01 - Naxos_class 1_ Medieval Renaissance Music

8/8/2019 01 - Naxos_class 1_ Medieval Renaissance Music

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Medieval/Middle Agesand Renaissance Music


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Your question to me .

y Keith, why don t we spend more time on music fromthe Medieval/Middle Ages and the Renaissance?


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Th e most important concept!y Sacred vs. Secular


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M edieval vs. Renaissance


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Easy dates to remember .

y Medieval/Middle Agesy c. 450-1450

y Renaissancey c. 1450-1650


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Just any old c h urc h door?


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O ctober 31, 1517y Martin Luther

y 95 Theses

y Wom en ( castrati )y V ernacular


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Th e Culture of t h e M edieval/M iddle Ages

y Almo st all patronage (sponsorship) fr om the churchy Most surviving m usic is sacredy Later Middle Ages: cities, cathedrals, art, and literature

450 1450


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W h ich are you?


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Tw o Types of C h anty Sy llabic: One n ote ( or som etim es two) note(s) per

s y llable.

Di es Irae

Day of wrath! O day of mourning!See fulfilled the prophets' warning,Heaven and earth in ashes burning!


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Tw o Types of C h anty Melismatic: multiple notes per syllable.Wh i tsunday Mass, Alleluia, emitte spirit


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Q uick comparisony D ies Irae

y Mozart (1791)y V erdi (1900)

(3:50)

Essa y questi on: W hat are the differences between these

three D ies Irae com positions?

(And we ll here at least tw o mo re!)


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N axos CD#1, track 1y D e Profundis

From the depths, I cry to Thee, Lord P salm 130


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Listen for1. Sacred Latin text

2. Male v oices3. No har mo n y*4. No rh y th m ic*interest5. No d y nam ic* variati on

6. Melism atic* writing7. Confined v ocal range8. A capella*


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Life in t h e M edieval/ M iddle Ages Cloister

y C loister

Monastery (m en)C onvent (wom en)


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Th e place of w omeny W here are the w om en in classical m usic?

y Ho w m an y tim es will we ask that questi on?

y An y earl y fem inists?


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H ildegard of Bingen


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Th e M usic of H ildegard of Bingen(1098 1179)

y 1150 founded convent in Germany

y Known for miracles and prophecies

y Three collections of visions & prophecies in manuscript

y Composed religious poetry with music (Morality play )T h e Play of t h e V i rtues (Ordo v i rtutum )


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Vision: The Life of Hildegard


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N axos CD1, Track #2

Alleluia!O virga mediatrix,sancta viscera tuamortem superaveruntet venter tuusomnes creaturas illuminavit

in pulcro florede suavissima integritateclausi pudoris tui orto.

Alleluia!O branch, mediator, your holy body overcame death,and your wombilluminated all creatures

with the beautiful f lowerborn from the sweetest integrity of your chaste honor.


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Listen for1. Sacred Latin text, but2. Male v oices

3. No har mo n y*4. No rh y th m ic*interest5. No d y nam ic* variati on6. Melism atic* and Sy llabic* writing

7. Extended v ocal range8. A capella* 9. V arious secti ons between solo* and tutti*


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W h ich leads us to ..y Opera *

y The Coronati on of P oppeay

Claudi o Monteverdiy V oice assign ments (including c ounterten ors/castrati)

W arning! (Just the first of many.)


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Th e Rise of Polyp h ony*:The Notre Dame School

Cathedral of NotreDam e, P aris.

y Notated rh y th m* andpitch.

y Multiple v oices


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M otets*y Sacred *, usuall y in Latiny An y num ber of v oices*y Accom panied *y S pem i n al i um

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 manLord God,

C reator of Heaven and Earthbe mindful of our humiliation


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Madrigals*

y Secular *y A cappella* y V ernacular *y Wo rd painting *y F a i r P h yll i s

Fair Phyllis I saw sitting all aloneFeeding 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),U p and down he wandered

whilst she was missing;When he found her ,

O then they fell a-kissing .


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Early Instrumental M usicy Central r ole in art m usic reserved f or v ocal m usic.y Instru m ental m usic mo stl y im pro vised.*y Soft (piano* or bas) or loud (forte* or h aut )

instru m ents.y Categorized b y their use (ind oo r or outd oo r) .


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Early InstrumentalM usic

Mand olin

Lute

V ielle


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Early Instrumental M usicDulcimer

P salter y


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M edieval O rgansy Small instru m ents ( P ortative )

y Sound clip

y Large instru m ents ( P ositive )


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N axos CD1, Track #3y Gloria from Missa Papae MarcelliGiovanni P ierluigi da P alestrina

1 525 -94


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Sacred Latin TextGloria in excelsis Deo.Et in terra pax hominibus bonae voluntatis.Laudamus te. Benedicimus te. Adoramus te. Glorificamus te.Gratias agimus tibi propter magnam gloriamtuam.Domine Deus, Rex caelestis, Deus P ateromnipotens.Domine Fili unigenite, Iesu Christe.Domine Deus, Agnus Dei, Filius P atris.Qui tollis peccata mundi, miserere nobis.Qui tollis peccata mundi, suscipedeprecationem nostram.Qui sedesad dexteram P atris, miserere nobis.Quoniam tu solus Sanctus. Tu solus Dominus.Tu solus Altissimus, Iesu Christe.Cum Sancto Spiritu, in gloria Dei P atris. Amen.

Glory be to God on high,and on earth peace, good will towards men. W e 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, havemercy upon us.Thou that takest away the sins of the world,receive our prayer.Thou that sittest at the right hand of God theFather, 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 theFather. Amen.


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Listen for1. Sacred * Latin text2. Male v oices (treble/castrat o*?!)

3. Intricate har mo nies*4. Detailed rh y th m*5. W ide d y nam ic* variati ons6. Melism atic* and Sy llabic* writing

7. Extended v ocal range8. A capella* 9. V arious secti ons between solo* and tutti*


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N axos CD2, Track #4y P avane *y W illiam B y rd (1543-1623)


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Viol*


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Viol* fast factsy viola da gamba and lutey bo wed, fretted, stringed m usical instru m entsy developed in the 13 th centur y y mo st p opular and i m portant instru m ent thr ough the

15th centur y


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Listen fory Instru m ental onl y y Secular * purp ose (dance)y Strong, predictable dance rh y th m*y P ol y phonic* v oices


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Q uick comparisony G abriel Faure: Pavane ( 1887)


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Essay Q uestiony W hat are the differences between the tw o Pavane

com positions?

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01 - Naxos_class 1_ Medieval Renaissance Music