Music in the Middle Ages and Renaissance

Music 110: Listening to Classical Music

Medieval Sacred Music

Edict of Milan (313 A. D.): Emperor Constantine legalizes Christianity. Pope Gregory the Great (c.540-604 A.D.)
He is credited with helping to standardize the early chant repertory of the Catholic Church and is also believed to be the composer of many chants (hence, Gregorian chant).

Charlemagne (crowned Roman Emperor in 800 A.D.)

He recognizes that a unified Church could help solidify its authority and empower it politically. Even though he could barely read or write, Charlemagne encouraged education for the masses, and helped found many cathedral schools.

Medieval Music
From c. 1000-1250, music was primarily monophonic (one melody with no accompaniment). Sacred music: Catholic Church Secular music (preserved): royal courts Vocal music primary After 1250, music becomes more polyphonic (more than one melody at a time).

Gregorian chant (plainchant)

Written for the Catholic liturgy Monophony (melody with no accompaniment) Latin text Free meter Limited melodic range Most are anonymous.

In paradisum (Genre: plainchant, 9th century)

In paradisum deducant te Angeli; in tuo adventu suscipiant te Martyres, et perducant te in civitatem sanctam Jerusalem. Chorus Angelorum te suscipiat, et cum Lazaro quondam paupere aeternam habeas requiem.

In paradisum (translation)
May the angels lead you to paradise, And the martyrs, when you arrive, Escort you to the city of Jerusalem.

May the angel choir sustain you, And with Lazarus, who was once poor, May you be granted eternal rest.
Melisma: use of one syllable of text on multiple notes.

Hildegard of Bingen (1098-1179)

Hildegard of Bingens Life

Born into a noble family. Entered a convent at age 7 and took her religious vows at age 16. Experienced mystic visions all of her life. She would correspond with kings, popes, and other leaders, and also became well-respected for her writings on science, medicine, and theology. She would eventually found an abbey in Bingen, Germany.

Hildegards Music
She believed that music provided direct access to God. She wrote both the music and text for chants performed at her abbey. The texts of her chants tend to be woman-centered (e.g., the Virgin Mary, St. Ursula). The vocal range of her chants is much wider and more florid than those written and performed for monasteries (monks) and churches at the time. The fact that we know what chants she composed demonstrates how widespread her influence was.

Hildegard, Columba aspexit (chant, mid-1100s)

Columba aspexit Per cancellos fenestrae Ubi ante faciem eius Sudando sudavir balsamum De lucido Maximino. The dove entered Through the window Where, before its face, Balm emanated From incandescent Maximus.

Columba aspexit (cont.)

Calor solis exarsit Et in tenebras resplenduit; Unde gemma surrexit In edificatione templi Purissimi cordis benevoli. The heat of the sun burned and dazzled into the gloom, whence a jewel sprang forth In the building of the temple Of the most pure loving heart.

A Medieval Chantbook

Medieval Secular Music

Troubadours (France): professional, traveling musicians associated with the royal courts. We believe that most troubadours also wrote their own poetry. Secular monophony The texts of troubadour songs are written in the vernacular (French) in a stylized, elevated language. Considered monophony, but troubadour songs were likely performed with instruments at times. Melodic range is simple and limited. Courtly love: code of behavior associated with the royal courts. Most poems are written from a male perspective and idealize women. Themes of love (often unrequited), betrayal, loyalty, etc.

Bernart de Ventadorn (troubadour, c.1135-94)

Eleanor of Aquitaine (1122-1204)

Eleanor of Aquitaine and the Troubadour Song

The first written-down songs in a European vernacular language originated in Aquitaine (South-Central France). Eleanor of Aquitaine was responsible for spreading the troubadour repertory to northern France, and eventually (through her marriage to King Henry II) to England. Bernart de Ventadorn worked for her in Aquitaine.

Ventadorn, La dousa votz (troubadour song, 1100s)

Stanza 1: La dousa votz ai auzida Del rosinholet sauvatge Et es minsel cor salhida Si que tot lo cosirer Els mals traihz quamors me dona, Madousa e masazona. Et auriam be mester Lautrui joi al meu damnatge. Stanza 2: Ben es totz om davol vida Cab joi non a son estatge Stanza 3: Una fause deschauzida Trairitz de mal linhage Ma trait, et es traida I have heard the sweet voice of the nightingale and my heart springs up so that all the cares and the grievous betrayals love has given me are softened and sweetened in my ordeal by the joys of others. In truth, every man leads a base life who does not dwell in the land of joy One who is false, deceitful, of low breeding, a traitress, has betrayed me and betrayed herself.

The Renaissance (c.1400-1600) (Re-birth)

Humanism: explore relationship between man and world, and ones inner self.
Combine reason and observation (including a reliance on the senses) in ways that challenged long-held authority. Life in the now vs. life in the hereafter. Balance faith and reason The humanist focus on life on earth became a direct threat to church and political authority.

Rediscovery of ancient Greek and Roman culture.

Medieval vs. Renaissance Belief

Rely on authority Religion is primary Man must serve God The senses are BAD Ok to challenge authority Balance faith and reason Develop individuality to uphold morality Sensuality and pleasure are (within reason) ok

The contrasts between Medieval and Renaissance belief are very evident in the art of the eras:
Medieval art:
Flat and one-dimensional. Lack of individuality and personality in human portraits.

Renaissance art:
Clarity, symmetry, and realism. Illusion of three-dimensional depth. Capture a sense of individuality in portraits and, more generally, in an artists own work. New interest in human body: admiration, sensuality, scientific anatomy.

Example of Medieval Art (anonymous): Hildegard of Bingen (receiving a vision)

Example of Renaissance Art: Leonardo da Vinci, Madonna, Child, St. Anne, and a Lamb (c. 1517)

Leonardo da Vinci, Mona Lisa (1506)

Leonardo da Vinci, The Vitruvian Man (1487)

Renaissance Art: Michelangelos David (1504)

Music in the Renaissance

Text expression (individuality): the madrigal Rise of secular and instrumental music Rise of professional musicians Rise of amateur music-making as social accomplishment Music printing Composers begin to sign their works! Polyphony (two or more melodies performed simultaneously) is dominant.

Josquin DesPrez (c.1440-1521)

Josquins Life and Career

Spent much of his life and career in Italy (worked at the papal chapel in Rome), but also moved around Europe, working for various royal courts. Wrote about 22 masses, as well as other types of sacred and secular music. Mass: a musical setting of the Ordinary of the Catholic Mass (Kyrie, Gloria, Credo, Sanctus, Agnus Dei): i.e., parts of the mass that are celebrated every day in the church year. Many masses at this time were based on pre-existing chants. Missa Pange lingua (c. 1510) Based on the original Pange lingua chant (Middle Ages) Latin text Chant appears freely in all four voices Use of imitation: voices enter in succession with the same musical idea at different pitch levels. Textural variety reflects emotional content of text.

Josquin, Kyrie (Pange lingua Mass)

Kyrie eleison. Christe eleison. Kyrie eleison. Lord, have mercy. Christ, have mercy. Lord, have mercy.

Josquin, Gloria (excerpts)

Qui tollis peccata mundi, Miserere nobis. Qui tollis peccata mundi, Suscipe deprecatione nostram. Qui sedes ad dexteram Patris, Miserere nobis.

Gloria, continued
Quoniam tu solus sanctus, Tu solus Dominus, Tu solus altissimus, Jesu Christe, Cum sancto spiritu, In gloria Dei Patris. Amen.

Martin Luther (1483-1546)

Luther and the Protestant Reformation

Luther was a theologian (and composer!) who refuted key teachings of the Catholic Church. The Reformation began as a rebellion against the overriding authority of the Catholic Church. It reached its height during the 1520s and 1530s. No more blind obedience to church authorities and dogma. Luther also revised the Mass in order to get the congregation more involved.
Use of the vernacular (German). Wrote and promoted the performance of chorales (simple German hymns).

The Catholic Church and the CounterReformation

The Counter-Reformation (c. 1540s-60s) was the Catholic response to the Protestant Reformation. Key question: How would the Catholic Church retain and continue to attract members while still holding true to traditional church dogma? Some musical results:
Latin remains the official language of the Church (and chants). Make the texts audible and clear. Stop inappropriate use of instruments in church (except for the organ). Dissonance (harsh-sounding chords) should be used infrequently and with restraint.

Palestrina (c.1525-94)

Palestrinas Life and Career

Born in Italy; would work in Rome for most of his life. Like many composers, Palestrina started out as a choirboy, but he would remain a layman throughout his life. He would hold two prestigious posts (as singer, choirmaster, organist, composer) at the Cappella Giulia (St. Peters Basilica; native Italians) and the Cappella Sistina (Sistine Chapel; mostly foreigners). Served several popes. He wrote about 104 masses, plus hundreds of other sacred and secular works.

Palestrinas Pope Marcellus Mass (1567)

Myth (now discounted): Palestrina wrote this mass to save polyphony from Counter-Reformation reforms. The works title refers to Pope Marcellus II, who Palestrina briefly served. Musical style:
Six voices It does not use any Gregorian chant as its basis. However, Palestrinas melodies are very chant-like in their stepwise motion. Restrained use of dissonance.

The English Madrigal

Madrigal: a polyphonic secular song (Italian or English). The development of the English madrigal came from the late sixteenthcentury interest in Italian art forms and ideas. Usually performed with voices only (males and/or females), but instruments were occasionally used as well. Associated with the royal court, in particular Queen Elizabeth I. Musical style:
English text (NOT high literary quality, however, vs. the Italian madrigal) Use of word painting (the literal musical depiction of the texts words or content). 4-6 independent voices typical. Thomas Weelkes madrigal As Vesta Was from Latmos Hill Descending contains loosely coded references to the great Queen Elizabeth, whose nickname was Oriana.

Queen Elizabeth I (1533-1603)

Queen Elizabeth I

Thomas Weelkes (c.1574-1623)

Weelkes, As Vesta Was from Latmos Hill (Genre: English madrigal)

As Vesta was from Latmos Hill descending She spied a maiden Queen the same ascending, Attended on by all the shepherds swain; To whom Dianas darlings came running down amain, First two by two, then three by three together, Leaving their Goddess all alone, hasted thither; And mingling with the shepherds of her train, With mirthful tunes her presence did entertain. Then sang the shepherds and nymphs of Diana: Long live fair Oriana!

Arcadelt (1505-68)

The Italian Madrigal (optional)

Four voices (polyphonic) Brief Elevated poetry Text expression and word painting primary

Arcadelt (1505-68), Il bianco e dolce cigno (c. 1535) Optional

Il bianco e dolce cigno cantando more et io, piangendo giungal fin del viver mio. Strane diversa sorte, chei more sconsolato et il moro beato. Morte che nel morire, mempie di gioia tutto e di desire. The white and gentle swan dies singing, and I, weeping, approach the end of of my life. Strange and diverse fates, that he dies disconsolate and I die happy. Death, that in the act of dying, fills me wholly with joy and desire.

Il bianco, continued
Se nel morir altro dolor non sento Di mille mortil di sarei contento. If in dying I feel no other pain I would be content to die a thousand times a day.