Chapter 13 Voice and Worship: Tradition and Individuality in Medieval Chant
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Enjoyment of Music, 3rd edition, Chapter 13, Medieval Chant
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Chapter 13 Voice and Worship: Tradition and Individuality in Medieval Chant
- 1. THE ENJOYMENT OF MUSIC ESSENTIAL LISTENING EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis THIRD EDITION Lecture Slides
- 2. Chapter 12 Voice and Worship: Tradition and Individuality in Medieval Chant
- 3. Life in the Medieval Cloister • Development of monasteries responsible for preserving writings & culture of ancient world • Gothic Period-1100 to 1450 – Poems of troubadours, legends of King Arthur – Dante The Divine Comedy – Most secular music lost but did exist outside the Church
- 4. Middle Ages: Music • Secular--music for ceremonies and entertainment in courts of royalty/aristocracy • Scales--different from major and minor; different placement of the half steps in the scale • Polyphony--multiple lines of equal importance performed together; both sacred and secular music • Composers tried to make music express meaning of the texts, both sacred and secular.
- 5. Christianity • Had no standard musical practice for 1st 3 centuries • Borrowed from Judaism, reciting psalms, call & response method • Adopted other practices upon expansion through Asia Minor & Europe • Symbolism very important to medieval life- age of miracles, mysticism, etc.
- 6. Middle Ages: Music for Sacred Spaces • Churches/Cathedrals = most important sacred structures of the Middle Ages – Reflected testimonies toward God and power of Church itself – Created spaces in which music could be performed • Large with incredible acoustic qualities • Built to instruct the faithful (e.g., stained glass windows depicting Biblical scenes)
- 7. Pope Gregory I • 6th Century-codified music of worship services, establishment of liturgy, body of rites prescribed for worship • Function = to project the text clearly so that it could be understood by the people. • Possessed clarity and melodic beauty; thus it was inspirational.
- 8. • Chant – 3,000-plus surviving melodies – Oral transmission – Early notation = neumes – Scale patterns = modes Plainchant: Music of the Church
- 9. Gregorian Chant • Sung only by monks & priests • Plainchant, plainsong • Text-Latin • Liturgical • Features – Non-metrical rhythm – Monophonic texture – Smooth, stepwise contour – Modal scales – Reverent mood Composers of chant primarily unknown Music passed down almost strictly by oral tradition
- 10. Ionian (major) Dorian Phrygian Mixolydian Lydian Aolean (minor) Modal (old system) vs. tonal (major/minor system used later) Locrian Early Church Modes
- 11. The Church Modes • Unfamiliar scales, not like major & minor • Consist of seven different tones, an eighth tone duplicating the first(octave) • Different pattern of half-steps & whole-steps • Were the basic scales of Western music during the Middle Ages-Renaissance • Used in secular & sacred music • Many still used in Western folk music
- 12. Text Setting • Setting words to music – Syllabic--one note per syllable – Melismatic--many notes per syllable – Melismas often used to emphasize words
- 13. • Syllabic • Neumatic • Melismatic Melismatic: many notes per syllable Classes of Chant: Plainchant: Music of the Church
- 14. Middle Ages: Notation • Earliest music wasn’t written down. Until 10th century, music transmitted orally. • Earliest chant manuscripts merely showed whether the chant went up or down, not specific pitches. • Most manuscripts created by monks in monasteries, by hand. Parchment and ink were expensive. • Printing emerged--middle of 15th century.
- 15. “Dies Irae” • Dies Irae
- 16. CHANT • Santo Domingo de Silos – Fastest selling classical record in history – Sold more than 2 million copies – Number 5 on U.S. Pop Charts – Royalties helped needy in Third World Countries & repairs to 12th century monastery Sadeness
- 17. The Music of Hildegard of Bingen • In 1150 founded convent in Germany • Known for miracles and prophecies • Works include collections of visions and prophecies, music, and scientific writing.
- 18. Hildegard von Bingen (1098-1179) • Hildegard von Bingen--most prolific composer before 1500 • First woman composer from whom a large number of works survived • Powerful abbess, theologian, naturalist, healer, poet, musician • Born in what is now western Germany to a noble family. Became a Benedictine nun at age of 16. • Used prominent position in Church to improve that of women • Experienced visions and revelations that were recorded in books-writer of theology, medicine, botany, and lives of the Saints • Musical works consisted of chants for religious services which took place throughout the day in the convent.
- 20. Alleluia, o virga mediatrix • Alleluia, o virga mediatrix(Sequentia) • Alleluia, o virga mediatrix(Music for a Knight)
- 21. Ordo Virtutum (Play of Virtues) • A morality play--dramatized allegory of Good vs. Evil struggling over the fate of a single soul • Written for dedication of convent church at Rupertsberg • Plot centers around disputes between Satan and 16 virtues (e.g., Charity, Obedience, Humility, Chastity, Knowledge of God, Discipline, Compassion, Mercy, Victory, Discretion, Patience, Faith, Hope, Innocence, World Rejection, Heavenly Love). • Each virtue = 1 female singer • Chorus of all virtues sings same melody monophonically (called unison singing). • Music was based on a florid style of liturgical plainchant. • Rhythm--mostly free rhythm reflecting the long and short accents of the words. • Performers--nuns in a convent--the Virtues were presumed to be female at that time. • The Devil was presumed to be male--probably performed by the priest who served the convent.
- 22. by Kristine Forney Andrew Dell’Antonio Joseph Machlis Lecture Slides SECOND EDITION THE ENJOYMENT OF MUSIC ESSENTIAL LISTENING EDITION http://wwnorton.com/web/enjoyess2
Notas do Editor
- ■ Sung worship is a shared feature among many world cultures, allowing for a more intense personal and collective connection with the divine. ■ Religious communities (monasteries and cloisters) fostered the extensive development of worship music, starting in the Middle Ages. ■ The music of the early Christian church, called plainchant (or just chant), features monophonic, nonmetric melodies set in one of the church modes, or scales. ■ Chant melodies fall into three categories (syllabic, neumatic, melismatic), based on how many notes are set to each syllable of text. ■ The expressive music of Hildegard of Bingen exemplifies the tension between an individual, creative response to divine inspiration, and community expectations of worship.
- A cloister is a place for religious seclusion that allows individuals to withdraw from secular society into the shelter of a monastery (men) or convent (women) and devote themselves to prayer, scholarship, preaching, charity, or healing.
- Chants were originally handed down by oral tradition until the number increased to the point where singers needed help remembering the shapes of the melodies. The first system of notation consisted of neumes, which were little ascending and descending symbols written above the words to suggest the contour of the melody. Neumes eventually evolved into a system of musical notation consisting of square notes on a four-line staff. More than 3,000 chant melodies survive. Artwork: Manuscript illumination of Pope Gregory the Great dictating to his scribe Peter. The dove, representing the Holy Spirit, is on his shoulder.
- For one thousand years, beginning with the Gregorian chant and continuing throughout the Renaissance, Western music used a variety of scale patterns known as modes. This modal system preceded the major-minor system.
- Chant melodies fall into three main classes according to the ratio of syllables to notes. A syllabic setting consists of one note per syllable of text; a neumatic setting will have up to five or six notes sung to a syllable of text; and a melismatic many notes per syllable of text.
- Hildegard of Bingen (1098–1179) was the tenth child of a noble couple who promised her to the service of the church as a tithe. She was raised by a religious recluse and took her vows at the age of fourteen. From childhood, she experienced visions and was reportedly able to tell the future. She founded a new convent in Rupertsberg, Germany, in 1150. Her major works include poetry collections and visions, a volume of religious poetry, a sung morality play, scientific and medical writing, and a liturgical cycle for the different feasts throughout the church year. Her music resembles that of Gregorian chant but contains many expressive leaps and melismatic settings that convey the meaning of the words. Artwork: The priest Volmar records Hildegard of Bingen’s visions. The image, a miniature, is from her poetry collection Scivias (1141–51).
- Listening Guide 2—Hildegard: Alleluia, O virga mediatrix Hildegard set many of her texts to music. Her poetry is filled with imagery and creative language. Some songs praise local saints, others praise the Virgin Mary, celebrating her purity. Attached is a Listening Guide to an Alleluia that is a movement from the Mass Proper. The chant is in three parts. Listen for an unaccompanied conjunct line with some expressive leaps and melismas as well as a free and nonmetric flow of words. The texture is monophonic (single line). The dramatic leaps of a fifth and the highest range of the melody occur on important words. This work is to be performed by an a cappella choir with phrases alternating at times between a soloist and the choir. The text is a prayer to the Virgin Mary, written by Hildegard.