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MEDIEVAL TO RENAISSANCE A musical history synopsis

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Medieval to Renaissance. A musical history synopsis. Medieval Music. Fall of Rome-1400 Notation: Originally no notation, transmitted orally, later 4 staff with neumes Modes=Scales - PowerPoint PPT Presentation

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Page 1: Medieval to Renaissance

MEDIEVAL TO RENAISSANCEA musical history synopsis

Page 2: Medieval to Renaissance

MEDIEVAL MUSIC Fall of Rome-1400 Notation: Originally no notation, transmitted

orally, later 4 staff with neumes Modes=Scales 8 Church modes : Dorian, hypodorian,

Phrygian, hypophrygian, Lydian, mixolydian, hypolydian, and Hypomixolydian

Females not used in playing or singing outside of the Abbey’s as it was considered improper for women to perform or take part in the church service.

Sacred and Secular

Page 3: Medieval to Renaissance

GREGORIAN CHANT Named for Pope Gregory I who is credited

with writing down the composition treatise on chant

Monophonic Hildegard von Bingen

11th century Nun First important female composer

Page 4: Medieval to Renaissance

GREGORIAN CHANT

http://www.youtube.com/watch?v=kK5AohCMX0U

Page 5: Medieval to Renaissance

HILDEGARD VON BINGEN

Page 6: Medieval to Renaissance

ORGANUM Plainchant Heterophonic-melody line with accompanying

harmonic line set at a fixed interval

Page 7: Medieval to Renaissance

ORGANUM

Page 8: Medieval to Renaissance

MOTET Litergical or secular Often dealing with courtly love Early Polyphonic music

Page 9: Medieval to Renaissance

MOTET

Page 10: Medieval to Renaissance

MADRIGALS Italian secular polyphonic music more sophisticated than Motets because of

fluidity of melody lines

Page 11: Medieval to Renaissance

MADRIGAL

Page 12: Medieval to Renaissance

GUIDO DE AREZZO 11th century Monk Credited with adding staff lines to musical

notation Developed the “Guidonian Hand” which was

used to help people remember the church modes and supposedly be able to sight read the music better or compose correctly

Page 20: Medieval to Renaissance

RENAISSANCE MUSIC 1400-1600 Reliance on the interval of the Third (Previously thought of

as a dissonance) Still Modal (rather than tonal, emphasis on the Fifth) Richer Texture with four or more parts (more polyphony) Blending rather than contrasting melodic textures Use of larger ensembles that spanned the vocal range Greater emphasis on Harmony Notation: 5 staff lines, no bar lines, no scores, Accidentals

not always noted 1470s: Music started to be printed on a press, brought

music to a greater audience 1500s: Music and art began to imitate each other in detail

and complexity, sacred music began to become more complex, canons became popular, the beginnings of opera

Page 22: Medieval to Renaissance

TWO IMPORTANT SACRED MASSES Cantus Firmus-one melody line that is

repeated throughout Parody Mass-Takes parts or all of its voicing

from a pre-existing work such as a motet or a secular chanson

Page 23: Medieval to Renaissance

PALESTRINA’S GREAT SAVE Near the end of the Renaissance, the Church

began to get upset at the way music was being written, such as in the case of the parody mass

St. Charles Borromeo (Archbishop of Milan) collected all the church music and determined what was “good” and what was “bad”

The “bad” totaled over 1500 works. Palestrina stepped in and convinced

Borromeo not to destroy all the music, that those written properly should be saved and new music should be composed along those lines.

The rules were compiled by the Council of Trent

Page 24: Medieval to Renaissance

GUILLAUME DU FAY 15th Century, Franco-Flemish Music was widely distributed and influenced

many later composers even though he lived before the printing press

Wrote masses,motets and chansons Also wrote many settings of chants using

fauxbourdon (false bass) to create parallel harmony

May have been the inventor of Fauxbourdon

Page 26: Medieval to Renaissance

JOHANNES OCKEGHEM 15th century, Franco-Flemish Not as prolific as you would expect given the

length of his career Most of early masses written in cantus firmus Later important masses written in a style

similar to the later parody mass Also wrote motets and secular chansons

Page 29: Medieval to Renaissance

JOSQUIN DES PREZ 15th century/early 16th century, Franco-Flemish Considered to be the greatest composer of his time Wrote sacred and secular pieces such as Masses,

Motets, chansons worked in Milan, Rome, and France/Belguim One of the first to employ the use of motifs in

compositions to foster unity within a work Wrote masses in Cantus Firmus, paraphrase masses

(similar to cantus firmus, but more ornamented) Parody masses, along with other mass styles of the day wrote in a new style of sacred music called the Motet-

Chanson which combined the form of a Chanson with the addition of chant based cantus firmus in the bass

Page 31: Medieval to Renaissance

MUSICAL INSTRUMENTSBrass Trumpet: One version

used a slide like a trombone, others were straight trumpets without valves, used mainly in the military and for Royalty

Cornett: Made of wood, but played like a trumpet, the largest is called the serpent and was said to be the closest to the human voice

Sackbut: Like a trombone, only used in sacred music

Page 34: Medieval to Renaissance

MUSICAL INSTRUMENTSWoodwinds Shawm: Double Reed,

seven finger holes and a thumb hole, mostly used with drums in street music

Transverse flute: Wooden, forerunner of modern flute

Recorder: Still commonly used, used in consorts in the renaissance

Page 37: Medieval to Renaissance

MUSICAL INSTRUMENTSStrings Viol da Gamba: Played

between the legs regardless of size, forerunner of the modern violin family

Hudy Gurdy: Mechanical, used in street music

Harp: Small 22-44 strings, sat on players lap

Lute: Strings set in “courses” of two strings with highest string being single typically 8 courses or 15 strings

Page 40: Medieval to Renaissance

JOHN DOWLAND British lute player of the late Renaissance Best known for sad sounding songs Was extremely popular and would sign

autographs “Dowland sempre dolens” (Dowland always sad)