Because of its ambiguity of rhythm in medieval music notation, writing Gregorian Chants before the 13th century was a challenge for scholars. The first examples of any written rhythmic system was developed on a series of modes. (SOURCE) This rhythmic concept was used by scholars of the renowned School of Notre Dame and explained by the music theorist Johannes de Garlandia, who wrote that the six modes were written to identify the different ways of arranging long and short notes. To be more specific, they consisted of a set of patterns of long and short durations. Each note would be positioned within a group of notes written as a figure, also known as a "ligature", and by the position and pattern of the ligature relative to others, generally it can be determined which rhythmic mode the scholar/composer is using. Most scholars transcribed this kind of music in values of L and B. L is equal to the quarter note. However, in the transcriptions, L is …show more content…
It is the trochaic meter of classical poetry and is expressed by the ligature arrangement 3-2-2. Mode 2 is the classical iambic meter whose accent falls on the B which is not an upbeat. It is expressed by the ligature arrangement 2-2-3. Mode 3 is originally the dactylic meter, which was adapted to allow for its use with the other modes. For this reason, the last note of the pattern was considered to be an altered B, even though it had the same time value as the value as L of the first and second modes. It is expressed in ligature patterns by 1-3-3. Mode 4 is the classical anapest. The mode exists almost only in theory, and is rarely used. Its ligature pattern is the opposite of the third mode, being 3-3-1. Mode 5 is the spondee and is used mostly in the tenor. This mode was expressed with its rhythm long-long-long. Mode 6 is known as tribrach and the rhythm is
1. Narrow-ranging, dynamically restrained modal melodies are played in a variety of tuning temperaments that generate an "illogical" modal harmonic succession. 2. An unrestricted range of multimeters, polymeters, and complex rhythms are used. 3. A texture of two or more independent and equally important melodies accompany one another (i.e., polyphony). 4. The formal construction is often vague and unclear. 5. The instrumentarium is unrestricted and nonstandardized.
CHAPTER 1 ERHARD BODENSCHATZ AND THE FLORILEGIUM POTENSE Lutheran church music in its first two and a half centuries can be characterized by the incorporation of a staggering variety of styles and musical genres. Plainchant, imitative polyphony, and chorale hymnody existed alongside one another, and composers such as Heinrich Schütz (1585-1672) and Johann Hermann Schein (1586-1630) were among the first to synthesize elements of Monteverdi’s second apratica with a fully German practice. Fruits of this multi-style crosspollination, whether a continuo based melodic-harmonic framework, polychoral textures, use of the solo voice or obligato instruments, all paved the way for the apex of this tradition, the concerted vocal works of J.S. Bach. I am a sailor.
Composers such as Lully, Purcell and Handel used the French overture which is in two sections, each marked with a repeat. The French overture begins with a slow homophonic section frequently using dotted rhythms often ending on a half cadence and then moves to a faster fugal or "quasi-fugal" section which usually makes a return to the slow tempo and rhythms of the first section (Stolba, 1998). The Italian overture, or sinfonia as it was sometimes called, was written in three movements which are fast-slow-fast in order, the finale often written in a dance like character (Peyser, 1986). By the eighteenth century, this type of overture prevailed for operas even in France with the first movement becoming longer and more elaborate. Sonata form was generally used and a slow introduction would often begin the work (Sadie, 1980).
“For over one thousand years the official music of the Roman Catholic church had been Gregorian Chant, which consists of melody set to sacred Latin texts and sung without accompaniment” (Kamien 67). The credit for developing Gregorian chant music, also known as plain...
There it is the blue book. It used to be red, but in 1982 a new book was made. The blue book has a cross with a circle behind it on its spine. Also on the spine are the words Lutheran Worship. At the bottom of the spine is the logo for the Concordia Publishing House. On the front cover is another cross with a circle behind it and the printed name David Edward Mahen. This is the modern Lutheran Hymnal used by the Lutheran Church - Missouri Synod. This Lutheran Hymnal is not just a symbol of Lutheranism but the moderate views of the Lutheran Church – Missouri Synod.
The isorhythmic motet is a compositional style that emerged from the movement Ars Nova in the fourteenth century. It is defined based on the use of a talea, a repeated rhythmic pattern, to the main melody of a motet that is the color or the melodic pattern. Philippe de Vitry and Guillaume Machaut are the two most representative composers of this music style. Both composers wrote sacred and secular music in a variety of styles. For the purpose of analysis, the pieces Cum statua/Hugo, Hugo/Magister invidie composed by Philippe de Vitry in 1320 and Felix virgo / Inviolata / Ad Te Suspiramus composed by Guillaume de Machaut in 1360 will serve as a subject of comparison and contrast to determine the characteristics of isorhythmic motet from
With the decline of the Western Roman empire Western Europe was a disjointed land that had no true unifying structure till the rise of Christianity. In Roman antiquity people used the State or empire of Rome to define themselves and give them a sense of unity despite having a diverse group of people within the empire. When Western Rome fell this belief based on a Roman cultural identity disappeared and no longer were people able to identify themselves with any particular group as they once have. The Christian religion was able to fill this vacuum by having the people associate themselves to a religion instead of a given state or cultural group. During Medieval Europe Christianity became the unifying force that would define what it meant to be European. Christianity gave political leaders legitimacy by showing that they have been favored by the gods. The clergyman that recorded the histories surrounding the kings of the Medieval Europe also provided a link to the Roman Empire to give the Kings a link to Roman empire of antiquity. Christianity became the center of the cultural life in western Europe and created a new social elite in Europe which would dominate literacy and knowledge within Europe for centuries. Christianity provided Europe with an escape from the disorder of the Medieval ages and give them a spiritual outlet for their fears and desires for a better life, whether in the physical life or in the spiritual world after death.
The 10th century organum features a duplicated fourth, fifth, or octave below the plainchant melody in the principal voice. The duplicated voice moves in oblique and/or contrary motion, with a multitude of intervals interspersed. In addition to oblique and contrary motion, there is parallel motion, and similar motion. All of these types of motion can be featured in an organum, however in the 10th century, oblique and contrary were the most typical. An example of a 10th century organum can be found in Musica enchiriadis. Musica enchiriadis is an anonymous treatise that was the first of its kind to describe polyphony. It set up a system of guidelines for polyphony, and it included many examples of the organum. While the examples in Musica enchiriadis are mere teachings and instructions on how to sing an organum, some of the earliest examples of organums ever recorded exist within the treatise.
McGee, Timothy J. Medieval and Renaissance Music: A Performer’s Guide. Toronto: University of Toronto Press, 1985.
Gregorian Chants have been around for the longest time, the music is a form of monks getting together and singing and they sang like church like choirs with a magnificent sound. Monks had skills behind this because of rhythm and their accents were soft. Being that the monks had two or three notes or beats to go along with the better the process of singing these chants it became.
In the Medieval times, the Roman Catholic Church played a great role in the development of England and had much more power than the Church of today does. In Medieval England, the Roman Catholic Church dominated everyday life and controlled everyone whether it is knights, peasants or kings. The Church was one of the most influential institutions in all of Medieval England and played a large role in education and religion. The Church's power was so great that they could order and control knights and sends them to battle whenever they wished to. The Church also had the power to influence the decision of Kings and could stop or pass laws which benefited them in the long run, adding to this, the Church had most of the wealth in Europe as the Church demanded a Tithe from all the common life which meant that they had to pay 10 percent of their income to the Church. The Church controlled all the of the beliefs and religion of the Church as they were the only ones who could read or write Latin and as such could decipher the Bible and scriptures which gave them all the power to be the mouth of God. The Legacy of the power and the influence of the Church can still be found, even today in modern times.
The entire poem including the first stanza, as scanned here, is octametre with mostly trochaic feet and some iams. The use of a longer line enables the poem to be more of a narration of the evening's events. Also, it enables Poe to use internal rhymes as shown in bold. The internal rhyme occurs in the first and third lines of each stanza. As one reads the poem you begin to expect the next rhyme pushing you along. The external rhyme of the "or" sound in Lenore and nevermore at then end of each stanza imitates the haunting nature of the narrator's thoughts. The internal rhyme along with the same external rhyme repeated at the end of each stanza and other literary devices such as alliteration and assonance and give the poem a driving chant-like sound. The musicality of the rhyme also helps one to memorize the poem. This helps keep the poem in your head after you've finished reading it, lingering in your thoughts just as the narrator's thoughts are haunting him. The rhyme also helps to produce a humming beat in the readers mind driving him on steadily..
The setting that I would use would be France instead of Wales, and I would have most of it take place e in the forest as it is in the original. It will start out in the spring and end in the fall, early winter.
Music throughout the ages has changed dramatically. Starting in the Medieval period, from 400-1475, music was in the form of what is called the Gregorian chant. Instruments were very rarely used at this time. Since songs during this period were either troubadour or trouvere these chants had no real harmony. One example of this type of medieval composition is “Viderunt Omnes” by Leoninus. Like most Gregorian chants the texture of this piece is monophonic and polyphonic. “Viderunt Omnes” is a typical Gregorian chant in that it uses diatonic, not chromatic notes of the scale. Musical compositions during the Medieval period was made mostly by members of the church for the church. It was and is a very slow and steady movement that was meant to create a feeling of peace for worship purposes.
Throughout this semester we have discussed an array of musical periods ranging from the Middle Ages and Renaissance to more recent modern times. As music progressed through time certain concepts such as melody, harmony, and texture changed along with the introduction of different instruments. In the early phases of music it was more directed toward religious ceremonies, but as time went on it became integrated into everyday life. Even though musical dynamics seem to change as the years go on, it has never failed to create some form of emotional response such as laughter or sadness.