music study guide

I. Key Terms and Concepts

1. Musical Texture & Style

• Monophony: A single melodic line (e.g., Gregorian chant).

• Polyphony: Multiple independent melodic lines sounding simultaneously.

• Imitative Polyphony: Voices imitate each other (e.g., Renaissance motets).

• Non-Imitative Polyphony: Voices do not imitate but still move independently.

2. Text Settings

• Syllabic: One note per syllable.

• Neumatic: A few notes per syllable.

• Melismatic: Many notes per syllable.

3. Genres & Structures

• Plainchant (Gregorian chant): Monophonic, sacred, Latin text.

• Organum: Earliest polyphony, based on plainchant.

  • Parallel Organum: Voices move in parallel intervals.

  • Free (St. Martial) Organum: Independence between voices.

  • Notre Dame Organum: More complex, with rhythmic modes.

• Mass: Central service of the Catholic Church.

  • Ordinary Texts: Unchanging (e.g., Kyrie, Gloria).

  • Proper Texts: Vary by liturgical calendar.

• Madrigal: Secular vocal music of the Renaissance with word painting.

4. Historical Context & Influences

• Divine Office: Daily prayers for monks and nuns.

• Council of Trent: Reforms in the Catholic Church that affected sacred music (emphasis on clarity and simplicity).

II. Key Composers and Works

1. Medieval Era

• Hildegard of Bingen: Known for her expressive, melismatic plainchants (e.g., Alleluia, O virga mediatrix).

• Leonin and Perotin: Composers of Notre Dame organum (Viderunt omnes).

• Machaut: Ars nova composer (e.g., Ma fin est mon commencement).

2. Renaissance Era

• Josquin des Prez: Master of imitative polyphony (Ave Maria, El Grillo).

• Palestrina: Sacred music reformer, known for his clarity and balance (Gloria from Pope Marcellus Mass).

• Susato: Composer of dance music (Three Dances).

III. Listening Guide

Familiarize yourself with these pieces. Know the composer, style, and why they are significant.

1. Gregorian Chant, Kyrie – Monophonic, syllabic/melismatic, sacred.

2. Hildegard, Alleluia, O Virga Mediatrix – Plainchant, melismatic, sacred.

3. Notre Dame School, Gaude Maria Virgo – Organum, early polyphony.

4. Machaut, Ma fin est mon commencement – Ars nova, polyphonic.

5. Josquin, Ave Maria – Renaissance motet, imitative polyphony.

6. Susato, Three Dances – Instrumental, Renaissance dance music.

1. People and Historical Figures

• Trouvère: Poet-musicians from northern France who composed secular songs in Old French during the Middle Ages.

• Troubadour: Poet-musicians from southern France who wrote secular songs in Occitan, often focused on themes of chivalry and courtly love.

• Hildegard of Bingen: A German abbess, composer, and mystic known for her highly expressive plainchant compositions like Alleluia, O virga mediatrix.

• Leonin: A composer from the Notre Dame School, credited with developing early organum and writing the Magnus Liber Organi.

• Perotin: A successor of Leonin at the Notre Dame School, known for creating complex polyphonic organum with up to four voices (e.g., Viderunt omnes).

• Machaut: A prominent composer of the Ars Nova period, known for his secular and sacred works, including the first complete polyphonic setting of the Mass (Messe de Nostre Dame).

• Josquin des Prez: A Renaissance composer known for his mastery of imitative polyphony (e.g., Ave Maria).

• Palestrina: A composer associated with the reforms of the Council of Trent; his Pope Marcellus Mass exemplifies clear, balanced polyphony.

• Susato: A Renaissance composer and publisher known for instrumental dance music (e.g., Three Dances).

2. Genres and Forms

• Plainchant: Monophonic, unaccompanied sacred chant in Latin, used in medieval liturgy (e.g., Gregorian chant).

• Organum: The earliest form of polyphony, adding one or more voices to a plainchant melody.

  • Parallel Organum: Both voices move in parallel intervals, typically a perfect fourth or fifth.

  • Free (St. Martial) Organum: More independent voice movement, not strictly parallel.

  • Notre Dame Organum: Developed by Leonin and Perotin, with more complex rhythmic structures and multiple voice parts.

• Madrigal: A secular vocal genre from the Renaissance, featuring word painting and emotional expression.

• Renaissance Motet: A sacred polyphonic vocal work with Latin text, often with imitative polyphony.

• Mass: The central service of the Catholic Church, with musical settings for parts of the liturgy.

  • Ordinary Texts: Unchanging texts (e.g., Kyrie, Gloria, Credo, Sanctus, Agnus Dei).

  • Proper Texts: Vary according to the liturgical calendar (e.g., texts for Christmas or Easter).

3. Musical Concepts and Techniques

• Monophony: A single melodic line with no accompaniment (e.g., plainchant).

• Polyphony: Multiple independent melodic lines performed simultaneously.

• Imitative Polyphony: Voices imitate each other, often starting at different times (e.g., Josquin’s Ave Maria).

• Non-Imitative Polyphony: Independent melodic lines that do not imitate each other.

• Syllabic: One note per syllable of text.

• Neumatic: Two to six notes per syllable of text.

• Melismatic: Many notes sung on a single syllable of text.

• A Cappella: Vocal music without instrumental accompaniment, common in sacred Renaissance music.

4. Sacred Practices and Historical Events

• Divine Office: Daily cycle of prayers and psalms sung by monks and nuns in medieval monasteries.

• Council of Trent: A series of meetings (1545–1563) that reformed the Catholic Church; it called for clearer, more comprehensible sacred music.

5. Musical Structures and Elements

• Magnus Liber Organi: A collection of organum compiled at the Notre Dame School by Leonin and Perotin.

• Rhythmic Mode: Early system of rhythmic notation used in Notre Dame organum, based on patterns of long and short notes.

• Cantus Firmus: A pre-existing melody (often a plainchant) used as the basis for a polyphonic composition.

6. Instruments

• Haut (Loud) Instruments: Outdoor instruments such as shawms, sackbuts, and trumpets.

• Bas (Soft) Instruments: Indoor instruments such as recorders, lutes, and harps.

IV. Practice Essay Prompts

Short Essay Example (2–3 Paragraphs)

Topic: Monophony vs. Polyphony in Medieval and Renaissance Music

Monophony and polyphony represent two distinct stages in the development of Western music. Monophony, a single melodic line without accompaniment, dominated early medieval music and was most commonly found in plainchant, such as Gregorian chant. These chants were sung in Latin and used free rhythm, emphasizing the text’s spiritual and meditative qualities. For example, Alleluia, O virga mediatrix by Hildegard of Bingen exemplifies monophony with its flowing, melismatic vocal lines.

In contrast, polyphony, which emerged in the later medieval period and flourished during the Renaissance, features multiple independent melodic lines. The development of organum at the Notre Dame School, particularly through the works of Leonin and Perotin, marked a significant step toward polyphony. Perotin’s Viderunt omnes is a clear example of early polyphony with its layered, rhythmic complexity. By the Renaissance, polyphony had become highly refined, as seen in Josquin des Prez’s Ave Maria, which demonstrates imitative polyphony, where voices echo one another in a sophisticated and balanced texture. This evolution from monophony to polyphony reflects broader cultural and artistic changes of the time.

Topic: The Evolution of Sacred and Secular Music from the Medieval to Renaissance Periods

The transition from the medieval to the Renaissance period brought significant changes in musical style, structure, and purpose. Medieval music was primarily sacred, focusing on plainchant and early polyphony within the context of religious services. Renaissance music, on the other hand, expanded to include both sacred and secular compositions, reflecting a broader range of human experience and emotion. This transformation in music parallels the intellectual and cultural shifts of the Renaissance, where humanism and a renewed interest in classical learning shaped artistic expression.

Medieval music was centered on the Church, with plainchant being the most prominent genre. Gregorian chant, such as the Kyrie, is an excellent example of monophonic texture, with its unaccompanied, flowing melody. The introduction of organum in the 12th century marked the beginning of polyphony. The Notre Dame composers Leonin and Perotin introduced rhythmic modes and composed complex polyphonic works such as Viderunt omnes. This early polyphony was still rooted in the liturgy but demonstrated an increasing interest in musical structure and harmony.

By the Renaissance, music had become more varied and expressive. Composers such as Josquin des Prez and Palestrina perfected polyphonic techniques. Josquin’s Ave Maria illustrates the Renaissance motet, characterized by imitative polyphony and carefully balanced vocal lines. Meanwhile, Palestrina’s Gloria from the Pope Marcellus Mass reflects the reforms of the Council of Trent, emphasizing clarity and simplicity in sacred music. Secular music also flourished during the Renaissance, with madrigals like Thomas Weelkes’ As Vesta Was from Latmos Hill Descending showcasing word painting and playful, expressive texts. Instrumental music gained popularity as well, with composers like Susato writing lively dance pieces such as Three Dances.

In conclusion, the evolution of music from the medieval to the Renaissance period reflects not only advancements in musical techniques but also broader cultural and intellectual changes. While medieval music was primarily sacred and monophonic, Renaissance composers embraced polyphony, expanded secular genres, and brought a new level of expressiveness to their compositions. This rich musical heritage laid the foundation for the later developments in Baroque and beyond