secular song and instrumental music to 1300. latin songs conductus serious topics eleventh to...
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Secular Song and Instrumental Music to 1300
Latin songs
• Conductus — serious topics — eleventh to thirteenth centuries
• Planctus — lament in praise of dead friend or patron
• Goliard songs — informal — eleventh to twelfth centuries– Goliards — dropouts from clerical studies– name from “patron” Golias (Goliath)– song topics — praise of wine, women, song;
political satire– Carmina Burana — collection from
Benediktbeuern (in Bavaria) in thirteenth century
Minstrels, or jongleurs — from tenth century
• Performers, not necessarily composers — variety of activities– acrobatics and juggling– singing and playing songs and dances– chansons de geste — epic, historical tales in
vernacular• ex. Chanson de Roland — late eleventh
century, tells events of ninth century• Depended on court or (less successfully) public
donations• Gathered in scolae in Netherlands at Lent to
learn new repertoire
Feudalism and chivalry — development to eleventh century
• Feudal hierarchy — from warrior lords to serfs• Chivalry — formalization of feudalism as courtly
culture– tournaments — ritualized combat, held in
conjunction with festivals– crusades — supported by church, removed warlike
force from Europe– spiritualization of knighthood — Christian ideals of
love, sacrifice, self-denial; cult of the Virgin Mary– service to women as idealized model of protecting
the weak — courtoisie• Courtly love (fin’ amors) — Andreas Capellanus,
Tractatus de amore (ca. 1180) — courts of love
Troubadours
• In southern France or Aquitaine — vernacular Occitan (langue d’oc) or Provençal – ca. 1100 to 1250
• Aquitainian secular song arises from chivalry
• Troubadours — from trobar (to find) or trope (?)
• Trobairitz — women composers• Individuals known from vidas in song
manuscripts
Texts in troubadour songs
Numerous types based on different literary themes
• Canso — dealt with courtly love (fin’ amors)
• Alba — song by friend and lovers’ lookout, refrain characteristic
• Tenso, partimen, joc parti — discussion or debate about courtly love
• Planh — comparable to planctus, but in vernacular
• Sirventes — political or moral subjects• Dansa — popular style dance song (for
carole), characterized by refrain• Pastorela — popular knight and
shepherdess story
Style in troubadour songs
• Scoring — voice, probably with instruments• Rhythm — text-based — probably more measured
than chant• Melody — simple lines, became steadily less
dependent on modal construction– wider ambitus than chant– repetitious figures– general freedom — some approach major-
minor• forms– strophic — various simple patterns of stanzas,
sometimes with refrains– open and closed cadences to create continuity
and finality
Trouvères
• In France (langue d’oïl) and England — ca. 1150 to ca. 1300
• Rise of power of north over south in France
Texts in trouvère songs
• Types adapted from troubadours– chanson d’amour (from canso)– aube (from alba)– jeu-parti (from joc-parti)– pastourelle (from pastorela)
• Poetry– often characterized by religious imagery,
references to Virgin Mary, crusades–more organized than troubadour lyrics
Style of trouvère songs
• Rhythm — more likely to be measured than in troubadour songs
• Melody — short, clear phrasing• Form — more carefully patterned than
troubadour songs– strophic, with envoi at end– common outline for each stanza:
frons caudapes pes voltaA A Ba b a b c d . . . b(?)
– more patterned forms begin
Minnesinger
• Courtly composers in Germany — from ca. 1170
• From Minne, courtly love — modeled on troubadours
Texts of Minnelieder• Middle High German• Types– Lied (from canso)– Tagelied (from alba)– Leich (from lai) — multiple stanzas of text but
through-composed– Wechsel (dialogue of man and woman)– Tanzlied (dance song)– Kreuzlied (crusade song)– Spruch (based on sirventes) — moral adage,
political statement in single stanza• More sober than troubadours, often religious• Often praise of nature (especially winter,
summer)
Style in Minnelied
• Rhythm — German based on stress rather than duration
• Melody — less clearly major-minor oriented
• Form — mostly strophic – structure of each stanza — Bar
Stollen (A) Stollen (A) | Abgesang (B) ||
Abgesang often rhymes musically with Stollen (i.e., balanced binary form)
Medieval songs in Spain
• Occitan influence in northern Spain until ca. 1300 (Moors in south)
• Cantigas de gesta modeled on French chansons de geste
• Troubadours in courts — canciones de amor modeled on troubadour canso
Alfonso X (el Sabio)
Cantigas de Santa María• Praise miracles of Virgin Mary• Form — villancico
estribillo estrofa estribillo estrofa . . .A b b a A b b achorus solo chorus solo
Medieval secular songs in Italy
• Lauda — used by lay fraternities (“laudesi”) in the Franciscan movement, penitents and pilgrims
• Influence of traveling (crusading) troubadours
• Popular secular dance music — ballata formripresa piede piede volta ripresaA b b a A
Medieval instruments
haut and bas — loudness as the main classification
Organs
• Church organ — built in place
• Positive organ — placed on table, required assistant for bellows
• Portative organ — held on lap, single player
Trumpets
• Straight design• For heraldic
use
Strings
• Use– favored for nobility — classical tradition of ethos– accompaniment for singing — troubadours and
trouvères• Types– bowed• vielle (Fiedel, viuola) — gut or silk strings• rebec — high range
– hurdy-gurdy (organistrum) — crank and keys
– plucked• lute — played with plectrum (stiff or flexible) • Psaltery• harp — played with finger and thumb
Wind instruments
• Horns– oliphant — military, royal, status symbol– cow or deer horn
• Reeds– shawm (bombarde) — loud, outdoors– bagpipe – capped reed, softer than shawm
or modern bagpipe• Flute family– cross-blown– recorder and notched flute– pipe and tabor
Percussion
• Indefinite pitch– miscellaneous drums,
including tabor– nakers — small drums
in a pair– tambourine
• Pitched– bells– dulcimer
Uses of instruments to 1300
Instruments in the church
• Use limited – documentary evidence generally in context of condemnation
• Depictions in art often symbolic rather than realistic
• Organ accepted
Instruments and vocal music
• Use with singers — string instruments favored (vielle; also lute and harp)–doubling (heterophonic
ornamentation)–drone, accompanying rhythmic
figuration–prelude, interlude, postlude
• Instruments could substitute for vocalists
Instruments in dance music
• Social position — participatory rather than staged for an audience– aristocracy– peasants– ecclesiastical disapproval — related to
paganism, sensual• Types of dances– line dances — related to procession– circle dances — carole– couples dances — seem to be later
Forms and genres in dance music
• Forms — like Sequence– paired puncta– often open and closed endings
• Types of dance music– ductia• group dance• quick tempo• few, equal-length sections
– stantipes (estampie)• couples dance?• several sections of different lengths
Scoring for dance music
• Indoors• rebec• bagpipe — could be carried in processional dance
• Outdoors• pipe and tabor — useful in processions• shawm(s)
Questions for discussion
• Why did it become necessary to create a new word (troubadour or trouvère) to distinguish a composer from other types of musicians at a particular point in the history of Western music?
• How can musicians who want to play medieval music in historically appropriate scorings attempt to discover what was done, since the written music does not specify instrumentation?