13th century - Organum and secular music Flashcards
Conductus
Newly-composed settings of non-liturgical texts in Latin in one to four parts. Regular poetry = regular phrase length - strophic music
(Perotin, Beata Viscera)
(flourished c. 1200)
Conductus performance
isosyllabic (each syllable is approximately equal)
modal (rhythmic modes from clausulae are imposed)
Notre Dame Cathedral authorized
1160
Johannes de Garlandia
De musica mensurabilii, 1240 - explained rhythmic modes
first to define musica ficta - used to avoid “the error of the third sound”
Leonin
1135 - 1201 - credited with the Magnus Liber Organi
Clausula
- a polyphonic section of chant in which all voices move at the same rate (even the tenor)
- normally in a melismatic section of the solo chant
- could be substituted
Rondellus / Stimmtausch
the exchange of motives or phrases between voices (think of the pes in “Sumer is icumen in”)
Perotin
(fl. 1190 - 1225)
- updated and improved many clausulae in the MLO
- three surviving organa quadrupla: Viderunt Omnes, Sederunt Principes, Mors - Christus Resurgens
Viderunt Omnes / Sederunt Principes
1198 - Gradual for 1 January
/
1199 - Gradual for St. Stephen’s Day
Rhythmic modes
I - Long short II - Short long III - Loong short long IV - Short long loong V - Loong loong loong VI - Short short short
Franco of Cologne
Ars cantus mensurabilis (c.1260) - created different note shapes - the double long, long, breve, and semibreve
(no binary time division)
Motet origin
created when a literary trope (add. words) was added to the duplum of a clausula
Motet after 1250
three-voice polytextual motet, came to replace conductus
Choirbook notation
Duplum and triplum side to side, tenor on bottom of page
Franconian motet
Very text-y, rhythmically active triplum - each melodic line in a different rhythmic mode
(Pucelete - je languis - Domino)
Petrus de Cruce
(fl. c. 1270 - 1300)
Introduced more breve divisions - (four to seven semibreves per breve) - used dots of division to group semibreves - “Petronian” motets with very rapid triplum
Sumer is icumen in
- Manuscript Harley 978
- Rota superimposed over a rondellus pes
- c.1250
Hildegard von Bingen
(1098 - 1179) - Abbes of Rupertsberg
Goliards
Rejects of religious life, responsible for the “Carmina Burana”
Troubadors / Trouvéres
Southern France / northern France
Formes fixes
Late thirteenth-century literary forms: Ballade, rondeau, virelai
Kalenda Maya
Raimbaut de Vaquieras - a troubador dansa, dance song
Rondeaux
ABaAabAB
- Prendes i garde
Ballade
- A l’entrada del tens clar
- aabC
Adam de la Halle
(Born c.1245) - greatest of the trouvéres - wrote Le jeu de Robin et de Marion and Dieus soit, a ballade
Squarcalupi Codex
Manuscript source of 14th century Italian polyphony
(Medieval) madrigal
From matricalis-mother tongue
Italian polyphonic musical form
Jacobo da Bologna - Non al suo amante, Fenice fu
Caccia
Italian polyphonic form - two-voice unison canon
Tosto che l’alba - from Squarcalupi codex
Francesco Landini
Italian poet-composer, famous for his ballate
Si dolce non sono
Landini cadence
English “carol”
Strophic dance song with a ‘burden’ at the beginning and end of each stanza
Salva, sancta parens
Laude spirituali
Songs of wandering penitents - strophic, with refrains
Nonliturgical sacred monophony
Gloria ‘n Cielo
Golden age of Minnesänger
1180 - 1230
Tannhäuser and Wolfram von Eschenbach - song contest at Wartburg in 1207
St. Godric
(D. 1170) Saxon hermit, responsible for the earliest surviving vernacular English songs
Crist and Sainte Marie
Palästinlied
Walther von der Vogelweide
Early example of bar form
Cantigas de Santa Maria
Prepared c. 1250-80
Galician-Portuguese medieval music
Magna Carta
1215 - Runnymede, London
63 demands for King John
Origins of “Habeas corpus”, fair trial, private property
