Intro Into Listening Notes - Musical Beginnings
Intro Into Listening Notes - Musical Beginnings MUS 127-007
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This 2 page Class Notes was uploaded by Sara Rice on Thursday September 29, 2016. The Class Notes belongs to MUS 127-007 at University of Alabama - Tuscaloosa taught by Professor Timothy Harris in Fall 2016. Since its upload, it has received 74 views. For similar materials see Intro Into Listening in Music at University of Alabama - Tuscaloosa.
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Date Created: 09/29/16
Music’s Beginnings Why Begin With Medieval Music? Notation o It is hard to find written documentation about music in ancient times Surviving instruments Writings about music/musicians Lute Set of strings that are plucked and strung The Centrality of Sacred Music The Catholic Church was the center of learning throughout Europe in medieval times. Priests were literate and taught the masses. Likewise, the Church served as the focal point of the progress of music – at least, music that was written down, preserved, and written about The Church began traditions that were expanded and developed over hundreds of years to lead to what we now know as Western Classical music Basics of Gregorian Chant Latin Melismatic vs. Syllabic settings o Syllabic setting every syllable gets a new pitch o Melismatic setting holding one syllable of text that have a lot syllables that go with it Monophonic/polyphonic settings o Monophonic setting one note going on at one time o Polyphonic setting multiple notes going on at the same time Masses written by composers as complete musical works One of earliest (and most prolific) forms of musical notation Mass Ordinary vs. Proper Ordinary o Same texts every service o Kyrie o Credo o Gloria o Sanctus o Agnus Dei Proper o Different based on calendar o Processional o Offertory o Gradual (“Viderunt Omnes”) o Dismissal o + More Medieval Secular Music Secular music used instruments while sacred music was purely vocal. Rather than confining themselves to Latin texts, secular songs were in the language of its listeners, or “vernacular.” They could be about love, politics, telling stories, all in a serious or humorous manner. They were easier to sing, more syllabic, with repeated verses and choruses much like what we recognize in hymns. Poet-composers of noble families in France were called trouveres in the North, troubadours in the south, while those in Germany were called minnesingers. Lower-class street performers were known as minstrels or jongleurs.
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