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Middle Ages and Renaissance

Explore the rich tapestry of music from the Middle Ages to the Renaissance (476-1600). Witness how the Church shaped life and musical thought, centering on monophonic sacred music such as plainchant and the Divine Office. Discover the emergence of secular music through the Troubadours, Trouvères, and Minnesingers, leading to complex polyphonic structures. Experience transformative works like Perotin's organum and Palestrina's masterpieces, reflecting a shift towards homophony and imitative polyphony. Join this journey through crucial listening examples and essential terms.

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Middle Ages and Renaissance

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  1. Middle Ages and Renaissance Worldview,Music

  2. Medieval World: 476-1475 • Church is the center of life and thought • Music, sacred and secular, is mostly monophonic (monody). • Terms: reciting tone, melisma, syllabic, plainchant, Divine Office • Listening example: Anonymous, In Paradisum, 9th century • Listening example: Hildegard of Bingen, Columba aspexit, 12th century

  3. Medieval Court Music • Secular composers for the voice: • Troubadours, S. France • Trouveres, North France • Minnesingers Germany • Listening Example: Bernard de Ventadorn, La dousavotz, 12th century, troubadour

  4. Divine Office • Part of the liturgy • A series of 8 church services, approx. 3 hours apart, in which the Psalms were sung. • Unaccompanied • plainchant

  5. The Mass • Kyrie—a sung simple prayer 3-part, or ternary, form • Gloria—a long hymn • Credo—a recitation of beliefs • Sanctus—a shorter hymn • Agnus Dei—a sung simple prayer

  6. Organum • The addition of another voice to monophonic plainchant, usually at perfect interval such as the fourth or fifth, in parallel motion. • Organum is an early form of polyphony • Example: Perotin, Alleluia, Diffusaest gratia (p. 58).

  7. Late Medieval Polyphony • Listening Ex. Guillaume de Machaut (c. 1300-1377), Chanson, Dame de qui toute me joie vient, 14th century. • Non-imitative polyphony • Form: a a b (binary); 3 stanzas, same music for first two, new music for third stanza • melismatic

  8. Renaissance Music:1475-1600 • Worldview: while the Church is still highly influential, discoveries and new developments in the arts and sciences • Composers use the Mass in new ways, with paraphrase and imitative polyphony • The melodies paraphrased in the Mass could be sacred, from a hymn, or borrowed from secular tunes • homophony

  9. Renaissance

  10. Renaissance Music, cont. • Listening examples: • Guillaume Dufay (c. 1400-1474), 15th century, Ave Maris Stella; stanzas of plainchant alternate with homophony • JosquinDepres (c. 1450-1521), Kyrie from the Pange Lingua Mass. Early 16th century—early high Renaissance. 3-part form due to the text. This is a parody mass (uses paraphrase of an existing song)

  11. High Renaissance, cont. • Giovanni Pierluigi da Palestrina, (1525-1594) • Listening Ex. Gloria from the Pope Marcellus Mass: homophony • Listening ex. Thomas Weelkes, (c. 1575-1623), madrigal, As Vesta Was from LatmosHil Descending: secular, imitative polyphony, word painting

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