Secular Music in the Middle Ages — Key Points

Secular music included both songs and dance music; evidence comes from writings, art, and written music, though not all of it was fully written down.
Instrumental imagery appears in medieval art (e.g., bagpipes, harpsichord-like instruments, violin, wind instruments, pipe and tabore), showing secular performance beyond church traditions.

Definition: poet-composers active in the southern French courts during the 12th–13th centuries; they worked poetry and music as an integrated practice.
Language: their poetry and music used a language that evolved into modern French, centered in southern France; Northern France spoke Old French.
Social context: drew from nobility and the emerging middle class; poetry often emphasized courtly themes.
Courtly love: a key theme—idolization of an unattainable noblewoman, typically unconsummated, framed as pure and idealized.
Notable figures and sources: Countess of Dia (Ashantar) is an example, with five poems preserved; Hildegarde (Hildegarde von Bingen) is another prominent figure with many works (77 identified by name, five poems preserved).
Notation and performance: medieval rhythmic notation is limited; melodic material is not strictly rhythmed in some sources, making interpretation rely on context and style.
Visuals: illuminated majuscule pages begin a piece or poem; the initial large letter often marks the start of the work.
Example piece: Ashantar (Countess of Dia) illustrates themes of love and heartbreak; the performance style emphasizes mood over rigid rhythm.
Musical features: melodies often in medieval modes (e.g., Dorian) with final or resting points informed by modal theory; endings may be open (incomplete feel) or closed (final resting tone).

The masculine term troubadour is contrasted with a feminine form (trobairitz) used for female poet-composers.
Women could be composers and poets within this tradition, though biographical information is limited.

Definition: lower-class wandering musicians who could sing, tell stories, dance, juggle, and play instruments.
Roles: versatile performers who often traveled to entertain in courts and towns.
Instrumental practice: instrumental music existed and was largely passed down orally; it was often tied to dancing rather than standalone concert pieces.
Evidence and notation: much instrumental repertoire was not written down; much is inferred from art and later textual sources.

Instrumental music was largely for dancing; accompaniment often involved drones and improvised playing.
Estampie: a medieval dance piece (estampie) that is rhythmically driven (often in triple meter) with a strong beat suitable for group dancing.
Rhythm: many instrumental pieces lack explicit rhythmic notation; performers relied on oral tradition and shared rhythm for coordination.
Instruments: examples include hurdy-gurdy (wheel-turned with a crank) and other instruments depicted in art; notation rarely specifies exact instruments.

Medieval modes dominated; Dorian mode is cited as an example in demonstrations.
Open endings: phrases end without a conclusive final note, creating a sense of continuation.
Closed endings: melodies end on the final (home) note, providing a sense of completion.
Final: the resting note considered the home tone in properly written medieval pieces.

Much medieval music was transmitted orally (rote learning) across communities.
Written music exists but is sparse for secular and instrumental repertoire; much was improvisational.
As time progresses, written documentation increases, but oral tradition remains influential.

Prompt: discuss a song learned by rote and compare advantages/disadvantages with learning from written notation.
Common rote examples cited: "Mary had a little lamb", "Twinkle, Twinkle, Little Star" (ABC song), "Happy Birthday", "Jingle Bells", etc.; reference to other folk and modern songs like "Blackbird" as examples.
Advantages of rote learning:
- Easy to learn without notation
- Great for children; consistent rhythm/pitch within a group
- Quick at getting everyone singing together
Disadvantages of rote learning:
- Prone to inaccuracies and variation (game of telephone)
- Can disappear if not continually practiced or transmitted
- Cultural differences and drift over time
takeaway: medieval music often blended oral and written traditions; later periods saw increasing emphasis on written notation while oral transmission persisted.

Assignment due date extended to Sunday; flex date open until Tuesday; communicate if more time is needed while trying to stay on schedule for week three.