use of lines and spaces to depict which note was sung (including a red line for F and a yellow line for C). 

It could be accurately reproduced by someone else who had never heard it.

The method was widely adopted, and neumes changed to accommodate the format, becoming less florid, and more regular.

The modern staff had five lines. This invention made it easier to memorize music

(because of the visual aspect), and it became possible for individuals to study separately and come together with the same music learned. 

The memorization factor went away.

Notación musical

Algunos ejemplos de su evolución

Notación gregoriana aquitana adiastemática (sin pautas) Arxiu Comarcal del Bages. Manresa (Cataluña)

Notación gregoriana cuadrada sobre tetragrama, en clave de Fa

S.XIV

Arxiu Comarcal del Bages.

Manresa (Cataluña)

Himno a San Juan Bautista (Pablo el Diácono, en el Siglo VIII)

Guido d’Arezzo lo utilizó con sus discípulos para recordar la entonación de los sonidos mediante las primeras sílabas de cada verso en el S. X

Mano guidoniana

La mano guidoniana fue un sistema mnemotécnico utilizado para ayudar a los cantantes a leer a primera vista.

Cada porción de la mano representa una nota específica. Para enseñar el sistema, el maestro indica una serie de notas sobre la palma de la mano, y el estudiante debe entonarlas, en forma similar a los ademanes utilizados en conjunción con el solfeo.

¿Y que hay de la duración?

La notación neumática así como la cuadrada supusieron grandes progresos en la escritura musical, pero quedaba impreciso el ritmo a adoptar, era pues necesario introducir la dimensión de tiempo - duración en la escritura musical. Surge la notación mensural (S. XIII), en la que las notas tendrán formas diferentes según su duración. Aparecen, por lo tanto, las figuras.

La invención de la imprenta en supuso un cambio radical para la divulgación de las partituras.

Primera edición de música

impresa de la historia

Harmonice Musices Odhecaton libro de música renacentista publicado en 1501 en Venecia por el editor Ottaviano Petrucci, quien empleó el procedimiento de impresión triple, imprimiendo primero los pentagramas, luego los textos y finalmente las notas.

Juan Sebastián Bach (1685-1750)

Partitura autógrafa de la Sonata para violín nº 1 en sol menor (BWV 1001).

Partitura para orquesta, El Príncipe Ígor, ópera en cuatro actos de de Alexander Borodín (1833-1887)

Partitura de John Cage (1912-1992)