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the central middle ages 1100-1350
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The Central Middle Ages 1100-1350:
Biographies of composers of Early Music complementing Here Of A Sunday Morning the radio program.
From the Ninth Century onwards, a new kind of music began to appear, in which the older chants were implemented by additional voice parts of increasingly independent character. The gradual melodic and rhythmic independence of these 'counter parts' led eventually to the rich polyphonic music of the later mediaeval period. From the beginning of the Twelfth Century, the composers of secular song (the knightly troubadours, trouvères and Minnesingers) and of vocal and instrumental dance music also began to make use of polyphonic settings. The climax of this development of polyphony was reached in the French Ars Nova of the Fourteenth Century, with Guillaume de Machaut (died 1377) as its leading master.
Biographies of composers of Early Music complementing Here Of A Sunday Morning the radio program.
From the Ninth Century onwards, a new kind of music began to appear, in which the older chants were implemented by additional voice parts of increasingly independent character. The gradual melodic and rhythmic independence of these 'counter parts' led eventually to the rich polyphonic music of the later mediaeval period. From the beginning of the Twelfth Century, the composers of secular song (the knightly troubadours, trouvères and Minnesingers) and of vocal and instrumental dance music also began to make use of polyphonic settings. The climax of this development of polyphony was reached in the French Ars Nova of the Fourteenth Century, with Guillaume de Machaut (died 1377) as its leading master.
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Mar 12, 2006
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Medieval Period
(1200 - 1450):
A large proportion of the music developed in Europe during the medieval period was vocal, both of a religious and secular nature. In church music, this took the form of Gregorian and other types of chants, while non-religious music consisted largely of the songs of traveling minstrels and troubadours.
Vocal music was, until the 9th century, written for one voice part only. Then a second, lower part was introduced, which duplicated the top melody exactly by an interval of a fifth or fourth. A third voice was sometimes added, sounding an octave below. The idea of contrary motion slowly developed, in which the lower part moved in the opposite direction to the top. While the idea of two or more voices, or polyphony, began to influence church music, secular songs continued to be written for one voice, accompanied by various instruments ...
(1200 - 1450):
A large proportion of the music developed in Europe during the medieval period was vocal, both of a religious and secular nature. In church music, this took the form of Gregorian and other types of chants, while non-religious music consisted largely of the songs of traveling minstrels and troubadours.
Vocal music was, until the 9th century, written for one voice part only. Then a second, lower part was introduced, which duplicated the top melody exactly by an interval of a fifth or fourth. A third voice was sometimes added, sounding an octave below. The idea of contrary motion slowly developed, in which the lower part moved in the opposite direction to the top. While the idea of two or more voices, or polyphony, began to influence church music, secular songs continued to be written for one voice, accompanied by various instruments ...
Category:
The Central Middle Ages 1100-1350:
Biographies of composers of Early Music complementing Here Of A Sunday Morning the radio program.
From the Ninth Century onwards, a new kind of music began to appear, in which the older chants were implemented by additional voice parts of increasingly independent character. The gradual melodic and rhythmic independence of these 'counter parts' led eventually to the rich polyphonic music of the later mediaeval period. From the beginning of the Twelfth Century, the composers of secular song (the knightly troubadours, trouvères and Minnesingers) and of vocal and instrumental dance music also began to make use of polyphonic settings. The climax of this development of polyphony was reached in the French Ars Nova of the Fourteenth Century, with Guillaume de Machaut (died 1377) as its leading master.
Biographies of composers of Early Music complementing Here Of A Sunday Morning the radio program.
From the Ninth Century onwards, a new kind of music began to appear, in which the older chants were implemented by additional voice parts of increasingly independent character. The gradual melodic and rhythmic independence of these 'counter parts' led eventually to the rich polyphonic music of the later mediaeval period. From the beginning of the Twelfth Century, the composers of secular song (the knightly troubadours, trouvères and Minnesingers) and of vocal and instrumental dance music also began to make use of polyphonic settings. The climax of this development of polyphony was reached in the French Ars Nova of the Fourteenth Century, with Guillaume de Machaut (died 1377) as its leading master.
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The Power of Music in Medieval Literature: An Honors Thesis presented by Brenda Jean Johnstone to the Medieval Studies Department in partial fulfillment of the requirements for Honors in the Major Field. New London, Connecticut. May 2000.
This work discusses the power of music in medieval literature. It begins with The Life of Saint Guthlac, an 8th century saint's life, and the way in which Guthlac uses the psalms as a weapon against demonic forces. The next section is about the role of trumpets in medieval warrior society, as well as linking the discussion to Biblical precedents. The chapter discusses the critical role the olifant plays in The Song of Roland, both as a communication device within the framework of the poem, and as an object capable of changing the outcome of the story, as well as the olifant's role as a relic. Continuing the topic of the medieval trumpet is the scene of the Joy of the Court in Chrétien de Troyes' Erec and Enide. I discuss the trumpet as it relates to warrior society, and the degree to which it complements and displaces valor. The final chapter revolves around two medieval tellings of the Orpheus story: the first the anonymous romance Sir Orfeo, and the second Robert Henryson's Orpheus and Eurydice. I use these texts to show how music can empower the musician ...
This work discusses the power of music in medieval literature. It begins with The Life of Saint Guthlac, an 8th century saint's life, and the way in which Guthlac uses the psalms as a weapon against demonic forces. The next section is about the role of trumpets in medieval warrior society, as well as linking the discussion to Biblical precedents. The chapter discusses the critical role the olifant plays in The Song of Roland, both as a communication device within the framework of the poem, and as an object capable of changing the outcome of the story, as well as the olifant's role as a relic. Continuing the topic of the medieval trumpet is the scene of the Joy of the Court in Chrétien de Troyes' Erec and Enide. I discuss the trumpet as it relates to warrior society, and the degree to which it complements and displaces valor. The final chapter revolves around two medieval tellings of the Orpheus story: the first the anonymous romance Sir Orfeo, and the second Robert Henryson's Orpheus and Eurydice. I use these texts to show how music can empower the musician ...
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The Middle Ages:
The traditions of Western music can be traced back to the social and religious developments that took place in Europe during the Middle Ages, the years roughly spanning from about 500 to 1400 A.D. Because of the domination of the early Christian Church during this period, sacred music was the most prevalent. Beginning with Gregorian Chant, church music slowly developed into a polyphonic music called organum performed at Notre Dame in Paris by the twelfth century. Secular music flourished, too, in the hands of the French trouvères and troubadours, until the period culminated with the sacred and secular compositions of the first true genius of Western music, Guillaume de Machaut.
Music had been a part of the world's civilizations for hundreds of years before the Middle Ages. Primitive cave drawings, stories from the Bible, and Egyptian heiroglyphs all attest to the fact that people had created instruments and had been making music for centuries.
The word music derives from the ancient Greek muses, the nine goddesses of art and science. The first study of music as an art form dates from around 500 B.C., when Pythagoras experimented with acoustics and the mathematical relationships of tones. In so doing, Pythagoras and others established the Greek modes: scales comprised of whole tones and half steps ...
The traditions of Western music can be traced back to the social and religious developments that took place in Europe during the Middle Ages, the years roughly spanning from about 500 to 1400 A.D. Because of the domination of the early Christian Church during this period, sacred music was the most prevalent. Beginning with Gregorian Chant, church music slowly developed into a polyphonic music called organum performed at Notre Dame in Paris by the twelfth century. Secular music flourished, too, in the hands of the French trouvères and troubadours, until the period culminated with the sacred and secular compositions of the first true genius of Western music, Guillaume de Machaut.
Music had been a part of the world's civilizations for hundreds of years before the Middle Ages. Primitive cave drawings, stories from the Bible, and Egyptian heiroglyphs all attest to the fact that people had created instruments and had been making music for centuries.
The word music derives from the ancient Greek muses, the nine goddesses of art and science. The first study of music as an art form dates from around 500 B.C., when Pythagoras experimented with acoustics and the mathematical relationships of tones. In so doing, Pythagoras and others established the Greek modes: scales comprised of whole tones and half steps ...
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Medieval Instruments - David Munrow - spoken introduction, demonstration of individual instruments. CD. Check our music samples and detailed description.
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