stupid music history ramerez

1. Gregorian Chant

• Definition: Gregorian chant is a form of plainchant, a type of monophonic (single-line) liturgical music sung in unison, without accompaniment, in Latin. It is named after Pope Gregory I, who is traditionally credited with organizing and codifying the chant repertoire around the 6th century.

• Context: Gregorian chant was the dominant form of Christian liturgical music in the medieval period. It became a central part of Catholic worship, particularly in the Mass. The chant is highly modal and was originally intended to accompany the liturgical texts of the Mass and other religious ceremonies. Its free-flowing, unmetered rhythm contrasts with later, more complex forms of music.

2. Mass

• Definition: The Mass is the central act of Christian worship, especially in the Roman Catholic Church. It involves a liturgical ceremony that includes specific prayers, hymns, and chants. The Mass is divided into two main sections: the Mass Ordinary (the fixed portions of the Mass, which are the same every time) and the Mass Proper (the changing portions that vary depending on the day or occasion).

• Context: The development of the Mass in Western Christianity helped shape much of Western classical music. Composers from the Medieval to the Baroque periods wrote numerous Masses, with some of the most famous examples being by composers like Palestrina, Bach, and Mozart. The Mass became the foundation for the development of choral and orchestral music in Western tradition.

3. Church Modes

• Definition: Church modes are scales or tonal systems that were used in Western music from the medieval through the Renaissance period. The most common church modes are the Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Ionian, and Locrian modes. These modes were derived from the ancient Greek system of music theory but became more formalized in the Middle Ages as part of the liturgical chant repertoire.

• Context: Church modes were the basis for the melodies of Gregorian chant and many early forms of Western music. They provided the foundation for harmony, melody, and tonality in European music. Later, in the Renaissance and Baroque periods, the major and minor scales we use today evolved from the church modes, with the Ionian mode becoming the major scale and the Aeolian mode becoming the natural minor scale.

4. Drone

• Definition: A drone is a sustained note or tone that continues throughout a piece of music or a section of it, providing a tonal foundation. In some traditions, such as Indian classical music and folk music from various cultures, the drone is integral to the musical texture.

• Context: In the medieval period, a drone was often used in organum (early polyphonic music) and in other forms of chant. In organum, for instance, a drone might be sung on one pitch (the "cantus firmus") while other voices sung higher pitches in a free-flowing manner. The use of a drone creates a stable harmonic base and emphasizes the modal character of the music.

5. Estampie

• Definition: The estampie is a medieval dance form and the earliest known instrumental dance in Western music. It consists of several sections that are repeated, and it was typically accompanied by instrumental music.

• Context: The estampie was popular in the 13th and 14th centuries. It is one of the earliest examples of purely instrumental music in the Western tradition, predating the development of more sophisticated instrumental forms. The estampie is characterized by lively, rhythmic melodies and a strong sense of meter, making it an important precursor to later dance forms in the Renaissance and Baroque periods.

6. Organum

• Definition: Organum is an early form of polyphony, where one or more voices are added to a pre-existing chant (the cantus firmus) to create harmony. In its earliest form (parallel organum), the added voice(s) move in parallel motion to the chant, but later developments included more complex forms, such as free organum and florid organum, where the added voice moves more independently.

• Context: Organum emerged in the 9th and 10th centuries as part of the development of polyphony in Western music. It marks an important step in the shift from monophony (a single melodic line) to polyphony (multiple independent melodic lines), which became a hallmark of later Western music. The work of composers like Léonin and Pérotin at the Notre Dame school in the 12th century helped develop organum into a more sophisticated form, leading to the development of early choral music.

7. Rondeau

• Definition: A rondeau is a fixed-form musical composition or poem, typically with a recurring refrain. In music, it is usually in a 5- or 7-line stanza format with alternating refrains. The rondeau was a popular form in 14th- and 15th-century France and was often used for chansons (secular songs).

• Context: The rondeau was central to the French Ars Nova (new art) period in the 14th century, when composers like Guillaume de Machaut developed and refined the form. Its repetitive, refrain-based structure made it suitable for both poetic expression and musical experimentation, and it influenced later forms of song in Western music.

8. Mass Ordinary

• Definition: The Mass Ordinary refers to the unchanging parts of the Catholic Mass, including the Kyrie, Gloria, Credo, Sanctus, and Agnus Dei. These sections of the liturgy are sung or recited during every Mass, regardless of the day or occasion.

• Context: The Mass Ordinary was an essential element of liturgical music throughout the medieval, Renaissance, and Baroque periods. Composers wrote numerous settings of the Mass Ordinary, each of which reflects different musical styles and historical periods. The Mass Ordinary remains central to Christian worship and is often set to elaborate musical compositions in both choral and instrumental forms.

9. Ballata

• Definition: The ballata is a type of Italian medieval song that was particularly popular in the 14th century. It is similar to the French rondeau in its structure, consisting of a main refrain (repeated chorus) interspersed with verses. The ballata was typically written for both vocal and instrumental performance.

• Context: The ballata evolved from the French virelai and was a dominant form of secular music in Italy during the early Renaissance. Composers like Francesco Landini were renowned for their ballate, which were characterized by their lively rhythms and elegant melodies. The form played an important role in the development of Italian secular music in the late medieval period.

MUSIC LIST - PLEASE LISTEN TO THE AUDIO RECORDINGS I HAVE NO IDEA HOW TO  STUDY THESE :)))

1. Machaut – Puis qu’en obli (Also known as Puis qu’en oubli) (The name is in the beginning) 

Puis qu'en oubli - Guillaume de Machaut [1300-1377]

• Description: Puis qu’en obli is a chanson by Guillaume de Machaut, composed in the 14th century. It is a ballade, a fixed-form poetic and musical structure, where the first stanza’s music is repeated throughout the piece with different verses. The song’s text is a lament about unrequited love, a common theme in the poetry of the time.

• Context: This piece represents the ballade, a popular form of secular song in 14th-century France. The ballade structure, with its alternating refrains and verses, is typical of Machaut's works, and Puis qu'en obli exemplifies the Ars Nova (New Art) style, characterized by rhythmic complexity and the use of isorhythm (repeating rhythmic patterns). Machaut's sophisticated use of polyphony and his innovative approach to text setting are key elements of his musical legacy.

2. Perotin – Alleluia Nativitas (Says the name in the recording but its stretched out over 2 minutes so its really long) 

Pérotin - Alleluia Nativitas, Sheet Music + Audio

• Description: Alleluia Nativitas is a piece of organum by the medieval composer Perotin, part of the Notre Dame school of polyphony. It is a motet, a form of sacred polyphonic music, where the chant (in this case, a Gregorian Alleluia) is sung with additional voices moving at different speeds and intervals, creating complex harmonic textures.

• Context: This piece is an excellent example of organum and the early development of polyphony in the 12th century. Perotin expanded upon earlier forms of organum (such as parallel organum) to create florid organum, where the added voices move more independently and more rhythmically complex. This piece is also part of the Mass Proper for the Christmas liturgy, reflecting its sacred context. Its multiple voices and complexity are emblematic of the highpoint of polyphonic development in the medieval period.

3. Alleluia Vidimus Stellam – Unknown (says the name in the first minute/relatively short)

Alleluia: Vidimus stellam

• Description: Alleluia Vidimus Stellam is a chant from the Mass Proper, typically sung during the Feast of the Epiphany in the Christian liturgical calendar. It is an example of Gregorian chant, featuring a simple melody sung in a monophonic style.

• Context: This piece is a perfect example of Gregorian chant and its role in the Mass Proper, as it is sung during a specific liturgical occasion (the Epiphany). Gregorian chant uses the church modes for its melody and is monophonic, which means that it consists of a single melodic line without harmonization. This chant, like others, was integral to medieval liturgical practices and reflects the simplicity and solemnity of the religious music of the time.

4. Hildegard von Bingen – O successores (also says name in beginning) 

Hildegard O Successores Notation

• Description: O successores is a sacred chant by the 12th-century abbess Hildegard von Bingen. It is a sequence, a form of chant sung in the liturgy. This piece is an example of her unique approach to Gregorian chant, with its soaring, expressive melodic lines.

• Context: Hildegard von Bingen’s works, including O successores, are part of the tradition of Gregorian chant but also stand out due to her individualistic use of melody, vocal range, and vivid expressions of religious devotion. Although Gregorian chant itself was anonymous for the most part, Hildegard’s works are notable for their personal and mystical qualities. This chant is an example of how church modes and plainchant were used to convey deep spiritual meaning in medieval monastic life.

5. Landini – Ecco la Primavera(says name in beginning)
Landini. Ecco La Primavera. Ballata. Música Edad Media. Partitura. Audición

• Description: Ecco la Primavera is a ballata by the Italian composer Francesco Landini, one of the leading figures of 14th-century Italian music. The ballata is a type of secular song characterized by its use of refrains and verses, similar to the French rondeau. This particular piece celebrates the arrival of spring.

• Context: Ecco la Primavera is a prime example of the ballata, which became popular in Italy during the 14th century, especially during the Ars Nova period. Landini's style often featured complex rhythmic structures and the use of isorhythm. This piece is a secular composition, as it celebrates the natural world and human emotions, typical of the trecento (14th-century Italian music), where composers began to move away from purely religious themes.

6. Machaut – Agnus Dei (from Messe de Notre Dame)

Guillaume de Machaut - Messe de Nostre Dame (Ensemble Gilles Binchois; Vellard)

• Description: The Agnus Dei from Machaut’s Messe de Notre Dame is a setting of the Mass Ordinary text. It is a polyphonic setting for four voices, and Machaut’s Mass is one of the first complete settings of the Ordinary Mass in the history of Western music. The Agnus Dei is the final part of the Ordinary Mass, and Machaut's polyphonic treatment of it demonstrates the sophisticated use of organum and isorythm.

• Context: The Messe de Notre Dame is a landmark in medieval music, marking the culmination of polyphony in the Ars Nova period. Machaut's Mass Ordinary setting is a significant achievement in both sacred music and the history of the Mass. The Agnus Dei uses isorhythm, where a repeating rhythmic pattern underpins the vocal parts. This work helped establish the Mass Ordinary as a genre that would be continued and expanded upon in the Renaissance by composers like Josquin des Prez.

7. Léonin – Viderunt Omnes

Leonin: Organum Duplum, "Viderunt Omnes" (comparative transcription)

Description: Viderunt Omnes is a famous piece of organum by Léonin, composed in the 12th century as part of the Notre Dame school. It is based on the Gregorian chant Viderunt Omnes and features two voices: the cantus firmus (chant) sung in long notes, and a florid, rhythmically complex upper voice.

Context: This piece is an example of florid organum, a type of early polyphony where the added voice moves independently from the chant. It was used during the Mass for Christmas Day at the Notre Dame Cathedral in Paris, showcasing the growing complexity of Western music during this time.

Importance: Viderunt Omnes is a landmark in the development of polyphony, marking the shift from monophonic Gregorian chant to multi-voiced music. It laid the foundation for later polyphonic styles and influenced the course of sacred music in the medieval period.

Summary of Categorization:

• Gregorian Chant: Alleluia Vidimus Stellam by an unknown composer, O successores by Hildegard von Bingen.

• Organum: Alleluia Nativitas by Perotin.

• Ballata: Ecco la Primavera by Landini, Puis qu’en obli by Machaut (ballade form, but also influenced by the broader secular French tradition).

• Mass Ordinary: Agnus Dei from Messe de Notre Dame by Machaut.

• Mass Proper and Church Modes: Alleluia Vidimus Stellam as part of the Epiphany Mass.

Each of these pieces exemplifies the different historical stages of Western music and how specific forms like Gregorian chant, organum, Mass Ordinary, ballata, and polyphony evolved through the medieval period.

Textbook / History 

Here are notes based on your textbook, summarizing the key points related to the subjects you've mentioned from the Middle Ages in music history:

Gregorian Chant:

• Monophonic: Gregorian chant is a monophonic (single-line) style of music, meaning it consists of a single melody without accompanying harmony or counterpoint.

• Liturgical Role: It served as the primary music for the liturgy in the Christian Church, particularly in the Roman Catholic Mass. It is sung in Latin and based on sacred texts.

• No Harmonies: Unlike later Western music, Gregorian chant does not include harmonies; it focuses solely on melody.

• Modal: The melodies are based on church modes (the predecessor to modern scales), each with its own characteristic interval structure.

The Church Modes:

• These are the scales used in Gregorian chant and early Western music. There are seven modes, each having its own unique pattern of whole and half steps.

  • Dorian (D-D)

  • Phrygian (E-E)

  • Lydian (F-F)

  • Mixolydian (G-G)

  • Aeolian (A-A)

  • Ionian (C-C, modern major scale)

  • Locrian (B-B)

Each mode created different emotional qualities in music, shaping the mood and spirituality of the chant.

Alleluia: Vidimus Stellam (We Have Seen His Star):

• Gregorian Chant: This is an example of a chant from the Mass Proper, specifically used for the Feast of the Epiphany.

• Monophonic and Melodic: It’s sung in a monophonic style, based on a simple melody with no harmony.

• Liturgical Context: It celebrates the manifestation of Christ to the Magi, conveying a sense of spiritual awe and mystery.

O Successores by Hildegard of Bingen:

• First to Notate Music: Hildegard is one of the first composers to systematically notate music, and her works are among the earliest surviving examples of written medieval music.

• Sacred Music: O Successores is a sacred chant, showing Hildegard’s unique approach to Gregorian chant with expressive melodies and large vocal ranges.

• Mysticism: Her music is often described as mystical, reflecting her visions and deep religious spirituality.

Secular Music in the Middle Ages:

• Folk and Court Music: In addition to sacred music, the Middle Ages saw the development of secular music, often associated with courts, noble patrons, and minstrels.

• Themes: Secular songs often dealt with love, nature, and chivalric ideals.

Estampie (Medieval Dance):

• Dance Music: The estampie is a medieval instrumental dance form, usually in a triple meter.

• Structure: It typically involves repeated sections with varying ornamentation and could be accompanied by instruments like the lute, harp, and flute.

• Secular Context: This music was performed at social gatherings and festivals during the medieval period.

Development of Polyphony: Organum:

• Organum: Organum refers to early forms of polyphony, where a second voice was added to Gregorian chant, often in parallel motion or at a fixed interval.

• Notre Dame School: Composers like Léonin and Pérotin from the Notre Dame school of polyphony developed more complex forms of organum, where the added voices became more independent.

School of Notre Dame: Measured Rhythm:

• Measured Rhythm: This was a significant innovation in medieval music. The Notre Dame school was instrumental in the development of measured rhythm, which laid the groundwork for more complex rhythms and notation systems in later periods.

• Léonin and Pérotin: Composers like Léonin and Pérotin introduced new rhythmic structures that allowed for greater rhythmic freedom and complexity.

Alleluia: Nativitas (The Birth) by Perotin (c. 1200):

• Organum and Polyphony: Perotin’s Alleluia: Nativitas is an example of organum developed to a more advanced stage, featuring multiple voices and complex rhythms.

• High Polyphony: Unlike earlier forms of organum, where the added voices moved in parallel, Perotin’s music often features independent lines with contrapuntal textures.

Fourteenth-Century Music: The "New Art" in Italy and France:

• Ars Nova: The term "Ars Nova" (New Art) refers to the innovative musical styles of the 14th century, particularly in France and Italy. Composers began experimenting with rhythmic complexity and polyphony.

• Rhythmic Innovations: Isorhythm, the repetition of a fixed rhythmic pattern, became common, and more complex rhythmic structures emerged.

Francesco Landini – Ecco la Primavera (Spring Has Come):

• Ballata: Landini’s Ecco la Primavera is an example of the ballata, a popular secular song form in 14th-century Italy. The ballata is similar to the French rondeau and is characterized by repeated refrains and verses.

• Secular Music: The ballata often expressed themes of nature, love, and celebration.

Guillaume de Machaut – Puis qu’en oubli sui de vous (Since I Am Forgotten by You):

• Ballade: This is an example of Machaut’s ballade, a fixed-form secular song popular in 14th-century France. The ballade is notable for its melodic repetition and poetic themes of love and loss.

• Polyphony: Machaut’s works are key examples of polyphonic music, combining multiple voices and intricate counterpoint.

Notre Dame Mass (Mid-Fourteenth Century):

• Mass Ordinary: Machaut’s Notre Dame Mass is one of the first complete settings of the Mass Ordinary (the parts of the Mass that remain the same every day).

• Polyphonic Mastery: The mass is an example of complex polyphony, with Machaut using isorhythm and counterpoint throughout the setting, particularly in the Agnus Dei.

Agnus Dei (From the Notre Dame Mass):

• Part of the Mass Ordinary: The Agnus Dei is one of the parts of the Mass Ordinary. It is a prayer for mercy and peace, often sung during the fractioning of the Eucharist.

• Polyphony: In Machaut’s setting, it showcases the development of four-part polyphony, a hallmark of the Ars Nova style.

Paul Hillier:

• Paul Hillier is a conductor and musicologist, known for his work in medieval music and early music performance. He has made significant contributions to the understanding and performance of medieval choral music, particularly Gregorian chant and early polyphony.

Summary of the Middle Ages:

• Music in the Middle Ages was primarily sacred, with Gregorian chant as the dominant style for liturgical worship.

• Over time, secular music emerged, especially in the form of dance and courtly love songs (like the ballata and chanson).

• The development of polyphony in the Notre Dame school and the Ars Nova period marked a major shift in music, moving from simple monophonic melodies to complex, multi-voiced compositions.