Church Modes (Judy)

Before the major and minor scales were the primary musical scales, the Middle Ages had
church modes. Like major and minor scales, they consist of seven different tones and an
eighth tone that is octave higher than the first note of the mode, with different patterns of
whole and half steps.

 The medieval mode system developed gradually, achieving its complete form by the
eleventh century. It encompassed eight modes, each defined by the sequence of whole
tones and semitones in a diatonic octave built on a final

 Medieval church modes, also known as Gregorian modes or simply modes, were a
system of organizing musical scales and melodies that were widely used in Western
music during the Middle Ages.

Explanation:

 In addition Church modes have their origins in ancient Greek music theory and were further
developed and codified by medieval European musicians, particularly in the Christian Church.

Now let’s talk about mode:

* Mode is related to Scales, and they’re also scales themselves. In fact, in modern Western
classical music, the terms are sometimes used interchangeably but they’re not exactly the same thing.

* A scale is just a collection of notes ordered by pitch like the C Major scale which of course starts
and ends on C.
* A mode is best understood as what note of a scale you start on,

Explanation ko:

for example, (mahatag ako example)

this scale is composed of notes from C Major but starts and ends on the second degree which is the D
note. This scale is known as a different mode of C Major.

another example:

 If starts on the third degree of the major scale it's called Phrygian Mode.
 (anOther One) If starts on the fourth degree is called Lydian and is not confusingly at all.
 (And if start on fifth degree of a major scale is called Mixolydian.

* For you to know, the use of modes developed and by the 5th century four modes were adopted, and
these was called the Authentic Modes.
 Authentic Church Modes:
 Dorian
 Phrygian
 Lydian
 Mixolydian

tinawag po itong Authintic mode.

It’s because they were considered the primary or original modes in medieval music
theory.

Three Additional Authentic Modes;

Henricus Glareanus, a Swiss monk produced a book called Dodecachordan in 1547

in which he highlighted the subsequent addition of two more authentic modes
(Aeolian and Ionian).
Subsequently, another authentic mode whitch is the (Locrian mode) was added
towards the end of the 18th century, bringing the total to seven authentic modes.

So. Anu naman itong Ionain mode, Aeolian Mode, at Locrian Mode

 Ionian

Ionian mode, also known as the major scale, It is constructed by starting on the
first degree of the major scale.

 Aeolian

Ang Aeolian mode naman is, also known as the natural minor scale, It is created
by starting on the sixth degree of a major scale
For example, in the key of C, the Aeolian mode is starts on A

 Locrian

At yung Locrian naman is created by starting on the seventh degree of a major

scale.
For example, in the key of C, the Locrian mode is starts on B
 During the papacy of Pope Gregory four more modes were added called Plagal
modes. Each plagal mode is developed from a related authentic mode.

Plagal Church Modes:

Plagal modes derive their individual names from the authentic mode to which they
are related – just add the word “hypo” (meaning “under”) to the start of the authentic
mode and you get the name of the plagal mode.

For example, the Dorian mode is linked to the Hypodorian mode

Plagal Church Modes:

These is the four plagal modes, the hypodorian, Hypophrygian, Hypolydian, and
Hypomixolydian mode.

 Hypodorian
 Hypophrygian
 Hypolydian
 Hypomixolydian

 Plagal modes are derived from their corresponding authentic modes and often
span from a fourth below the final to a fifth above it.

So from the final or root of your corresponding authentic, baba ka lang ng ika APAT na notes.
Oh dikaya baba kalang ng limang semitones.
bali ito ang plagal mode.

For you to know, As with authentic modes, there were originally 4 plagal modes in the 5th
century, but 2 more were added by Glareanus and a 7th by the end of the 18th century.

so this is the 3 plagal mode added by Glareanus, the

* HypoIonian
* HYpoAeolian
* Hypolocrian
 Tenor or Reciting Tone
 MODES are Characterized by their “tenor or RECITING TONE”
* in the authentic modes, the reciting tone is a fifth above the final.
* and In the Plagal modes, the reciting is a third below the reciting tone of the corresponding
authentic mode,

 Except that whenever a tenor or reciting tone falls on the B, it is moved up to C to avoid outlining
the triton of B-F in the melody.

For example: in Phrydian mode, the fifth note above the final is the B note, so instead of B you
moved up to the C note to get the Reciting Tone.

And that’s all about my topic and the next topic will be discussed by Joven Lamousnero.

Secular Music in the Middle Ages

Despite the predominance of the Gregorian chant throughout the Middle Ages, there was also
much music outside the church, or secular music. The first large body of secular songs surviving
in decipherable notation was composed in France during the twelfth and thirteenth centuries by
nobles called troubadours and trouvére.

Within this period, knights gained great reputations as musical poets. Many of their songs were
preserved as nobles had clerics, even though the Church tried to suppress any form of non-
sacred music, write them down and were performed by court minstrels, and most of them dealt
with love, but there were also songs about the Crusades, dance songs, and spinning songs.
Although most notations didn't indicate rhythm, many had regular meters with a clearly defined
beat, which differs from the free, non-metrical rhythm of the Gregorian chant.

AKON YAYAKNON
Secular music in the Middle Ages refers to non-religious music that was an integral part of
medieval society. It encompassed a wide range of musical forms and themes, including courtly
love songs, dance music, and songs about daily life. Secular music was performed at noble
courts, social gatherings, and by traveling minstrels, providing entertainment and reflecting the
cultural values and experiences of the time. It was often passed down orally and eventually
notated, contributing to the rich tapestry of medieval musical traditions.
here is the example of secular music
  Troubadours

In the context of secular music,

Troubadour refers to a poet-musician, typically from the Occitan-speaking regions of southern
France during the Middle Ages, particularly in the 12th and 13th centuries. Troubadours were
aristocratic or noble individuals who composed and performed secular songs in various forms.

Here are some key characteristics and roles of troubadours in secular music:

 Poet-Musicians: Troubadours were both poets and musicians. They wrote lyrics or
poems and also set them to music. Their compositions were often sung and
accompanied by musical instruments.
 Secular Themes: Troubadour songs primarily dealt with secular or non-religious
themes, such as courtly love, chivalry, and the experiences of the nobility. Love
songs, in particular, were a common subject in troubadour repertoire.
 Courtly Love: Troubadours played a significant role in popularizing the concept of
courtly love, a highly idealized and often unattainable form of romantic love
associated with chivalry and nobility. Their songs often celebrated the beauty and
virtues of noble ladies.
 Noble Background: Troubadours were typically from the nobility or aristocracy
themselves, which gave them access to the courts and the patronage of rulers and
nobles. Their social status allowed them to engage in artistic pursuits.
 Occitan Language: Many troubadour songs were composed in the Occitan language,
which was common in the southern regions of France where troubadour culture
thrived. However, troubadours also composed in other languages.
 Preservation of Culture: Troubadours played a crucial role in preserving and
promoting the culture and ideals of the noble classes during the Middle Ages. Their
songs reflected the values and aspirations of the aristocracy.
 Influence on Literature and Music: The troubadour tradition had a lasting impact on
both literature and music. Their style and themes influenced subsequent
generations of poets, composers, and musicians.

EXAMPLE OF TROUBADOURS:
Here is the first stanza in the original Occitan:

Can vei la lauzeta mover

.
Can vei la lauzeta mover
De joi sas alas contral ray,
 Que s'oblid' e.s laissa cazer
Per la doussor qu'au cor li vai,
Ai! tan grans enveya m'en ve
De cui qu'eu vey jauzion,
S'ieu no la vei, d'auzon!

EXPLANATION KO GIHAP:

"Can vei la lauzeta mover" is a troubadour song written by Bernart de Ventadorn. It expresses
the poet's longing and desire for his beloved, using the imagery of a lark in flight to symbolize
the effects of love on the heart. The poet's emotions are stirred by the beauty of nature, and
he yearns to see and hear the one he loves.

Chanson De Geste:

A "chanson de geste" is a type of epic poem or narrative song that was popular in medieval
French literature, particularly during the 11th to the 14th centuries. The term "chanson de
geste" translates to "song of deeds" or "song of actions" in English.

These epic poems were typically written in Old French and were characterized by several
key features:

 Heroic Themes: Chansons de geste often revolved around heroic deeds, battles, and
legendary figures. They typically featured noble knights and their adventures, often
centered on historical events or legendary tales.
 Oral Tradition: Many chansons de geste were originally part of an oral tradition, with
troubadours and minstrels reciting or singing these epic narratives at courts and
gatherings.
 Structured Versification: They followed a structured verse form with lines of varying
lengths and often featured a consistent rhyme scheme or pattern.
 Moral and Didactic Elements: Chansons de geste often conveyed moral and didactic
messages, emphasizing the values of chivalry, honor, loyalty, and religious piety.
 National and Cultural Identity: These epic poems were instrumental in shaping the
cultural identity of medieval France and played a role in fostering a sense of unity among
the people.

YAKNON KOLA ADI:

One of the most famous examples of a chanson de geste is the "Song of Roland" (La Chanson
 de Roland), which narrates the heroic deeds of Roland, a Frankish knight, and his companions
during the Battle of Roncevaux Pass. This epic poem is considered one of the masterpieces of
medieval French literature.

Here's an excerpt from "The Song of Roland" in its original Old French

La Chanson de Roland":

Carles li reis, nostre emperere magnes,

Set anz tuz pleins ad estet en Espaigne:
Tresqu'en la mer cunquist la tere altaigne.
N'i ad castel ki devant lui remaigne;
Mur ne citet n'i est remés a fraindre,
Fors Sarraguce, ki est en une muntaigne.
Li reis Marsilie la tient, ki Deu nen aimet.
Mahumet sert e Apollin recleimet:
Nes poet guarder que cil rois ne s'en seit.

Ars Nova ( new Art )

Ars Nova, which means "New Art" in Latin, was a musical and poetic movement that emerged in
the 14th century, primarily in France and Italy. This period marked a significant transition in
European music from the earlier Ars Antiqua (Old Art) style.

Here are some key aspects of the Ars Nova:

 Temporal Precision: One of the defining features of the Ars Nova was its emphasis on
temporal precision in rhythm and meter. Composers of this era introduced new rhythmic
notations, allowing for more complex and flexible rhythms.

 Isorhythm: Isorhythm was a compositional technique associated with Ars Nova. It

involved the repetition of a rhythmic pattern (known as the talea) throughout a section
of music, while the pitches and melodic elements varied.
 Polyphony: The Ars Nova period saw further developments in polyphony (the
combination of multiple independent voices). Composers explored intricate and
 expressive polyphonic textures.

 Secular Music: While sacred music continued to be important, there was a notable
increase in secular music during the Ars Nova. Love songs and other secular themes
became more prominent in compositions.

 Machaut: Guillaume de Machaut, a French composer, poet, and cleric, is one of the
most famous figures associated with the Ars Nova. His works, including the "Messe de
Nostre Dame," are considered among the masterpieces of this era.

 Italy and France: The Ars Nova movement had significant influence in both France and
Italy, but there were stylistic differences between the two regions. French composers
often used isorhythm and complex rhythms, while Italian composers focused on clear
melodic lines and expressive harmonies.

“In Arboris” is one of the example of the Ars Nova (New Art), "In arboris" is a motet composed
by Philippe de Vitry, a significant figure in the Ars Nova musical style of the 14th century. The
term "motet" refers to a polyphonic vocal composition with intricate harmonies and textural
complexity. "In arboris" exemplifies the Ars Nova's hallmark of complex rhythms and
isorhythmic techniques, showcasing Philippe de Vitry's innovative contributions to medieval
music.