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Outline
I.
European Society, 800-1300
A. Secular traditions
1.
Outside the church, few people could read music.
2.
Secular music was rarely written down.
3.
Surviving evidence of secular music
a. Several hundred monophonic songs
b.
Many poems sung to melodies now lost
c. A few dance tunes
d.
Descriptions of music-making
e. Pictures of musicians playing various instruments
f.
A few instruments
4.
Songs and dances reflect medieval society and establish traits
common in European music ever since
B.
Successors to the Roman Empire
1.
The Byzantine Empire comprised Asia Minor and southeastern
Europe.
2.
The Arab world was the strongest.
a. Began to expand after the founding of Islam (around 610)
b.
Occupied a vast territory, from modern-day Pakistan to
North Africa, and Spain.
3.
Western Europe
a. Weakest, poorest, most fragmented of the three
b.
Charlemagne's coronation as emperor marked an assertion
of continuity with the Roman past.
4.
Byzantine and Arab contributions to western Europe's culture
a. Byzantines preserved Greek and Roman science,
architecture, and culture.
b.
Arabs extended Greek philosophy and science.
c. Arab rulers were patrons of the arts, inspiring Charlemagne
to support intellectual and cultural life.
C.
Emerging countries of modern Europe (see HWM Figure 4.1)
1.
France, the western part of the empire
a. The French king was weak until about 1200.
b.
This allowed numerous strong courts to develop, some of
which nurtured the development of secular music.
2.
Holy Roman Empire, the eastern part of the empire
a. German kings claimed the title of emperor as
Charlemagne's successors.
b.
Their empire included non-German lands as well, from the
Netherlands to northern Italy.
c. Regional nobility had considerable autonomy and
competed for prestige by hiring the best musicians.
3.
England developed a centralized kingdom.
4.
II.
2.
B.
C.
b.
III.
The word jongleur comes from the same root as the English
word "juggler."
4.
Minstrel (from the Latin minister, "servant")
a. By the thirteenth century, the term meant any specialized
musician.
b.
Many were highly paid, unlike the jongleurs.
c. They were on the payrolls of courts and cities.
d.
They came from many economic backgrounds.
Troubadour and Trouvre Song
A. French aristocrats cultivated courtly song composed by poet-composers in
two vernacular languages (see HWM Figure 4.4).
1.
In the southern region, the language was Occitan and the poetcomposers were called troubadours.
2.
In the northern region, the language was Old French and the poetcomposers were called trouvres.
3.
The two languages were also named for their words for "yes."
a. Occitan was langue d'oc, the language of "oc" for yes.
b.
Old French was langue d'ol, in which "yes" was ol
(pronounced like present-day oui).
4.
The root words trobar and trover meant "to compose a song," and
later "to invent" or "to find."
5.
Female troubadours were called trobairitz.
B.
Troubadours and trouvres came from many backgrounds.
1.
Their biographies, called vidas, were written down and many
survive.
2.
Some were members of the nobility, e.g., Guillaume IX, duke of
Aquitaine (1071-1126), and the Countess of Dia (fl. late twelfth
and early thirteenth centuries).
3.
Some were born to servants at court, e.g., Bernart de Ventadorn
(ca. 1130-ca. 1200), shown in HWM Figure 4.5.
4.
Others were accepted into aristocratic circles because of their
accomplishments and demeanor, despite their middle-class roots.
5.
Some performed their own music; others entrusted their music to a
jongleur or minstrel.
C.
Surviving songs
1.
The songs were preserved in chansonniers (songbooks).
2.
Troubadour songs
a. About 2,600 survive.
b.
Only one-tenth survive with melodies.
3.
Trouvre songs
a. About 2,100 survive.
b.
Two-thirds survive with melodies.
4.
When songs were copied into more than one chansonnier, there are
differences, indicating oral transmission before the songs were
written down.
D. Poetry
1.
E.
F.
e.
IV.
c.
B.
C.
D.
Minnesinger
1.
Knightly poet-musicians who wrote in Middle High German
2.
They were modeled on the troubadours.
3.
Flourished between the twelfth and fourteenth centuries
4.
They sang Minnelieder (love songs) emphasizing faithfulness,
duty, and service in the knightly tradition.
5.
The songs are strophic.
6.
The most common melodic form is AAB, called bar form.
a. Each A section (Stollen) uses the same poetic meter, rhyme
scheme, and melody.
b.
The B section (Abgesang) is usually longer and may end
with all or the last part of the Stollen.
7.
As with the troubadour songs, the rhythmic notation is unclear.
8.
Crusade songs were a new genre with the Minnesingers.
a. Songs about experiences of crusaders who renounced
worldly comforts to travel on Crusades.
b.
Example: NAWM 11, by Walther von der Vogelweide (ca.
1170-1230), depicted in HWM Figure 4.8.
Laude
1.
Few secular songs in Italian survive with music from before 1300.
2.
Melodies for several dozen laude (sing. lauda) have come down to
us.
a. Sacred Italian monophonic songs
b.
Sung in processions of religious penitents and in gatherings
for prayer
c. From the late fourteenth century on, most laude were
polyphonic.
Cantigas de Santa Maria
1.
Over four hundred songs in Gallican-Portuguese in honor of the
Virgin Mary
2.
King Alfonso el Sabio (The Wise) of Castile and Lon in
northwest Spain directed the compilation of these songs in about
1270-1290.
3.
Four beautifully illuminated manuscripts preserve these songs.
4.
Most songs described miracles performed by the Virgin.
a. Mary had been venerated since the twelfth century.
b.
NAWM 12 describes how Mary caused a piece of stolen
meat to jump about, revealing where it was hidden.
5.
The songs all have refrains.
a. In performance, a group singing the refrains could have
alternated with a soloist singing the verses.
b.
Songs with refrains were often associated with dancing, as
shown in some of the illustrations in the Cantigas
manuscripts.
6.
V.
E.
VI.
Organs
1.
Monastic churches had started installing organs by ca. 1100.
2.
Organs were common in cathedrals by 1300.
3.
Portative organ
a. Small enough to be carried with a strap around the neck
b.
One set of pipes
c. The right hand played the keys while the left worked the
bellows.
4.
Positive organ
a. Placed (positum) on a table
b.
An assistant pumped the bellows as the musician played.
Dance Music
A. Songs for dancing: the carole (see HWM Source Reading, page 82)
1.
The most popular dance in France from the twelfth through the
fourteenth centuries
2.
One or more of the dancers sang the song as the others danced in a
circle.
3.
Instrumentalists also participated.
4.
Only about two dozen melodies survive.
B.
Instrumental music for dancing
1.
About fifty dance tunes survive from the thirteenth and fourteenth
centuries.
a. Most are notated as monophonic pieces, but several players
could participate.
b.
Some are set in polyphony for performance on a keyboard
instrument
c. These tunes are the earliest surviving notated instrumental
music.
d.
Features include steady beat, clear meter, repeated sections,
and predictable phrasing.
2.
Estampie
a. The most common medieval instrumental dance
b.
Several sections, each played twice but with different
endings
1.
The first ending was open (ouvert), or incomplete.
2.
The second ending was closed (clos), or complete.
3.
The same open and closed endings were usually
used for all the sections.
c. Triple meter
d.
Estampies from Le manuscrit du roi (The Manuscript of the
King)
1.
Includes eight "royal estampies"
2.
The fourth is NAWM 13.
3.
Istampita
a. The fourteenth-century Italian relative of the estampie
b.
c.
The same form, with repeating sections, but the sections are
longer
Meter is duple or compound.