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Medieval/Middle Ages and Renaissance Music Slide 2 Your question to me. Keith, why dont we spend more time on music from the Medieval/Middle Ages and the Renaissance? Slide 3 The most important concept! Sacred vs. Secular Slide 4 Medieval vs. Renaissance Slide 5 Easy dates to remember. Medieval/Middle Ages c. 450-1450 Renaissance c. 1450-1650 Slide 6 Just any old church door? Slide 7 October 31, 1517 Martin Luther 95 Theses Women (castrati) Vernacular Slide 8 The Culture of the Medieval/ Middle Ages Almost all patronage (sponsorship) from the church Most surviving music is sacred Later Middle Ages: cities, cathedrals, art, and literature 450 1450 Slide 9 Which are you? Slide 10 Two Types of Chant Syllabic: One note (or sometimes two) note(s) per syllable. Dies Irae Day of wrath! O day of mourning! See fulfilled the prophets' warning, Heaven and earth in ashes burning! Slide 11 Two Types of Chant Melismatic: multiple notes per syllable. Whitsunday Mass, Alleluia, emitte spirit Slide 12 Quick comparison Dies Irae Mozart (1791) Mozart (1791 Verdi (1900) (3:50) Essay question: What are the differences between these three Dies Irae compositions? (And well here at least two more! ) Slide 13 Naxos CD#1, track 1 De Profundis From the depths, I cry to Thee, Lord Psalm 130 Slide 14 Listen for 1. Sacred Latin text 2. Male voices 3. No harmony* 4. No rhythmic*interest 5. No dynamic* variation 6. Melismatic* writing 7. Confined vocal range 8. A capella* Slide 15 Life in the Medieval/Middle Ages Cloister Cloister Monastery (men) Convent (women) Slide 16 The place of women Where are the women in classical music? How many times will we ask that question? Any early feminists? Slide 17 Hildegard of Bingen Slide 18 The Music of Hildegard of Bingen The Music of Hildegard of Bingen (10981179) 1150 founded convent in Germany Known for miracles and prophecies Three collections of visions & prophecies in manuscript Composed religious poetry with music (Morality play) The Play of the Virtues (Ordo virtutum) Slide 19 Vision: The Life of Hildegard Slide 20 Naxos CD1, Track #2 Alleluia! O virga mediatrix, sancta viscera tua mortem superaverunt et venter tuus omnes creaturas illuminavit in pulcro flore de suavissima integritate clausi pudoris tui orto. Alleluia! O branch, mediator, your holy body overcame death, and your womb illuminated all creatures with the beautiful flower born from the sweetest integrity of your chaste honor. Slide 21 Listen for 1. Sacred Latin text, but 2. Male voices 3. No harmony* 4. No rhythmic*interest 5. No dynamic* variation 6. Melismatic* and Syllabic* writing 7. Extended vocal range 8. A capella* 9. Various sections between solo* and tutti* Slide 22 Which leads us to.. Opera* The Coronation of Poppea Claudio Monteverdi Voice assignments (including countertenors/castrati) Warning! (Just the first of many.) Slide 23 The Rise of Polyphony*: The Notre Dame School Cathedral of Notre Dame, Paris. Notated rhythm* and pitch. Multiple voices Slide 24 Motets* Sacred*, usually in Latin Any number of voices* Accompanied * Spem in alium I have never put my hope in any other but in you, O God of Israel who can show both anger and graciousness, and who absolves all the sins of suffering man Lord God, Creator of Heaven and Earth be mindful of our humiliation Slide 25 Madrigals* Secular* A cappella* Vernacular* Word painting* Fair Phyllis Fair Phyllis I saw sitting all alone Feeding her flock near to the mountain side. The shepherds knew not, they knew not whither she was gone, But after her lover Amyntas hied (sic), Up and down he wandered whilst she was missing; When he found her, O then they fell a-kissing. Slide 26 Early Instrumental Music Central role in art music reserved for vocal music. Instrumental music mostly improvised.* Soft (piano* or bas) or loud (forte* or haut) instruments. Categorized by their use (indoor or outdoor). Slide 27 Early Instrumental Music Mandolin Lute Vielle Slide 28 Early Instrumental Music Dulcimer Psaltery Slide 29 Medieval Organs Small instruments (Portative) Small instruments (Portative) Sound clip Large instruments (Positive) Large instruments (Positive) Slide 30 Naxos CD1, Track #3 Gloria from Missa Papae Marcelli Giovanni Pierluigi da Palestrina 1525-94 Slide 31 Sacred Latin Text Gloria in excelsis Deo. Et in terra pax hominibus bonae voluntatis. Laudamus te. Benedicimus te. Adoramus te. Glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, Rex caelestis, Deus Pater omnipotens. Domine Fili unigenite, Iesu Christe. Domine Deus, Agnus Dei, Filius Patris. Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis. Quoniam tu solus Sanctus. Tu solus Dominus. Tu solus Altissimus, Iesu Christe. Cum Sancto Spiritu, in gloria Dei Patris. Amen. Glory be to God on high, and on earth peace, good will towards men. We praise thee, we bless thee, we worship thee, we glorify thee, we give thanks to thee for thy great glory, O Lord God, heavenly King, God the Father Almighty. O Lord, the only-begotten Son, Jesus Christ; O Lord God, Lamb of God, Son of the Father, that takest away the sins of the world, have mercy upon us. Thou that takest away the sins of the world, receive our prayer. Thou that sittest at the right hand of God the Father, have mercy upon us. For thou only art holy; thou only art the Lord; thou only art most high, O Christ, with the Holy Ghost, in the glory of God the Father. Amen. Slide 32 Listen for 1. Sacred* Latin text 2. Male voices (treble/castrato*?!) 3. Intricate harmonies* 4. Detailed rhythm* 5. Wide dynamic* variations 6. Melismatic* and Syllabic* writing 7. Extended vocal range 8. A capella* 9. Various sections between solo* and tutti* Slide 33 Naxos CD2, Track #4 Pavane* William Byrd (1543-1623) Slide 34 Viol* Slide 35 Viol* fast facts viola da gamba and lute viola da gamba and lute bowed, fretted, stringed musical instruments developed in the 13 th century most popular and important instrument through the 15 th century Slide 36 Listen for Instrumental only Secular* purpose (dance) Strong, predictable dance rhythm* Polyphonic* voices Slide 37 Quick comparison Gabriel Faure: Pavane (1887)Pavane Slide 38 Essay Question What are the differences between the two Pavane compositions?