added CHANSONS.

2. MEDIEVAL - RENAISSANCE
† During the Middle Ages, musical texture was monophonic, meaning it
has a single melodic line. Sacred vocal music such as Gregorian
chants were set to Latin text and sung unaccompanied. It was the
only type of music allowed in churches, so composers kept the
melodies pure and simple. Later on, church choirs added one or more
melodic lines to the Gregorian chants. This created polyphonic
texture, meaning it has two or more melodic lines.

3. MEDIEVAL - RENAISSANCE
† During the Renaissance, the shell harmony of the Middle Ages was
succeeded by true harmony.
† Medieval and Renaissance music was based mainly on the
eight church modes. This use of the term “mode” is atypical, however:
the church modes are actually just seven-note scales. The church
modes were developed to help composers write smooth monophonic
melodies. While they served this purpose admirably, the church
modes are awkward when it comes to composing harmony.

4. Differences Between
Medieval And Renaissance
Medieval Renaissance
 Dry Shell harmony
 Monophony >
> Sweet True
Polyphony
harmony
 Portions of
scripture were set  Revival of
to traditional classical culture
Roman melodies.

5. GUIDO D’
AREZZO

6. GUIDO D’ AREZZO
† Italian musicologist, who was one of the first important music
teachers and theorists.
† He was also known as Guido Aretinus, Fra Guittone, A guy of a
Arezzo, born in Arezzo.
† His most famous innovation consisted in applying syllables
ut, re, mi, fa, sol, la to the first six notes of diatomic scales, starting
at any pitch desired.

7. GUIDO D’ AREZZO
† Guido's most famous treatise is his Micrologus Guidonis de
disciplina artis musical, dedicated to Bishop Theobald of Arezzo
† Died probably at Pampos Abbey, near Ferrara

8. GUILLAUME DE
MACHAUT

9. GUILLAUME DE MACHAUT
† French court poet and musician.
† Born at Machaut in Champagne and died of Reims at April 1377
† Served king John the Bohemia, John the Good of France and
Charles III of Navarre.
† He was an initiator of new art of poetry in fixed form popular in
the Middle Ages of which the ballad and the rondeau were the
most important.

10. GUILLAUME DE MACHAUT
† He was more of a writer but composed musical compositions.
† Musical compositions include lais, motets, ballads, rondeau and
a mass sung of the Charles V.

11. JOSQUIN
DESPREZ

12. JOSQUIN DESPREZ
† His name is read as Zhuhs Kan/Zhaws Kan Duh Pray/Day Pray
† Born in North France but lived in Italy for many years.
† Was a singer at Milan Cathedral and at the Papal Chapel in
Rome.
† Served the dukes of Milan and Ferrara.
† Died on August 27, 1521 and after his death, his music was
long neglected, but it is widely admired today.

13. JOSQUIN DESPREZ
† One of the greatest composers of the Renaissance Period.
† He has been highly praised for his ability to express words through
music.
† He was known for his command of musical techniques, especially
his skilful use of the canon, a musical device in which the melody is
repeated in one or more other parts. He usually wrote music for 4
voices.
† He had many of his pieces are love songs.

14. JOSQUIN DESPREZ
† For Church: he wrote about 100 unaccompanied choral works
known as MOTES and 18 masses.
† In 1502, several of the earliest books of printed music were
devoted to his works.

15. POPE
GREGORY I

16. POPE GREGORY I ( T H E G R E A T )
† Pope, Saint and Doctor of the Church.
† Set standards for the church ceremony that brought the chant
into popular use which then fixed the GREGORIAN CHANT.
† Italian composer Ottorino Respighi composed a piece
named St. Gregory the Great (San Gregorio Magno) that features
as the fourth and final part of hisChurch Windows (Vetrate di
Chiesa) works, written in 1925.

17. GREGORIAN

18. GREGORIAN
† "Gregorian" chant was named for and credited to Pope Gregory I
(r. 590-604) is an accident of politics and spin doctoring.
† Type of liturgical chant most widely used in Latin Churches.
† To be distinguished from the chants used by the Ambrosian,
Mozarabre and other rites.
† Took definite from after some centuries of development after
Pope Gregory I set the standards of chant.

19. TROUBADOURS

20. TROUBADOURS
† Was one of a large group of poet-musicians who flourished in
Southern France.
† The word comes from the Latin Tropare (to compose)
† He composed poetry in a romance language called Provençal.
† Canso D' Amor ( love song) was one of the rich and varied poetic
forms used by the troubadours

21. TROUBADOURS
† The troubadours' praise of physical love stood in direct
contrast to traditional Christian morality
† Their ideal of love and praise of women influenced many
writers, including Dante and Petrarch

22. TROUVÈRES

23. TROUVÈRES
† Was one of the group of poet musicians
† The word comes from an old French word meaning to compose
† They composed their poems in old French dialect called langue d' oil
† They were strongly influenced by the style and subject matter of the
troubadours of southern France
† Like the troubadours, the trouvères wrote chansons d' amore (love
songs)

24. MADRIGALS
Luca Marenzio, a highly
influential composer of
madrigals in the last two
decades of the 16th century

25. MADRIGALS
† Short lyric poem of Italian Origin.
- deals with love or pastoral subjects.
- consists on 2/3 tercets (group of 3 lines) and spread to
England.
† Became popular in Italy (15th century) and spread to England.
† In the Elizabethan times were meant for singing.
Ex: Crabbed Age and Youth (Shakespeare’s the Passionate Pilgrim )

26. MADRIGALS
† From 2 to 6 unaccompanied voices joined in singing the
Madrigals.
† Words and melody frequently are inter women so intically that
the lines are difficult to follow.
Ex: “Brightly Dawns Our Wedding Day” (The Mikado)

27. MINSTRELS

28. MINSTRELS
† Well educated poets and musicians.
† Composed and sang songs of love, heroic deeds- lute, harp/a stinged
instrument.
† In the sense, the Troubadours and the Trouvers were minstrels.
† Some are not educated and skilled, wandered about the country,
centring at fairs at inns/the streets.
† Middle ages: term Minstrel was applied to wandering acrobats and
jugglers.

29. CHANSONS

30. CHANSONS
† Any lyric-driven French song, usually polyphonic and secular.
† A singer specialising in chansons is known as a "chanteur" (male) or
"chanteuse" (female); a collection of chansons, especially from the late
Middle Ages and Renaissance, is also known as a chansonnier.
† The art Chanson at Medieval Age and Renaissance may be traced as far
back as the 11th and 12th centuries, to the Provencal songs of the
troubadours.

31. CHANSONS
† From these developed a polyphonic songs from that emerged in the
15th century and reached its height in the 16th century.
† The development of the 15th and 16th century Chansons may be
divided into 5 stylistics sub periods:
 1390-1450= English and Early Burgundian Chanson.
• Composed for solo voice with instrumental accompaniment.
• The chief composers of the period were John Dunstable, Guillaume Dufay, and
Gilles Binchois, whose works have elegance, beauty and refinement.

32. CHANSONS
 1450-1480 = The Early Parisian Chansons, many of which originated in
Burgundy.
• Phillipe Caron and Johannes Ockeghem--> outstanding composers which
were similar in form and style to those of the previous era.
 1480-1505 = Odhecaton, from the collection of songs published in 1501.
• Were written for from 3-5 voices without accompaniment.
• Leading composers included Josquin Depies, Heinrich Isaac, and Jacob
Obrecht.

33. CHANSONS
 1505-1549= Were strongly influenced by 2 Italian forms, the FRONTAL
and the MADRIGAL (were written for from 3-5 voices and were
frequently homophonic in style).
• This movement away from pure polyphony in Chanson was led such
composers as Nicolas Gombert and Jean Mouton.
• The composition of the new Chanson coincide with the rise of the music-
printing industry, and they were the 1st to be widely available.

34. CHANSONS
 1549-1603= Era of “HUMANIST” and the Chanson VERS
MESURES(measured verse) was the chief form.
• The rhythm of the music followed the metrical pattern of the poetry to
which it was set.
• Claude Le Jeune and Jacques Mauduit were the chief composers of this
type of Chanson.
• These songs marked the end of the development of the FORMAL
RENASSAINCE Chanson.