Chapter 4

The Middle Ages:

400 - 1400 A.D.

10/10/2013 1
 Two Historical
Periods in Middle
Ages
 Early Middle Ages = 400 to 1000
A.D.
 Later Middle Ages = 1000 to 1400
A.D.

Understanding Music PRENTICE HALL

4-2
By Jeremy Yudkin ©2013 Pearson Education, Inc.
Upper Saddle River, NJ 07458
 Middle Ages:
Historical
Background
 Countries as we know them did not
exist.
 Early in the Middle Ages the class
system was based on feudalism--
kings, queens, nobles, and servants.
 Later in the Middle Ages, villages were
formed with a more centralized
economic system involving trade and
commerce.
 A middle class arose in the later Middle
Ages--bankers, traders, merchants,
shippers; these helped break down the
Understanding Music
By Jeremy Yudkin feudal system.
4-3 PRENTICE HALL
©2013 Pearson Education, Inc.
Upper Saddle River, NJ 07458
 Middle Ages:
Historical
Background
 Most people lived in poverty and spent
their lives working in miserable
conditions.
 Wars were frequent and all serfs
(servants) were expected to fight them
when the ruling nobleman called upon
them.
 Diseases and infections were often fatal
without antibiotics, vaccines, or sterile
procedures.

Understanding Music PRENTICE HALL

4-4
By Jeremy Yudkin ©2013 Pearson Education, Inc.
Upper Saddle River, NJ 07458
 Middle Ages:
Historical
Background
 The spread of Christianity
increased the availability of
learning.
 Monks kept literature and
scholarship alive.
 Education became more
widespread.
 Universities sprang up.

Understanding Music PRENTICE HALL

4-5
By Jeremy Yudkin ©2013 Pearson Education, Inc.
Upper Saddle River, NJ 07458
 Middle Ages:
Historical
Background
 Towns were centers of cultural
exchange.
 The arts (music, painting, poetry,
sculpture, and architecture)
flourished.
 Most artistic endeavors were
sponsored by the Catholic
Church.
 Center of artistic endeavor was
the cathedral--a large Catholic
Understanding Music
By Jeremy Yudkin
Church4-6with a bishop. PRENTICE HALL
©2013 Pearson Education, Inc.
Upper Saddle River, NJ 07458
 Medieval Music:
General
Characteristics
 Earliest written examples of music of
this period are from the 8th or 9th
century.
 The Catholic Church dominated
Medieval Music.
 Much of the music was liturgical
music--music used in church services.
 Ceremonial music (for processions
and coronations) was also composed.
 Other kinds of music were folk songs,
work songs, dances, and instrumental
pieces.
Understanding Music PRENTICE HALL
4-7
By Jeremy Yudkin ©2013 Pearson Education, Inc.
Upper Saddle River, NJ 07458
 Medieval Music:
General
Characteristics
 In the later Middle Ages, two new
innovations emerged.
 Secular (non-religious) song
 Topics such as love, and political
loyalty were prevalent.
 Polyphony--music with more than
one melody line or part sounding
at the same time

Understanding Music PRENTICE HALL

4-8
By Jeremy Yudkin ©2013 Pearson Education, Inc.
Upper Saddle River, NJ 07458
 Music of the
Middle Ages:
Plainchant
 Plainchant = vocal music for
church services.
 Thousands of chants were
composed from 400 to 1000 A.D.
 Pope Gregory I (540 - 604 A.D.)
catalogued this music.

Understanding Music PRENTICE HALL

4-9
By Jeremy Yudkin ©2013 Pearson Education, Inc.
Upper Saddle River, NJ 07458
 Music of the
Middle Ages:
Plainchant
 Monophonic--only one line of music
is sung at a time.
 Several people may sing in unison.
 This music is extremely varied.

 Text settings--simple to complex

 Syllabic--one note per syllable
 Melismatic--many notes per
syllable
 Neumatic--several notes per

Understanding Music
syllable
4-10 PRENTICE HALL
By Jeremy Yudkin ©2013 Pearson Education, Inc.
Upper Saddle River, NJ 07458
 Music of the
Middle Ages:
Plainchant
 Plainchant is based on special
scales called modes.
 These scales are patterns of half
and whole steps, like major and
minor scales, but each pattern is
different.
 Since the pattern of half and
whole steps is different for each
mode, each has a characteristic
sound, different from the others.
Understanding Music PRENTICE HALL
4-11
By Jeremy Yudkin ©2013 Pearson Education, Inc.
Upper Saddle River, NJ 07458
 Music of the
Middle Ages:
Plainchant
 The names of these modes are:
 Dorian (D to D on the keyboard)
 Phrygian (E to E on the
keyboard)
 Lydian (F to F on the keyboard)

 Mixolydian (G to G on the
keyboard)
 The notes are written from
highest to lowest since pieces
generally descend to the keynote.
Understanding Music PRENTICE HALL
4-12
By Jeremy Yudkin ©2013 Pearson Education, Inc.
Upper Saddle River, NJ 07458
 Music of the
Middle Ages:
Plainchant
 The rhythm of plainchant flows
along without measured strong
and weak beats.
 The modes sound very “other
worldly” and give the music a
spiritual character.
 Plainchant is only one musical
line, so the listener can focus on
the contour (shape) of the
melody.
Understanding Music PRENTICE HALL
4-13
By Jeremy Yudkin ©2013 Pearson Education, Inc.
Upper Saddle River, NJ 07458
 Kyrie Eleison
 Part of the Catholic Mass
 Words are in Greek (not Latin):
 Lord Have Mercy (3 times)
 Christ Have Mercy (3 times)

 Lord Have Mercy (3 times

Understanding Music PRENTICE HALL

4-14
By Jeremy Yudkin ©2013 Pearson Education, Inc.
Upper Saddle River, NJ 07458
 Music of the
Middle Ages:
Secular Song
 Rise of secular song is dated to
the 12th century.
 Troubadours (poet-musicians
who composed songs for
performance in small aristocratic
courts of Southern France) were
active.
 In Northern France, these were
called trouvères.
Understanding Music PRENTICE HALL
4-15
By Jeremy Yudkin ©2013 Pearson Education, Inc.
Upper Saddle River, NJ 07458
 Music of the
Middle Ages:
Secular Song
 Troubadours and trouvères wrote
their own poetry and music.
 Subjects they favored were love,
duty, friendship, ceremony, and
poetry.
 Primary topic = courtly love.
 Idealized vision of a remote,
unattainable woman
 Lover pines away and pleads for
some sign of her favor.
Understanding Music PRENTICE HALL
4-16
By Jeremy Yudkin ©2013 Pearson Education, Inc.
Upper Saddle River, NJ 07458
 Beatriz de Dia--
Female Troubadour of
12th Century
 Beatriz de Dia
 Known as Countess of Dia.
 Lived in late 12th century.

 Wife of the Count of Poitiers and

lover of a well-known nobleman.

Understanding Music PRENTICE HALL

4-17
By Jeremy Yudkin ©2013 Pearson Education, Inc.
Upper Saddle River, NJ 07458
 “A chantar”
 A strophic song--same music
repeated for all the stanzas of the
poem
 Beatriz de Dia addresses her
lover who has treated her badly.
 In a French language known as
Occitan (sometimes called
Provençal)

Understanding Music PRENTICE HALL

4-18
By Jeremy Yudkin ©2013 Pearson Education, Inc.
Upper Saddle River, NJ 07458
 “A chantar”
 Accompanied by a string instrument
known as a vielle (a bowed
instrument) and a low wooden flute.
 These instruments provide an
introduction and an ending to the
song, along with interludes between
stanzas.
 Flute and drum accompany the 2-
line ending (tornada).
Understanding Music PRENTICE HALL
4-19
By Jeremy Yudkin ©2013 Pearson Education, Inc.
Upper Saddle River, NJ 07458
 “A chantar”--Form
 Seven Phrases
 A phrase--ends in half cadence in E.
 B phrase--ends in full cadence in D.

 A phrase repeats.

 B phrase repeats.

 Two joined phrases with A ending--

ends in half cadence in E.
 Phrase B--ends in full cadence in D
(a 2-line ending called a tornada).
Understanding Music PRENTICE HALL
4-20
By Jeremy Yudkin ©2013 Pearson Education, Inc.
Upper Saddle River, NJ 07458
 Music of the
Middle Ages:
Polyphony
 Idea of composing polyphonic
music first arose in the 10th
century, but it took hold around
1200 A.D.
 Compositions with 2, 3, or 4
voices were written to celebrate
the feasts of the church year.
 Cycle of life revolved around the
church at this time.
Understanding Music PRENTICE HALL
4-21
By Jeremy Yudkin ©2013 Pearson Education, Inc.
Upper Saddle River, NJ 07458
 Music of the
Middle Ages:
Polyphony
 Greatest amount of polyphonic
song in the 12th and 13th
centuries was composed in Paris.
 Two important composers of
polyphonic song were Leoninus
and Peritonus.
 They were probably officials at
the Notre Dame Cathedral in
Paris.
Understanding Music PRENTICE HALL
4-22
By Jeremy Yudkin ©2013 Pearson Education, Inc.
Upper Saddle River, NJ 07458
 Music of the
Middle Ages:
Polyphony
 Created a collection of polyphonic
compositions called Magnus Liber
Organi (Great Book of Polyphony).
 Started by Leoninus.
 Perotinus added to it and extended the
music’s range and scope.
 Book contains elaborate polyphonic
compositions for the main feasts of the
church year.

Understanding Music PRENTICE HALL

4-23
By Jeremy Yudkin ©2013 Pearson Education, Inc.
Upper Saddle River, NJ 07458
 Viderunt Omnes
 Composition by Perotinus (c. 1170
- c. 1236)
 Based on a plainchant of the same
name.
 Sung right in the middle of the
Mass for Christmas Day.
 Some of piece is polyphonic (for
soloists) and some is monophonic
(for choir).
Understanding Music PRENTICE HALL
4-24
By Jeremy Yudkin ©2013 Pearson Education, Inc.
Upper Saddle River, NJ 07458
 Viderunt Omnes
 Piece has rhythmic contrasts as
well.
 Monophonic sections are free
flowing.
 Polyphonic sections are
marked by very clear-cut
rhythms.

Understanding Music PRENTICE HALL

4-25
By Jeremy Yudkin ©2013 Pearson Education, Inc.
Upper Saddle River, NJ 07458
 Viderunt Omnes
 Polyphonic sections--melody
 Bottom voice starts with sustained
tone that turns more rhythmic.
 Middle voice is more complex.

 Upper voice is extremely

elaborate and melismatic.
 Piece retains the original
plainchant upon which is is based.
The chant is embedded
throughout the piece.
Understanding Music PRENTICE HALL
4-26
By Jeremy Yudkin ©2013 Pearson Education, Inc.
Upper Saddle River, NJ 07458
 Music of the Middle
Ages: Late Medieval
Polyphonic Song
 By the 1300’s, secular song and
polyphony came together.
 France and Italy were the centers
of the art of polyphonic song.
 Master French composer was
Guillaume de Machaut.

Understanding Music PRENTICE HALL

4-27
By Jeremy Yudkin ©2013 Pearson Education, Inc.
Upper Saddle River, NJ 07458
 Guillaume de
Machaut (c. 1300 -
1377)
 Educated at Rheims in
northeastern France.
 Well known as an administrator,
poet, and composer.
 Held positions in courts of well-
known French aristocracy,
including the Duke of Normandy
who became King Charles V of
France.
Understanding Music PRENTICE HALL
4-28
By Jeremy Yudkin ©2013 Pearson Education, Inc.
Upper Saddle River, NJ 07458
 Guillaume de
Machaut (c. 1300 -
1377)
 Probably an administrator at the
Cathedral of Notre Dame in Paris.
 He wrote some sacred music, but
most of his pieces are polyphonic
secular songs.
 Music is full of little rhythmic and
melodic motives that tie it
together.
 Rhythm combines duple and
triple meters and is very fluid.
Understanding Music PRENTICE HALL
4-29
By Jeremy Yudkin ©2013 Pearson Education, Inc.
Upper Saddle River, NJ 07458
 Doulz Viaire
Gracieus
 A setting of a poem that has a two-
line refrain.
 The refrain comes at the
beginning and at the end, and its
first line comes in the middle of
the poem as well.
 This type of poem is called a
rondeau.

Understanding Music PRENTICE HALL

4-30
By Jeremy Yudkin ©2013 Pearson Education, Inc.
Upper Saddle River, NJ 07458
 Doulz Viaire
Gracieus
 Prevailing meter is triple, but
sometimes the music is in duple
meter.
 Medieval music does not use bar
lines, so the meter could be very
flexible.
 Piece contains many chromatic
notes for color.

Understanding Music PRENTICE HALL

4-31
By Jeremy Yudkin ©2013 Pearson Education, Inc.
Upper Saddle River, NJ 07458
 Doulz Viaire
Gracieus
 Voice is accompanied by a
recorder (below) and a lute
(above).
 Accompanying parts are quite
independent, but the three parts
together create beautiful and
interesting harmonies.

Understanding Music PRENTICE HALL

4-32
By Jeremy Yudkin ©2013 Pearson Education, Inc.
Upper Saddle River, NJ 07458
 Music of the Middle
Ages: Late Italian
Polyphonic Song
 Italian musical style was more lively
and down-to-earth than the French
style.
 A particular type of song was the
hunting song--called a caccia.
 A musical round--parts sing the same
music but come in at staggering
times.
 Lyrics are realistic and lively.
 Voices usually engage in dramatic
dialogue.
Understanding Music PRENTICE HALL
4-33
By Jeremy Yudkin ©2013 Pearson Education, Inc.
Upper Saddle River, NJ 07458
 The End of the
Middle Ages
 At the end of the 14th century, the
French and Italian musical styles
began to merge.
 More commerce between the 2
countries
 Political alliances

 Split in the Papacy in 1378 A.D.

Understanding Music PRENTICE HALL

4-34
By Jeremy Yudkin ©2013 Pearson Education, Inc.
Upper Saddle River, NJ 07458
 The End of the
Middle Ages
 Two Popes existed from 1378 to
1417 A.D. They presided over the
church simultaneously.
 This was called the Great Schism.
 One Pope was in Avignon, France;
the other was in Rome, Italy.

Understanding Music PRENTICE HALL

4-35
By Jeremy Yudkin ©2013 Pearson Education, Inc.
Upper Saddle River, NJ 07458
 The End of the
Middle Ages
 Papal court at Avignon spent a lot of
money on music.
 French and Italian composers lived
at the Papal court and learned from
one another.
 The mingling of styles affected both
sacred and secular music.
 The new international style set the
stage for the next era--The
Renaissance.
Understanding Music PRENTICE HALL
4-36
By Jeremy Yudkin ©2013 Pearson Education, Inc.
Upper Saddle River, NJ 07458
 The Medieval
Audience
 Two types of audiences:
 Human
 Divine
 Plainchant and liturgical polyphony--
audience was God.
 Secular songs--audience was the
aristocratic elite: kings, queens, dukes,
duchesses, lords, and ladies of small
courts throughout Europe.
 The rest of the population’s musical
interests are unknown.
Understanding Music PRENTICE HALL
4-37
By Jeremy Yudkin ©2013 Pearson Education, Inc.
Upper Saddle River, NJ 07458