antiquity and middle ages - al satt music...mixolydian mode (b´ - b) suitable mode for passionte...

The history of western art music began in the ancient Greek civilization. They understand music as an art of divine origins and gave it a great teaching value in the education of young people.

The Middle Ages, which lasted from the Decline of the Roman Empire in the 5th century until the 15th century, gathered all the knowledge from Antiquity. During all these ten centuries, music, like the rest of arts, was in the hands of the Church.

Around monasteries and cathedrals appeared a wide repertoire of religious music, the fi rst attempts of musical notation, and the technical breakthroughs that ended up in the birth of polyphony.

Secular music was developed at the same time as religious music under the protection of great feudal lords.

Antiquity�1Antiquity11and Middle Ages

poetry

Gregorian

organumconductus

motet

motetcanon

chansonballad

polyphonic

monodic troubadours

dance

first Christians

religious music

secular music

music

Greece

Rome

Middle Ages

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and Middle Ages

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16 UNIT 1

1 Greece

1.1. The divine origin of music For Greek people, music was an art of divine origin. From this conception de-rives the term «music» (musiké, art of the Muses) and also from the abundant legends told by Greek mythology that link music to the gods. Music was thought to have magical powers that could cure illnesses and modify behaviors. That is way it was seen as an essential discipline in the education of young people.

1.2. Characteristics of Greek music �The�concept�of�music�encompasses�music,�poetry�and�dance.

The term music did not only mean the art of sounds; it was conceived to-gether with poetry and dance.

Musical�system�based�on�modal�scales

They used the four basic modal scales which are organized in descending order and receive a different name depending on the first note. The different distributions of tones and semitones of each scale caused a different sonor-ity associated with the «ethos» or particular feeling.

The Myth of OrpheusOrpheus was a poet and musician, son of the muse Calliope and the god Apollo, from whom he received the lyre, becoming then an excellent musician, without a rival among mortals. Orpheus’ music was capable of dominating all creatures, of taming beasts and bewitching trees and rocks.

Orpheus married Eurydice, but not long after their wedding, his young wife was bitten by a viper and died. Full of pain and unable to live without his loved one, Orpheus decided to descend into the underworld in order to res-cue Eurydice. With the help of his singing and his lyre, Orpheus managed to convince Hades, the God of the dead, to let him and his wife go back, provided that he did not turn his head back to look at her until they had reached the outer world of the living.

When they were almost done climbing, Orpheus, under the control of anxiety and love, turned back to check if Eurydice was following him. The unfulfilled promise made Eurydice vanish forever in the world of the dead.

a Orpheus with his lyre

Dorian Mode

(E´ - E) suitable mode for expressing the sublime

&

el mismo ejemplo sin líneas y curvas:

w w w w w w w w

04/01

Phrygian�Mode

(D´ - D) calm mode, appropiate for affections

&


w w w w w w w w

04/02

Lydian Mode

(C´ - C) suitable mode for complaints, crying and pain

&


w w w w w w w w

04/03

Mixolydian Mode

(B´ - B) suitable mode for passionte expressions

&


w w w w w w w w

04/04

Music�in�education

Great philosophers like Plato (428-347 B.C.) and Aristotle (384-322 B.C.) studied the influence that music has on the education and the character of citizens.

Since different scales can reflect different feelings, they could also pass on those emotions.

Convinced of the ability of music to influence the behavior, they legislated the scales or modes that, because of their effects, were considered good or bad for the education of young people.

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Antiquity and Middle Ages 17

It�makes�use�of�a�monodic�texture�with�a�heterophonic�accompa-niment

This music had a monodic texture (with just one melodic line). Instru-ments played a heterophonic accompaniment by sharing the melody with the voice and introducing little ornaments.

Alphabetic�notation�for�the�pitch�of�sound,�and�metrical�feet�for�the�rhythm

They used alphabetic notation (letters) in order to reflect different pitches of sound. Musical rhythm was bound to the verses of the text, coming to terms with the combinations of long and short sounds set by the «metrical feet» of the poem.

Trochee

Iamb:

Dactyl:

Anapaest:

Spondee:

Tribrach:

Type of verse Measure Musical rhythm

(long-short)

(short-long)

(long-short-short)

(short- short - long)

(long- long)

(short - short - short)

The�most�important�instruments�were�the�lyre�and�the�aulos.

The lyre (plucked string) was associated with the god Apollo, the most powerful god of all, warrior, musician and athlete. The aulos (wind with double reed) was associated with the worship of Dionysus, god of wine and enjoyment.

They also used small percussion instruments like zills (small cymbals) and brass instruments like the salpinx (brass trumpet) used as a signal instrument. a Musical instruments in Ancient Greece.

1. Listen to the Seikilos Epitaph, one of the few fragments that were preserved of the music from Ancient Greece. It appeared carved on a funerary pillar in Seikilos (Tralles). But far from being a mournful lament, it is a song that encourages us to enjoy our short lives.

&1 Tetracordoer

Final(I)

w w w w2º Tetracordo

Mese(V)

w w wFinal

(I)

w

& 86 jœ œ .œ

Ho - son zes,

œ œ œ .œPhai - nu,

œ Jœ Jœ œ œme - den ho - los,

jœ œjœ œ

sy - ly - pui

& jœ Jœ Jœ Jœ œ œpros o - li - gon e

Jœ œjœ œ

sti to zen,

jœ Jœjœ Jœ Jœ Jœ

to te - los ho chro -nos

jœ œ œ œ œap - ai - tei

pag. 9

While you live, shine, have no grief at all.Life exists only for a short while and time demands its toll.

a. What scale or mode is it written in? What ambitus does it have?

b. What musical instruments can you distinguish? What type of accompaniment are they?

ACTIVITIES

1 1

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18 UNIT 1

2 Middle Ages

2.1. Religious vocal music: the Gregorian chantReligious music in the Middle Ages began to grow long before the emperor Constantine granted freedom of religious worship for Christians in the year 313. Since then, Christianism began to expand and organize its liturgy, in which singing was an essential element.

The main driving force of this task of expansion and unification of the liturgy was Pope Gregory�the�Great (590-604). Considered by tradition as the crea-tor of the Christian singing (hence the name Gregorian), he actually did not invent it. He encouraged its organization as a way of strengthening the feel-ing of Christian unity.

Characteristics�of�the�Gregorian�chant

It is a type of music destined for the liturgy (celebration of the Mass and the hours of Office), which makes use of Latin as its main language. Its function is to heighten the word of God by strengthening the prayer with singing.

It has a monodic texture and a single melodic line without instrumental ac-companiment.

It uses a special notation by means of neumes: symbols that approximately reflect the pitch and duration of sound.

The musical rhythm is free, determined by the expression and accentuation of the text to which it serves.

There are three styles of singing depending on the relation between music and text:

– Syllabic: one note per syllable.

– Neumatic or ornamented: two or three notes per syllable.

– Melismatic or florid: more than three notes per syllable.

It uses a system of eight modal scales derived from the Greek modes with a different distribution of tones and semitones. Therefore, it has different so-nority and character, which are bound to different uses.

The eight Gregorian modes appear from four main modes, defined by a final note. Each of these four modes is divided into two versions: an authentic mode (of higher register) and a plagal mode (of lower register) depending on the note of the recital.

� Mode� �Final� Recital� Whole�name

PROTUS D

A Mode I. Authentic protus

F Mode II. Plagal protus

DEUTERUS E

C Mode III. Authentic deuterus

A Mode IV. Plagal deuterus

TRITUS F

C Mode V. Authentic tritus

A Mode VI. Plagal tritus

TETRARDUS G

D Mode VII. Authentic tetrardus

C Mode VIII. Plagal tetrardus

Neumatic�notationNeumes were symbols whose writing derived from the move-ment of the hand when conduct-ing the singing.

They began being used in the 8th century, placed above or below the text to approximately indicate the melodic motion and to help monks remember the singings.

VirgaPunctumClivisPodatusTorculusPorrectus

Neumatic notation evolved until achieving an exact representa-tion of the pitches of sound by means of the introduction of ref-erence lines and clefs, until the almost modern square notation.

The�character�of�the�modes

The monk Adam de Fulda wrote the following verses about the character of the eight modes:

The first mode lends to any feeling, the second is suitable for the sad things, the third is

vehement, the fourth has tender effects, the fifth is

convenient for those who are happy, the sixth for those

of proven piety, the seventh belongs to the youth, the eighth

one to the knowledge.

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1. Listen to these three examples of Gregorian chant. Follow the track with the help of the scores.

a. Analyze the music-text relation and indicate what type of singingthis piece belongs to.

b. Compare the neumatic notation of the first two scores with the al-most modern square notation, indicating their connections.

c. Pay attention to the last piece. The original Kyrie appears first, and then another version with trope, that is, with new text added to the melisma. Which one is easier to sing?

ACTIVITIES

When the Lord saw the sisters of Lazarus in tears near the tomb, he wept in the presence of the Jews and cried:«Lazarus, come forth.» And out he came, hands and feet bound, the man who had been dead for four days.

Unto us a child is born, unto us a son is given. Dominion is on his shoulder and his name shall be called the Angel of Great Counsel.

(Psalm) Sing unto the Lord a new song, for he has accomplished wondrous deeds.

Lord, have mercy.Christ, have mercy.Lord have mercy.

Trope:Lord, fountain of goodness from which goodcomes from, have mercy.

Videns dominus flentes

Puer natus est nobis

Kyrie fons bonitatis

version of the same Kyrie with trope:

&

jœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ jœ œ œ œ jœ œKy-ri - e fons bo- ni- ta-tis, pa-ter in ge-ni-te a quo bo-na ac-ta pro-ce - dunt e - le - i-son.

05/07The�invention�of�the�tropesTropes were new texts that were added to melismatic passages in order to turn the singing into syl-labic, and to make its learning easi-er. Therefore, each note of the melisma had a corresponding syl-lable from the made up text.

1 2

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20 UNIT 1

Goliards

There were also secular songs in Latin called «songs of goliards».

Goliards were students and vaga-bond friars that performed satiri-cal, political or religious critique, and carnal love songs.

The songs of goliards are gath-ered in a 13th century song book called Carmina Burana.

2.2. Secular vocal music: Troubadours and Minstrels

Secular vocal music, represented by troubadours, was developed at the same time as religious music under the protection of feudal lords.

Troubadours appeared in the south of France in the 11th century and expanded rapidly throughout Europe.

Troubadours were poet-musicians, generally of noble birth. Minstrels were traveling musicians who went over castles and villages entertaining people with songs, representations and acrobatics.

Characteristics�of�the�music�of�troubadours

These were songs written in the vernacular languages of each area, whose main subjects were courtly love and the knightly spirit of the heroes from the crusades.

It is a type of vocal music with a monodic texture but with instrumental accompaniment. The instruments carry out a heterophonic accompani-ment, improvising variants and ornamentations of the melody, and dou-bling the voices.

It makes use of Gregorian modal scales; but due to its popular character its rhythm is more marked.

The songs of troubadours were collected in luxuriously decorated song books. They often included a brief text telling the story of troubadours and exaggerating their virtues.

In Spain, the music of troubadours was represented by Cantigas de Santa Maria of Alfonso X the Wise. These were 417 songs written in Galician-Por-tuguese and dedicated to the Virgin.

1. Listen to the cantiga No. 47 by Alfonso X the Wise called Virgen Santa María.

It is a cantiga of «miragre» which tells how the Virgin saved a friar from the temptations of drinking.

ACTIVITIES

& 2

2

œ

Vir -

˙ ˙

gen San -

œœœ œ

ta Ma -

œ˙ œ

rí -

.˙

,

œ

a, guár -

˙ ˙

da - nos,

œ˙ œ

se te

&

œ ˙

,

œ

praz, da

˙ ˙

gran sa -

œ œ œœ

be - do -

œ ˙œ

rí -

.˙

,

œ

a, que

œœœ œ

en o

œœ œœ

de - mo -

& .˙

,

œ

jaz, la

˙ ˙

e - le

œœœ œ

noit e

œ˙ œ

di -

.˙

,

œ

a pu -

œ œ œœ

nna de

œ œœ œ

nos me -

& .˙

,

œ

ter per -

˙ ˙

que fa -

œœœ œ

ga - mos

œ˙ œ

er -

.˙

,

œ

ro, por -

œ œ œœ

que a

œ œœ œ

Deus per -

& .˙

,

œ

der, a -

˙ ˙

ja - mol -

œ œ œœ

o teu

œ ˙œ

Fi -

.˙

,

œ

llo, que

˙ ˙

quis por

œ ˙œ

nos so -

&

œ˙

,

œ

frer na

˙ ˙

cruz pa -

œœœ œ

xon et

œ˙ œ

mor -

.˙

,

œ

te, que

œ œ œœ

ou - ves -

œ œœ œ

se - mos

.˙

paz.

1 3

Virgen Santa Maria guardanos, se te prazda gran sabedoria que eno demo jazz

Virgin Saint Mary deliver us, if you pleasefrom the great wisdom of the devil.

01 Musica II.indd 20 11/03/13 13:07


1. Perform now the cantiga No. 100 called Santa Maria Strela do Dia. It is a cantiga of «loor» or praise, which presents the Virgin as a star capable of guiding the devoted towards Heaven.

ACTIVITIES

&

&÷÷

42

42

42

42

œ œ œSanc-ta-Ma -

˙̇

˙œ œ œ

œ œ œrí - a, stre -

˙̇

˙œ œ œ

œ œla do

˙̇

˙œ œ œ

œ œdí - a,

˙̇

˙œ œ œ

œ œ œmos-tra-nos

˙̇

˙œ œ œ

œ œ œví - a pe-

˙̇

˙œ œ œ

œ œ œ œra Deus et nos

˙̇

˙œ œ œ

œFIN

œguí - a.

˙̇

˙œ œ œ

&

&÷÷

œ œCa - ve

∑

˙∑

.œ jœer

∑

˙∑

œ œ œ œfa-zel os er -

∑

˙∑

œ œra - dos,

∑

˙∑

œ œque per -

∑

˙∑

.œ jœder

∑

˙∑

œ œ œ œfo-ran per pe -

∑

˙∑

œ œca - dos,

∑

˙∑

&

&÷÷

œ œen - ten -

∑

˙∑

.œJœ

der

∑

˙∑

œ œ œ œ œde que mui cul -

∑

˙∑

œ œpa-dos

∑

˙∑

œ œson, mais

∑

˙∑

.œ jœper

∑

˙∑

œ œ œ œti son per-do -

∑

˙∑

œ œna- dos

∑

˙∑

&

&÷÷

œ œ œda ou-sa -

˙̇

˙œ œ œ

œ œ œdí - a que

˙̇

˙œ œ œ

œ œlles fa -

˙̇

˙œ œ œ

œ œzí - a

˙̇

˙œ œ œ

œ œ œfa-zer fo -

˙̇

˙œ œ œ

œ œ œli - a mais

˙̇

˙œ œ œ

œ œ œ œquenon de-ve -

˙̇

˙œ œ œ

œD.C.

œrí - a.

˙̇

˙œ œ œ

&

&÷÷

œ œCa - ve

∑

˙∑

.œ jœer

∑

˙∑


∑

˙∑

œ œra - dos,

∑

˙∑

œ œque per -

∑

˙∑

.œ jœder

∑

˙∑


∑

˙∑

œ œca - dos,

∑

˙∑

&

&÷÷

œ œen - ten -

∑

˙∑

.œJœ

der

∑

˙∑


∑

˙∑

œ œpa-dos

∑

˙∑

œ œson, mais

∑

˙∑

.œ jœper

∑

˙∑


∑

˙∑

œ œna- dos

∑

˙∑

&

&÷÷

œ œ œda ou-sa -

˙̇

˙œ œ œ

œ œ œdí - a que

˙̇

˙œ œ œ

œ œlles fa -

˙̇

˙œ œ œ

œ œzí - a

˙̇

˙œ œ œ

œ œ œfa-zer fo -

˙̇

˙œ œ œ

œ œ œli - a mais

˙̇

˙œ œ œ


˙̇

˙œ œ œ

œD.C.

œrí - a.

˙̇

˙œ œ œ

&

&÷÷

œ œCa - ve

∑

˙∑

.œ jœer

∑

˙∑


∑

˙∑

œ œra - dos,

∑

˙∑

œ œque per -

∑

˙∑

.œ jœder

∑

˙∑


∑

˙∑

œ œca - dos,

∑

˙∑

&

&÷÷

œ œen - ten -

∑

˙∑

.œJœ

der

∑

˙∑


∑

˙∑

œ œpa-dos

∑

˙∑

œ œson, mais

∑

˙∑

.œ jœper

∑

˙∑


∑

˙∑

œ œna- dos

∑

˙∑

&

&÷÷

œ œ œda ou-sa -

˙̇

˙œ œ œ

œ œ œdí - a que

˙̇

˙œ œ œ

œ œlles fa -

˙̇

˙œ œ œ

œ œzí - a

˙̇

˙œ œ œ

œ œ œfa-zer fo -

˙̇

˙œ œ œ

œ œ œli - a mais

˙̇

˙œ œ œ


˙̇

˙œ œ œ

œD.C.

œrí - a.

˙̇

˙œ œ œ

Miniature�instruments

The Cantigas de Santa Maria are preserved in four codexes deco-rated with luxurious miniatures in which more than thirty differ-ent instruments are drawn. That is why we can deduce that they were sung with instrumental ac-companiment.

Santa Maria, star of the day,show us the way towards God and guide us.

You achieve that those lostand mistaken because of their sinsunderstand that they are guilty

but you forgive them for the boldness that makesthem do bad things which

they should not.show us the way towards

God and guide us.

End

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22 UNIT 1

2.3. The birth of polyphonyIn the late 9th century, polyphony (different melodic lines at the same time) appeared in western music. This fact marked the posterior de-velopment of music, and probably appeared spontaneously with the desire of decorating and enriching the Gregorian chant.

Primitive�polyphony�(9th-12th�centuries)

Polyphony is built by improvising upon the base of Gregorian chant. The main forms of primitive polyphony are:

• Organum: it is the oldest and most rudimentary. It appeared in the late 9th century and consisted of adding a parallel voice of 4th or 5th below the Gregorian chant.

The original Gregorian melody receives the name vox principalis, and the one that is added, vox organalis.

Parallel organum?

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ Vox Principalis

Vox Organalis4ª

œœ

05/10

A third voice could be added by doubling the organalis an octave higher.

&

œœœ œ

œœ œœœ

œœœ

œœœ

œœœ

œœœ Vox Principalis

Vox Organalis5ª

Vox Organalis8ª

œœœ

05/11

• Melismatic�organum: the Gregorian melody is developed in long values over which the vox organalis sings long melismas.

&

&

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

w w wCunc - - - - ti - po - - - -

05/12

Ars�antiqua�(12th-13th�centuries)

The evolution of musical notation made the development of more complex polyphonic forms easier. Music abandoned the Gregorian free rhythm and began to measure it due to the need of synchroniz-ing the different voices of the polyphony.

In order to measure the durations of sound, musicians had to resort to the old Greek rhythm by using their main metrical feet.

The most important musical centre of this period was the so called «Notre Dame School» in Paris. And its main composers were Leonin (1150-1180) and Perotin (1183-1238).

New polyphonic forms appeared, like the conductus, composed upon newly created melodies (not Gregorian) and the motet, with several voices that move in different rhythms singing different texts.

Music�and�architecture

The monodic texture of the Gre-gorian chant is associated with Romanic art, an architectural style with sturdy and dark buil-dings that invite to isolation and contemplation.

Polyphony has it equivalent in the longing for elevation and light of gothic art, with high towers and ogive pointed arches.

4th

5th octave

01 Musica II.indd 22 11/03/13 13:07


Ars�Nova�(14th�century)

Polyphony started liberating itself from the Gregorian chant in order to find a type of music closer to humanity, typical of an era that underwent the birth of urban societies and grew apart from medieval theocentrism.

Mensural notation appeared, in which particular values were desig-nated for each sound. Secular music became increasingly important, making room for polyphonic forms of songs like the canon, the ballad and the chanson.

The most important composers were Philippe de Vitry (1291-1361), Guillaume de Machaut (1300-1377) and Francesco Landini (1335-1397).

1. Listen to the organum cuadruplum Sederunt principes by Perotin.

&

&

&

&

.U̇

.˙U

.˙U

Se -

W

.œ Jœ œ

.œ jœ œ

.œ Jœ œ

.œJœ œ

.œ jœ œ

.œjœ œ

.œ Jœœ

.œ jœ œ

.œjœ œ

.œ Œ .

.œ Œ .

.œ Œ .

.œ Jœ œ

.œ jœ œ

.œ Jœ œ

.œJœ œ

.œ jœ œ

.œjœ œ

.œ Jœœ

.œjœ œ

.œ jœ œ

&

&

&

&

.œ Œ .

.œ Œ .

.œ Œ .

( )

Alicia: en este ejemplo, yo sí pondría números de compás (cadencias)

W

.œ Jœ œ

.œ Jœœ

.œ jœ œ

.œ Jœœ

.œ Jœœ

.œjœ œ

.œ Œ .

.œ Œ .

.œ Œ .

œ jœ œ Jœb.œ œ Jœ

.œ œ jœ

œ jœ œ jœ.œ œ ‰

.œ œ ‰

œ jœ œ Jœ

.œ œ jœ

.œ œ Jœ

.œ Œ .

.œ œ ‰

.œ œ ‰

05/15

a. How would you define the sonority that this polyphony produces? What type of rhythm do the higher voices follow? What does the lower voice do? What consonances are produced in the cadences?

2. Perform this anonymous English canon called Sumer is icumen in and compare its sonority with the pre-vious example, explaining the differences.

�

Su - mer is i - cu - men in

�

Lhu - de- sing aic - cu,

�

Gro - weth sed and blo- weth med, and

�

springth the wo - de - nu.

Sing cuc - cu, Aw - e ble - teth af - ter lomb, lhouth

af - ter cal - ve - cu. Bul - loc ster - teth bu - cke ver - teth,

Mu - rie sing cuc - cu. Cuc - cu, cuc - cu,

wel sin - ges thu cuc - cu, ne swick thu na - ver cu.

OSTINATO

Sing cuc - cu nu sing cuc - cu.

ACTIVITIES

New�Art�-�Ancient�Art

The term «Ars Nova» owes its name to the composer Philippe de Vitry who wrote in 1322 a treatise called Ars Nova, to differentiate new tech-niques of composition and nota-tion of his period, from the former ones from «Ars Antiqua».

1 4

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24 UNIT 1

Dance in Antiquity and the Middle Ages3All ancient civilizations practiced dancing as a way of accompaniment and celebration of all kinds of social events. However, Greece was the first civilization that gave dance, included in music, a fundamental role in the education of citizens.

The Roman civilization did not give music the same importance. But, being the heir of Greece, they included singing and dancing in their theatrical spectacles and in every popular celebration and festivity.

The arrival of Christianism tried to eliminate dancing, associated with pagan rites (considered dangerous for the devoted). However, pro-fane or even religious celebrations were still accompanied by dances.

Since the 12th century we find references to dancing. Some of them sung and others exclusively instrumental.

In many manuscripts, these dances appear with the generic name estampie. They use monodic textures and are structured in several phrases or «puncta» that are repeated: the first time, they are repeat-ed with an open ending and the second time, with a closed ending.

Medieval�instruments

There is a great variety of instruments, and there are a lot of names for them. The instrumental performance is improvised and it has two functions: to accompany songs, and the performance of dances and processions.

The most used instruments were string instruments (harp, lyre, psal-tery, qanun, lute, viola, hurdy gurdy), wind instruments (horn, trumpet, dulzaina, chirimia, flutes, bagpipes, organ) and percussion instru-ments (hand drums, rattle drums, cymbals, triangle, bells, rattles).

1. Listen to the song Kalenda maya by Raimbaut�de�Vaqueiras. It is a sung dance and, according to what they say, the troubadour wrote the lyrics of the song for the melody of an estampie some troubadours were playing in the north of France.

& 4

3 ..

œ

1.Ka2.Non

˙ œ

lenes

daque'm

˙ œ

mapla

˙ œ

ya,ya,

NiPros

˙ œb

fuelhsdom

dena

.˙

fagla

˙ œ

yaya,

NiTro

˙ œ

chanzqu'un

d'auy

œ œ œ

selh,snelh

Nimes

˙ œ

florssa

degier

˙ œ

glaa

˙

ya.ya.

- - -- -

--

-- -

--

&

.

...

œ

3.Del4.Pla

˙ œ

vozer

streno

˙ œb

belh,velh,

corsqu'a

˙ œ

que'mmors

rem'a

1ª

˙œ

tra

˙

ya.

2ª

˙ œ

tra

˙

ya,--

- --

- - - - - --

-

&

.

...

œ

5.E6.E

.˙

jacha

˙œ

ya,ya,

emde

.˙

trapla

˙œ

yaya l'ge

vas

˙ œ

vos,los,

domans

1ª

˙ œ œ

na ve

˙ œ

ra˙

ya

2ª

˙ œ

que'm n'e

œ œ œ œ

stra

œ ˙

ya.--

-- -

- - -- -

Kalenda maya

a. Analyze the rhythm and the different musical phrases.

b. Compare the track with the Gregorian chants that you heard and explain the differences.

c. Dare to dance: the estampie was probably a circle dance in which dancers moved in circles with strong steps while holding hands.

ACTIVITIES

Dance�for�warriors

Greek people also used dances for the training of warriors. The measure imposed by the music allowed them to march in perfect order. The typical discipline of the performance trained them in the most suitable role for their task.

Socrates even said that «the best warrior is the one that can dance».

1 5

01 Musica II.indd 24 11/03/13 13:07

Antigüedad y Edad Media 25

Challenge«Pythagoras’�monochord»

1 The Greek philosopher and mathematician Pythagoras (6th century B.C.) was the first one to connect mathematics with music. He discovered the relations between numbers and sounds, and educationally captured them in the monochord.

The proportion 1:2 divides the string of the monochord in half and allows to obtain the sound of the octave (an octave higher in relation to the base sound of the string). For example: C and C’.

The proportion 2:3 divides the string into two thirds and allows us to obtain the sound of the fifth (a fifth higher in relation to the base sound of the string). For example: C and G.

The proportion 3:4 divides the string into three fourths and allows us to obtain the sound of the fourth (a fourth higher in relation to the base sound of the string). For example: C and F.

Therefore, these three proportions allow to obtain the three basic degrees of the scale: I, IV and V.

Tone (C) |------|------|------|------|------|------|------|------|------|------|------|------|

0 1 2 3 4 5 6 7 8 9 10 11 12

1:2

Octave (C’) |------|------|------|------|------|------|------|------|------|------|------|------|

0 1 2 3 4 5 6 7 8 9 10 11 12

3:4

Fourth (F) |------|------|------|------|------|------|------|------|------|------|------|------|

0 1 2 3 4 5 6 7 8 9 10 11 12

2:3

Fifth (G) |------|------|------|------|------|------|------|------|------|------|------|------|

0 1 2 3 4 5 6 7 8 9 10 11 12

a. Build a monochord and draw a graduated scale on its board with the different proportions that correspond to the sounds of the octave, fourth and fifth. Take into account that the ratios between numbers 12, 9, 8 and 6 are the same as the ones between 1, 3:4, 2:3, and 1:2.

b. Complete the rest of the scale by taking the tone distance produced between the proportions of fourth and fifth as a reference. Then apply it from the base note C and from G until putting all the notes.


The monochord is a rectangular wooden box with a tight string attached to both ends. The shifting of the movable bridge allows to obtain different sounds when modifying the length of the string in different proportions.

Monochord (National German Museum in Nüremberg).

01 Musica II.indd 25 11/03/13 13:07

26 UNIT 1

Self-assessment 1 Solve�this�word�search�puzzle�in�your�notebook�by�answering�the�definitions�shown�below:

NOTEBO

OKBBB

TTTTOTTTOTOOOOONONOONN

BBBBBBOOOKOKOOOOKKKKK

1

2

3

45

6 7

89

10

11

12

13

14 15

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

Across

1. Polyphonic form of Ars Antiqua composed upon newly created melodies and not upon Gregorian chant.

2. Simple singing style with one note per syllable

3. Gregorian mode with D as a final note.

4. Polyphonic form of Ars Antiqua in which the voices move in different rhythms, singing diffe-rent texts.

5. Christian singing unified under the pontificate of Gregory the Great.

Down

1. Instrumental accompaniment used in Greece and in the music of troubadours, imitating or repeating parts of the vocal melody.

2. Poet and musician of noble origin who sang in his language about courtly love and the knightly spirit.

3. Generic name for some medieval dances with phrases that were repeated with open and closed endings.

4. Type of florid singing with more than three notes per syllable.

01 Musica II.indd 26 11/03/13 13:07

27Antiquity and Middle Ages

6. Students and vagabond friars who sang secular songs in Latin.

7. Feet used to measure the durations employed in Greece and by the musicians of Ars Antiqua.

8. First form of primitive polyphony based on the parallel movement of voices at a fourth or fifth distance.

9. Greek mode upon the initial note C in descen-ding order.

10. Feelings that provoked the different Greek scales and that were also gathered by the Gregorian modes.

11. Polyphonic song of Ars Nova in which the voi-ces perform the same melody but with succes-sive entrances at different times.

12. Gregorian mode with E as its final note.

13. Greek mode upon the initial note B in descen-ding order.

14. Style of ornamented singing with two or three notes per syllable.

15. Plucked string instrument from the Ancient Greece associated with the worship of Apollo.

16. Double reed wind instrument from the Ancient Greece associated with the worship of Dionysus.

5. Greek mode upon the initial note D in descen-ding order.

6. Greek mode upon the initial note E in descen-ding order.

7. Name of the songs of troubadours in Spain.

8. Primitive texture with just one melodic line, used in Greece and in the Middle Ages.

9. Different scales depending on the initial note, used in Greece and in the Middle Ages.

10. Traveling musician that entertained his audien-ce with secular songs.

11. Texture with several voices at the same time that appeared in the late 9th century with the intention of ornamenting the Gregorian chant.

12. First notation symbols employed to remember the Gregorian chant.

13. New text that was added to the melismas in order to turn the chant into syllabic.

14. Gregorian mode with F as its final note.

15. Luxurious manuscript that gathered troubadour’s songs.

2 Copy in your notebook and complete the following statements:

• Music was for Greeks an art of... origin.

• The concept of music in Greece encompasses...

• Music in Greece had a... texture with... accompaniment.

• The four main scales or modes of Greek music are...

• The most important instruments of Ancient Greece were...

• The driving force of the unification and expansion of the Christian chant was...

• The Gregorian chant was destined for..., it has a... texture with a text in... and... rhythm.

• The eight Gregorian modes are...

• The music of troubadours appeared in...

• The songs of troubadours are written in... and have a... texture.

• Polyphony appeared... and developed into three periods.

• Medieval dances are called... and are structured in...

• Instruments were used in the Middle Ages to...

• The main examples of music of troubadours in Spain are...

ESO Musica II -ingles- Ud01.indd 27 12/03/13 14:18

1.� Cop1. Perform this song by the trouvère igrama contestando a las definiciones que se indican debajo:

Performance - Creation 1 Perform this song by the trouvère Adam�de�la�Halle called Robins m’aime.

It is a song that belongs to Jeu de Robin et Marion, a staged pastorela with characters, dialogs and sung fragments, that was represented in the Neapolitan court of Charles of Anjou around the year 1284.

- Analyze the formal structure, the modal scale, the ambitus and the rhythm.

28 UNIT 1

Robin loves me, Robin has me.

Robin asked for me, and he will have me.

Robin bought me a satchel

and a silk purse;

Why shouldn’t I love him?

Hurrah!

Robin loves me, Robin has me.

Robin asked for me, and he will have me.

Carillón

Metalófono

Sonajas

Pandero

&

V÷÷

43

43

43

43

œ œ œRo-bins..˙̇

œ æ̇œ œ œ œ

œ œ ˙m'ai-me,..˙̇

œ æ̇œ œ œ œ

œ ˙Ro-bins..˙̇

œ æ̇œ œ œ œ

œ Óm'a,..˙̇

œ æ̇œ œ œ œ

œ ˙Ro-bins..˙̇

œ æ̇œ œ œ œ

œ ˙m'a..˙̇

œ æ̇œ œ œ œ

œ œ œde-man -..˙̇

œ æ̇œ œ œ œ

œ ˙dé- e..˙̇

œ æ̇œ œ œ œ

&

V÷÷

œ ˙Si m'a -..˙̇

œ æ̇œ œ œ œ

œ Óra,..˙̇

œ æ̇œ œ œ œ


œ æ̇œ œ œ œ

œ œ ˙m'a - ca -..˙̇

œ æ̇œ œ œ œ

œ ˙ta co -..˙̇

œ æ̇œ œ œ œ

œ ˙te - le..˙̇

œ æ̇œ œ œ œ

œ œ œd'es -car -..˙̇

œ æ̇œ œ œ œ

œ œ ˙la - te..˙̇

œ æ̇œ œ œ œ

&

V÷÷

œ ˙bonne et..˙̇

œ æ̇œ œ œ œ

œ ˙bel - le,..˙̇

œ æ̇œ œ œ œ

œ ˙sous -Ka -..˙̇

œ æ̇œ œ œ œ

œ œ œnie et..˙̇

œ æ̇œ œ œ œ

œ œ œchain- tu -..˙̇

œ æ̇œ œ œ œ

œ ˙rele ÁA -..˙̇

œ æ̇œ œ œ œ

œ œ œleu- ri -..˙̇

œ æ̇œ œ œ œ

œ Óva!..˙̇

œ æ̇œ œ œ œ

&

V÷÷


œ æ̇œ œ œ œ

œ œ ˙m'ai - me,..˙̇

œ æ̇œ œ œ œ

œ ˙Ro-bins..˙̇

œ æ̇œ œ œ œ

œ Óm'a,..˙̇

œ æ̇œ œ œ œ

œ ˙Ro-bins..˙̇

œ æ̇œ œ œ œ

œ ˙m'a..˙̇

œ æ̇œ œ œ œ


œ æ̇œ œ œ œ

˙ œdé - e..˙̇

œ æ̇œ œ œ œ

&

V÷÷

œ ˙Si m'a -..˙̇

œ æ̇œ œ œ œ

.˙ra...˙̇

œ æ̇œ œ œ œ

Adam de la Halle_Jeu de Robin

Carillón

Metalófono

Sonajas

Pandero

&

V÷÷

43

43

43

43


œ æ̇œ œ œ œ


œ æ̇œ œ œ œ

œ ˙Ro-bins..˙̇

œ æ̇œ œ œ œ

œ Óm'a,..˙̇

œ æ̇œ œ œ œ

œ ˙Ro-bins..˙̇

œ æ̇œ œ œ œ

œ ˙m'a..˙̇

œ æ̇œ œ œ œ


œ æ̇œ œ œ œ

œ ˙dé- e..˙̇

œ æ̇œ œ œ œ

&

V÷÷

œ ˙Si m'a -..˙̇

œ æ̇œ œ œ œ

œ Óra,..˙̇

œ æ̇œ œ œ œ


œ æ̇œ œ œ œ

œ œ ˙m'a - ca -..˙̇

œ æ̇œ œ œ œ

œ ˙ta co -..˙̇

œ æ̇œ œ œ œ

œ ˙te - le..˙̇

œ æ̇œ œ œ œ


œ æ̇œ œ œ œ

œ œ ˙la - te..˙̇

œ æ̇œ œ œ œ

&

V÷÷

œ ˙bonne et..˙̇

œ æ̇œ œ œ œ

œ ˙bel - le,..˙̇

œ æ̇œ œ œ œ


œ æ̇œ œ œ œ


œ æ̇œ œ œ œ


œ æ̇œ œ œ œ


œ æ̇œ œ œ œ


œ æ̇œ œ œ œ

œ Óva!..˙̇

œ æ̇œ œ œ œ

&

V÷÷


œ æ̇œ œ œ œ

œ œ ˙m'ai - me,..˙̇

œ æ̇œ œ œ œ

œ ˙Ro-bins..˙̇

œ æ̇œ œ œ œ

œ Óm'a,..˙̇

œ æ̇œ œ œ œ

œ ˙Ro-bins..˙̇

œ æ̇œ œ œ œ

œ ˙m'a..˙̇

œ æ̇œ œ œ œ


œ æ̇œ œ œ œ

˙ œdé - e..˙̇

œ æ̇œ œ œ œ

&

V÷÷

œ ˙Si m'a -..˙̇

œ æ̇œ œ œ œ

.˙ra...˙̇

œ æ̇œ œ œ œ


Carillón

Metalófono

Sonajas

Pandero

&

V÷÷

43

43

43

43


œ æ̇œ œ œ œ


œ æ̇œ œ œ œ

œ ˙Ro-bins..˙̇

œ æ̇œ œ œ œ

œ Óm'a,..˙̇

œ æ̇œ œ œ œ

œ ˙Ro-bins..˙̇

œ æ̇œ œ œ œ

œ ˙m'a..˙̇

œ æ̇œ œ œ œ


œ æ̇œ œ œ œ

œ ˙dé- e..˙̇

œ æ̇œ œ œ œ

&

V÷÷

œ ˙Si m'a -..˙̇

œ æ̇œ œ œ œ

œ Óra,..˙̇

œ æ̇œ œ œ œ


œ æ̇œ œ œ œ

œ œ ˙m'a - ca -..˙̇

œ æ̇œ œ œ œ

œ ˙ta co -..˙̇

œ æ̇œ œ œ œ

œ ˙te - le..˙̇

œ æ̇œ œ œ œ


œ æ̇œ œ œ œ

œ œ ˙la - te..˙̇

œ æ̇œ œ œ œ

&

V÷÷

œ ˙bonne et..˙̇

œ æ̇œ œ œ œ

œ ˙bel - le,..˙̇

œ æ̇œ œ œ œ


œ æ̇œ œ œ œ


œ æ̇œ œ œ œ


œ æ̇œ œ œ œ


œ æ̇œ œ œ œ


œ æ̇œ œ œ œ

œ Óva!..˙̇

œ æ̇œ œ œ œ

&

V÷÷


œ æ̇œ œ œ œ

œ œ ˙m'ai - me,..˙̇

œ æ̇œ œ œ œ

œ ˙Ro-bins..˙̇

œ æ̇œ œ œ œ

œ Óm'a,..˙̇

œ æ̇œ œ œ œ

œ ˙Ro-bins..˙̇

œ æ̇œ œ œ œ

œ ˙m'a..˙̇

œ æ̇œ œ œ œ


œ æ̇œ œ œ œ

˙ œdé - e..˙̇

œ æ̇œ œ œ œ

&

V÷÷

œ ˙Si m'a -..˙̇

œ æ̇œ œ œ œ

.˙ra...˙̇

œ æ̇œ œ œ œ


Carillón

Metalófono

Sonajas

Pandero

&

V÷÷

43

43

43

43


œ æ̇œ œ œ œ


œ æ̇œ œ œ œ

œ ˙Ro-bins..˙̇

œ æ̇œ œ œ œ

œ Óm'a,..˙̇

œ æ̇œ œ œ œ

œ ˙Ro-bins..˙̇

œ æ̇œ œ œ œ

œ ˙m'a..˙̇

œ æ̇œ œ œ œ


œ æ̇œ œ œ œ

œ ˙dé- e..˙̇

œ æ̇œ œ œ œ

&

V÷÷

œ ˙Si m'a -..˙̇

œ æ̇œ œ œ œ

œ Óra,..˙̇

œ æ̇œ œ œ œ


œ æ̇œ œ œ œ

œ œ ˙m'a - ca -..˙̇

œ æ̇œ œ œ œ

œ ˙ta co -..˙̇

œ æ̇œ œ œ œ

œ ˙te - le..˙̇

œ æ̇œ œ œ œ


œ æ̇œ œ œ œ

œ œ ˙la - te..˙̇

œ æ̇œ œ œ œ

&

V÷÷

œ ˙bonne et..˙̇

œ æ̇œ œ œ œ

œ ˙bel - le,..˙̇

œ æ̇œ œ œ œ


œ æ̇œ œ œ œ


œ æ̇œ œ œ œ


œ æ̇œ œ œ œ


œ æ̇œ œ œ œ


œ æ̇œ œ œ œ

œ Óva!..˙̇

œ æ̇œ œ œ œ

&

V÷÷


œ æ̇œ œ œ œ

œ œ ˙m'ai - me,..˙̇

œ æ̇œ œ œ œ

œ ˙Ro-bins..˙̇

œ æ̇œ œ œ œ

œ Óm'a,..˙̇

œ æ̇œ œ œ œ

œ ˙Ro-bins..˙̇

œ æ̇œ œ œ œ

œ ˙m'a..˙̇

œ æ̇œ œ œ œ


œ æ̇œ œ œ œ

˙ œdé - e..˙̇

œ æ̇œ œ œ œ

&

V÷÷

œ ˙Si m'a -..˙̇

œ æ̇œ œ œ œ

.˙ra...˙̇

œ æ̇œ œ œ œ


Carillón

Metalófono

Sonajas

Pandero

&

V÷÷

43

43

43

43


œ æ̇œ œ œ œ


œ æ̇œ œ œ œ

œ ˙Ro-bins..˙̇

œ æ̇œ œ œ œ

œ Óm'a,..˙̇

œ æ̇œ œ œ œ

œ ˙Ro-bins..˙̇

œ æ̇œ œ œ œ

œ ˙m'a..˙̇

œ æ̇œ œ œ œ


œ æ̇œ œ œ œ

œ ˙dé- e..˙̇

œ æ̇œ œ œ œ

&

V÷÷

œ ˙Si m'a -..˙̇

œ æ̇œ œ œ œ

œ Óra,..˙̇

œ æ̇œ œ œ œ


œ æ̇œ œ œ œ

œ œ ˙m'a - ca -..˙̇

œ æ̇œ œ œ œ

œ ˙ta co -..˙̇

œ æ̇œ œ œ œ

œ ˙te - le..˙̇

œ æ̇œ œ œ œ


œ æ̇œ œ œ œ

œ œ ˙la - te..˙̇

œ æ̇œ œ œ œ

&

V÷÷

œ ˙bonne et..˙̇

œ æ̇œ œ œ œ

œ ˙bel - le,..˙̇

œ æ̇œ œ œ œ


œ æ̇œ œ œ œ


œ æ̇œ œ œ œ


œ æ̇œ œ œ œ


œ æ̇œ œ œ œ


œ æ̇œ œ œ œ

œ Óva!..˙̇

œ æ̇œ œ œ œ

&

V÷÷


œ æ̇œ œ œ œ

œ œ ˙m'ai - me,..˙̇

œ æ̇œ œ œ œ

œ ˙Ro-bins..˙̇

œ æ̇œ œ œ œ

œ Óm'a,..˙̇

œ æ̇œ œ œ œ

œ ˙Ro-bins..˙̇

œ æ̇œ œ œ œ

œ ˙m'a..˙̇

œ æ̇œ œ œ œ


œ æ̇œ œ œ œ

˙ œdé - e..˙̇

œ æ̇œ œ œ œ

&

V÷÷

œ ˙Si m'a -..˙̇

œ æ̇œ œ œ œ

.˙ra...˙̇

œ æ̇œ œ œ œ


Carrillon

Metallophone

Jingle tambourine

Tambourine

Adam�de�la�Halle�(1245-1287)

Recognized as the greatest of the French trouvères, he worked in the court of Charles of Anjou, who would later become Charles II of Naples.

The Jeu de Robin et Marion can be considered one of the precedents of the ópera comique.

01 Musica II.indd 28 11/03/13 13:07

Listening 1 Listen to the famous piece by Carl�Orff that begins his Carmina Burana.

The name Carmina Burana refers to the collection of over two hundred profane Latin poems from the 13th century found in the Benedictine monastery of Beuron (Germany). They are secular songs that represent a great deal of the goliards’ repertoire from the Middle Ages.

Orff composed a cantata for the stage in the year 1936 about 24 of these poems, in a version of im-pressive sonority written for soloists, choir and orchestra. Its style is simple and with great rhythmic strength, which accentuates its original popular character.

Read the translation of the text and follow the track with the help of the simplified score we show you. You can also use it to perform it:

&

V

&

&

b

b

b

b

43

43

43

43

43

43Plato

Bombo

Ÿ~~~~~~~~~~~ Ÿ~~~~~~~~~

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~

PesanteÚ60Œ ˙

O

Œƒ˙

ƒ˙ œ

œ œ œ

∑.˙

œ œ œFor- tu - na,

œ œ œœ ˙

œ œ œ

∑∑

Œ ˙ve -

Œ ˙˙ œ

œ œ œ

∑.˙

œ œ œlut lu - na

œ œ œœ ˙

œ œ œ

∑∑

Œ˙

sta -

Œ ˙

˙œ

˙ œ

Œƒ˙>

˙ œ

poco stringendoœ œ œ

tu va - ri -

œ œ œœ œ œ

.˙

∑.˙

œ œ œa - bi - lis

œ œ œœ œ œ

.˙

∑Œ Œ œ

.U̇

.˙U

.U̇

.˙

∑.˙

03_96


Fortuna imperatrix mundi

O Fortuna, velut lunastatu variabilis,

semper crescis aut decrescis;vita detestabilis

nunc obdurat et tunc curatludo mentis aciem,

egestatem, potestatemdissolvit ut glaciem.

Sors immanis et inanis,rota tu volubilis,

status malus,vana salus

semper dissolubilis,obumbrata et velatamihi quoque niteris,

nunc per ludumdorsum nudumfero tui sceleris.

Sors salutis et virtutismihi nunc contraria,

est affectus et deffectussemper in angaria;

hac in hora sine moracorde pulsum tangite,

quod per sortem sternit fortem,mecum omnes plangite.

Carl�Orff�(1895-1982)

German composer and educator from the Neoclassicism of the 20th century, his works reflect great structural simplicity and a primitive character in order to reach the widest possible audi-ence.

The fundamental element of his compositions and his method of musical teaching is the rhythm. It is the factor that generates the melody and balances feelings and reason.

1 6

Fortuna: Empress of the World

Oh Fortune, like the moonyou are changeable,

ever waxing and waning;hateful life

first oppresses and then soothesas fancy takes it;

poverty and powerit melts them like ice.

Fate, monstrous and empty,you whirling wheel,you are malevolent,

well-being is vainand always fades to nothing,

shadowed and veiledyou plague me too;

now through the gameI bring my bare back

to your villainy.Fate is against me

in health and virtue,driven on and weighted down,

always enslaved.So at this hour without delay

pluck the vibrating strings;since Fate strikes down the strong man,

everyone weep with me!

Cymbal

Bass drum

01 Musica II.indd 29 11/03/13 13:07

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03_97

30 UNIT 1

Ba.

01 Musica II.indd 30 11/03/13 13:07

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03_98


Ba.

Ba.

Ba.

01 Musica II.indd 31 11/03/13 13:07

1 6

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03_99

32 UNIT 1

Ba.

Ba.Pto.

Ba.Pto.

Ba.Pto.

01 Musica II.indd 32 11/03/13 13:07

33Antiquity and Middle Ages

To sum up

The�sound�of�the�Middle�AgesDuring the whole Middle Ages the sound of vocal music, based on the model of Gregorian chant with modal melodies, narrow ambitus and arch designs, prevailed.

The sonority of the new forms of polyphony is supported by the fundamental consonances of 4th, 5th and 8th, which give music a primitive and rough character.

The sound of instruments is high and penetrating, with small groupings of soloists.

The concept of music in Greece encompassed the art of sounds, poetry and dance.Music had a monodic texture with heterophonic accompaniment. They used alphabetic notation for the pitches and metrical feet to measure durations.

2

The Middle�Ages lasted from the 5th to the 15th centuries, a period dominated by the power of the Church and by a profound theocentrism that made room for the predominance of religious music.

4

Secular�music�was represented by the songs of troubadours. They used monodic textures and the scales of the Gregorian chant. But they were sung in vernacular languages accompanied by instruments and had a marked rhythm.

6

Dancing was used in Ancient Greece asa fundamental part of education.Christianism forbade dances, but in the Middle Ages we find examples generically called estampies.

8

The Greek�civilization�regarded music as an art of divine origin. Their legends attribute the invention of instruments to particular gods that gave music supernatural powers

1

Greek�scales were modal, and their different sonority provoked different «ethos» or behaviors that made music a fundamental discipline in education.

3

The Gregorian�chant�was the liturgical chant of the Christian church. Its text is in Latin and has a monodic texture. It uses modal scales and a free rhythm based on the accentuation and the phrasing of the text.

5

Polyphony appeared in the late 9th century and was developed in three stages:- Primitive polyphony (9th-12th C.):

improvised polyphony upon the base of Gregorian chant.

- Ars Antiqua (12th-13th C.): voices are measured using Greek metrical feet.

- Ars Nova (14th C.): mensural notation and the secular polyphonic song appeared.

7

Medieval�instruments presented a great variety of forms and names. They were used to accompany secular songs and to perform dances and processions.

9

01 Musica II.indd 33 11/03/13 13:07

antiquity and middle ages - al satt music...mixolydian mode (b´ - b) suitable mode for passionte...

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