Uniqueness and Importance of Medieval Music Essay Example for Free

Uniqueness and Importance of knightly Music EssayThe unisonal compvirtuosont of the knightly period is noted to control been one of the roughly cardinal tuneful experiences in history. Every aspects of medieval medicinal drug that have survived left legacies that deeply regard two(prenominal) the unspeakable and blase tuneful structure of today. Nonetheless, the harmony that permeated at that period has tangibly contributed in the euphonyal heritage and tradition of present day society, most especially those of the Catholic Church. In this regard, it is because an imp geological erative to look back on the historical over chance of medieval practice of medicine and its importance in the welkin of music as a whole. mediaeval Music knightly music is identified as the music that permeated in Europe during the middle or medieval ages. The state era covered the periods ranging from the Roman conglomerates fall and ascent of Gregory the Great to papacy, unti l approximately the early fifteenth century. This underframe of music excludes that of the snarled Empire, which is noted to have a separate development. Basically, medieval music is divided into two principal categories the holy and secular. As Christianity was a dominant force during the medieval era, entire musical style was unquestionable in club to support it.Therefore, sacred music was either inspired or set by the scriptural text. Sacred music was captainly composed in install to pay homage to God. Unlike sacred music, secular music has not been observed early in the tell period. Yet medieval secular music played a significant role during the medieval period as it was created for the purpose of its delight value such as for dance or expressing ones love, which deeply reflects the lifestyle during that era ( chivalrous music Birth of polyphony). Early Medieval Sacred Music ChantThe earliest body of melody documented from the medieval period was the chant, which is so metimes referred to as plainchant or plainchant. Chant is a monophonic, or music with just one part, which has been the earliest form of music employ by the Catholic church. The figure of the nun Egeria from her pilgrimage to Jerusalem from circa 400 AD was noted as the earliest indorse of plainchant practice. The account includes descriptions pertaining to psalms and singing (Cyrus). The evolution of chant was accounted to various regional liturgies like the Roman, Gallican, Celtic, Ambrosian, Mozarabic and the likes.Likewise, the traditions of the tortuous Church as well as the Jewish synagogues psalm singing were pointed as strong influences in the process of chants (Medieval music). Over the next years, the practice of chant act to develop until it became an important component in the majority and office that is familiar among the students of the medieval church (Cyrus). It is noted that the adaptation of chant in the liturgical practice was a result of the spiritual r eforms spearheaded by Charlemagne, who perceive the church as an important body that would enable him to unify his empire.He then replaced the regional varieties of plainsong with a single unified version. According to biographers, approximately in the ninth century Charlemagne decided to pack for the supervision of Rome in order to have the doctrinally unified versions of the chant. The resultant liturgical practice is commonly know as the Gregorian Chant, which is acknowledged as the central musical tradition in Europe during the medieval period (Medieval music n. p. ).Gregorian chant was named so in approve of Pope Gregory I, who is believed to have organized most 3,000 melodies for the Roman Catholic worship. Such form of chant interblend antique melodies, coming from the oral traditions of sources like Greek, Hebraic and Eastern, with the early Christian churches liturgical prayers (Pen). It is believed that many of the Gregorian chants were scripted in the western monaste ries during the reign of Charlemagne (Medieval music). The music of the church is divided into chants use for the mass and for the office.Chants for the mass are a combination of celebrating the word of God and the Holy Eucharist, while chants for the office or ordinary are those that are part of the churches insouciant serve which includes psalms and prayers. The text that change daily are know as proper, while the stable texts which are repeated for most of the church services are tagged as ordinary (Cyrus n. p. ). Plainchant fuses text and tunes so as to function as a prayer, while the Latin text serves as the musical rhythm dictator in order for the text and tune to exactly correspond with each other.Normally, the melodic contour of such music is wrought by the words direction, which is set syllabically, making the text understandable. Other chants are also set in a melismatical manner where in one syllable is sustained over several notes for the purpose of ornamenting and e mphasizing important syllables (Pen 119) and neumatic melodies where the music contains two to five notes for each syllable. Every service is embedded with a mixture of the said styles, making the liturgical action more dramatic (Cyrus). Notation The Carolingian cantors adapted almost four-spot thousand chants every church year.In order to organize the imported chants they developed systems that organize the musical materials involved. As music during the early medieval period was not written down, the pressures of memorizing every song is mayhap the very reason why the Carolingian cantors created the system of notation. The system of church modes, wherein chants are classified fit to their range, central pitch or final and melodic idioms were also developed. Alongside with the development of notation systems, liturgical books became widespread, regularizing the liturgical practice (Cyrus).Notation Improvements By the end of the ninth century until the 12th century both composers and performers created means for the liturgical process to prosper. Various feasts were developed alongside with revolutionary chants. Liturgical compositions from the past were copied through the use of a new system known as staff notation which was developed by Guido of Arezzo. Such notation was able to specify pitches of a melody through the combination of staff or set of horizontal lines and one or more clefs in order to identify the pitches of the chant.Guido also created a sightsinging system involving solmization, a process where pre-assigned syllables are used for certain pitches (Cyrus). Additionally, other improvements in the sacred medieval music were observed such as the polyphony. Early polyphony As plainchant was sung slowly and with step to the fore rhythm or harmony, perhaps sacred composers grew weary of the chants and began experimenting with their music by adding musical lines in order to create harmony. This is known as polyphonic music, which gave birth to har mony. Around the end of ninth century, monastery singers like Switzerlands St.Gall added congressman in parallel motion to the chant, wherein they can sing in perfect musical intervals of the fourth and fifth together with the original tune. Such development is known as organum, which is considered as the reservoir of counterpoint, an important feature of music where two or more melodic strands occur simultaneously (Medieval music n. p. ). From then on, the organum developed into several ways. The Florid organum is one of the most significant forms of organum that was developed around 1100 in the south-west of France.Also referred to as the school of St. Martial, named after a monastery in France that is noted to have the best-preserved manuscripts of such musical style, Florid organum is incorporated within the chants in such a way that the original tune is being sung in long notes, while another voice would serve as an accompaniment by singing many notes to each of the original piece that is often done in highly elaborate fashion in order to further emphasize the perfect consonances of the music (Medieval musicn. p. ). Middle Medieval MusicSubsequent developments of the organum took place in England, specifically at Notre boo in Paris, which is said to be the center of musical creativity all through the 13th century. The emergence of the Notre Dame School of Polyphony around 1150 until 1250 is said to be the vehicle for a more modernised form of the organum, and paved way for the beginning of Ars Antiquaa period in which rhythmic notation is recognized in the Western music a period that greatly applies the method of rhythmic notation which is known as the rhythmic modes (Medieval music n. p. ).Basically, Notre Dame organum employs three distinct rhythmic styles that adheres to the rhythmic modes (1) organum purum wherein both upper and lower voice freely moves without a specific rhythm to follow, (2) copula which upper voice moves in accordance to a str ict rhythm while the lower voice moves freely, and (3) discant wherein both the upper and lower voice follows a strict rhythm (Cyrus n. p. ). Also this period, the concept of formal structure emerged, allowing composers to become more attentive with proportions, architectural effects and musical texture.Composers of the said period created various musical forms such as the clasulae, melismatic (technique of placing several noted in a single syllable of text) parts of the organa are extracted and fitted with new wordings so as to improve musical elaboration the versus or the monophonic conductus has a structure known as strophic, wherein the music is repeated for each successive stanza of the liturgical reading or poetry and the frame where new musical and textual materials are added to a pre- be liturgical composition, most especially the precedent chants of the mass and the short chants of the ordinary.Trope singers, which are usually soloist, can come before, in the middle or af ter the host chant or choral they simply amplify the meaning of the original composition. In some cases, tropes inject dialog and short interludes within the music as such, they are though to be the forerunners in the field of liturgical drama which also emerged in this period (Cyrus n. p. ). Sequence also emerged during the era of liturgical consolidation in the medieval period. Sequence is identified as a separate form of choral composition that follows the Alleluia during mass.Credited to Notker Balbulus, sequence is a syllabic genre that contains irregular phrase lengths. In this type of chant genre, the musical lines normally contain one to four clauses, while the entirety of the music is often repeated before starting a new musical material (Cyrus n. p. ). The motet is profoundly one of the most significant forms of music created during the Middle Ages, specifically during the early parts of the Notre Dame period. Made out of the clausula, motet is focused on the usage of mult iple voices, as stated by European composer, Perotin.Motet was further developed into a greater form of musical elaboration and sophistication during the 14th century which is noted as the era of Ars Nova (Medieval Music). Secular Music Although the plainchant was dominant in the sacred musical landscape of the middle age, other musical forms were used for the purpose of secular expression (Pen 119). Secular music existed in the shadow of secular music during the medieval period as most of the music scribes in this era were inclined in the creation of sacred music.Likewise, Medieval secular music was usually passed along orally and are rarely written down. As such, only limited number of composition has survived. Nonetheless, those existing copies of secular music serve as a vehicle for present day people to view the life at court in town during Middle Age. One of the earliest surviving music in secular form was accounted to the Goliards, who are wandering poet-musicians in Europe d uring the tenth until the mid-thirteenth century. Their secular compositions were fused in an early thirteenth century musical collection known as the Carmina Burana. However, due to the indecipherable notation, the reconstruction of the actual secular melodic sounds created by the Goliards was impossible, except for some pieces that have similarities with sacred music (Cyrus n. p. ). Most of the poetry created by the Goliards are secular in form, while some songs celebrate religious ideals and others are notably profane that tackles drunkenness, lechery as well as debauchery (Medieval Music). The secular music of the Troubadours of southern France and the Trouveres of the northern region are said to be the largest collection of secular music.The music created by the said groups are from their poems and utilized the vernacular tradition of monophonic secular music that are probably accompanied by varying instruments and performed by professionals ranging from skilled poets, singer s and instrumentalists. Likewise, their poems have adopted the language of their regionsTroubadours used lyrics written in Occitan also referred to as old Provencal or langue doc while the Trouveres used old French or langue doil.The music of the Troubadours was complimentary with the cultural life of Provence. Typically, their music describes war, dignified love and chivalry. Troubadour musical period lasted through the twelfth century until the first decade of the thirteenth century. The abrupt end of the Troubadour period was accounted to the Albigensian crusade, a campaign spearheaded by Pope artless III, which aims to eliminate Albigensian heresy, thererby eliminating the whole civilization of the Troubadours.Troubadour survivors of the fierce campaign migrated to Spain, Federal France or Northern Italy, where their musical inclination is said to have contributed in the secular music tradition of the said places (Medieval Music). The music of the Trouveres, on the other hand , was similar to that of the Troubadours. However, they were unaffected by the extermination directed towards the Albigenses inappropriate the Troubadours, allowing their music to survive until the thirteenth century.Most of the 2,000 surviving songs of the Trouveres showed musical sophistication that deeply highlights the poems it accompanied. Other than the Goliards, Troubadours and Trouveres, large numbers of secular songs were also composed by civilization such as the Minnesingers, who are said to be the German counterpart of the Troubadours and Trouveres, and the Flagellants, who were noted for the geisslelieder songs that aims to appease the anger and wrath of God through this penitential music along with the mortification of their bodies (Medieval Music).