MUSIC In Tune Secondary Hi stor y of Mu s i c This book is a collective work, conceived, designed and created by the Editorial department at Santillana, under the supervision of Teresa Grence Ruiz. The following team has collaborated in this material: Writer María Larumbe Martín Editor Juan José Castro Díaz Project editor Eva Herrero González Managing editor Mercedes Rubio Cordovés Do not write in this book. Do all the activities in your notebook.
➔ Express yourself and develop your creativity through the performance of vocal and instrumental pieces of music, accompaniments and dances; and improvising, creating and collaborating with your classmates on producing different types of artistic products. ➔ Use the backing tracks specifically designed for each activity. ➔ Inspire yourself with the provided video and audio materials. ➔ Enjoy a carefully selected, varied and enriching musical repertoire. ESSENTIAL KNOWLEDGE 1. The Middle Ages 2. Rhythmic modes and modal scales 3. Medieval musical textures 4. Types of music 5. Liturgical music 6. Secular vocal music 7. Instrumental music 8. Music in al-Andalus CONNECT WITH REALITY What were the main artistic styles in the Middle Ages? Do you know any literary works from this period? Do you know how music was written down in the Middle Ages? What do you think the music was like in medieval churches? And in villages and cities? Which instruments can you identify in the picture? What instrument family and type do they belong to? 1 The Middle Ages ES0000000151531 228847_UNIDAD_01_112314.indd 7 20/1/22 13:32 2. New textures 3. PERFORM Da Pacem Domine by Melchior Frank. Then answer. ™ ™ ™ ™ ™ ™ Da pa - cem Do m i - ne, - da pa - cem Do m i - ne, - i n di - Da pa - cem Do m i - ne, - da pa - cem Do m i - - Da pa - cem Do m i - ne, - da ™ ™ ™ ™ ™ ™ e bus - nos t r i s. - Da pa cem Do m i - - - ne, nos t r i s. - 1. 2. ne, i n di - e - bus nos t r i s. - Da pa - cem Do-m i - bus, nos t r i s. - pa - cem Do-m i ne, - i n di - e - bus nos t r i s. - Da ne, i n di - - e bus. - 44 44 44 & # & # & # ∑ & # & # & # ˙ œ œ œ™ œJ ˙ Œ œ œ œ œ œ œ œ œ Ó ˙ œ œ œ™ œ j ˙ Œ œ œ œ œ œ Ó ˙ œ œ œ™ œJ ˙ Œ œ ˙ ˙ ˙ ˙ ˙ œ œ œ™ œJ ˙ ˙ ˙ w œ œ œ ˙ ˙ ˙ ˙ ˙ œ œ œ™œ j ˙ ˙ w œ œ œ œ œ œ œ ˙ ˙ ˙ ˙ ˙ œ œ œ ˙ w Andante D. C. ➔ How many voices are there? ➔ Do they all sing the same melody? ➔ Do they all start at the same time? 4. SAY which of the two pieces of music each person is speaking about . ➔ Taedet Animam Meam by Tomás Luis de Victoria . ➔ Flow my Tears by John Dowl and . 1. The early modern period 1. CHOOSE the terms that best describe this Renaissance pavane. instrumental percussion several voices vocal wind monophonic religious strings secular 2. FIND OUT about the Medici family. Then answer the questions. ➔ What was the Medici Bank? ➔ Name three of the artists they sponsored . The Modern period star ted with the fall of the Byzantine Empire, in 1453 , and ended with the French Revolution, in 1789 . During this time, there were many impor tant political, social and cultural changes. At the end of the Middle Ages, a new social class became more and more inf luential: the bourgeoisie, who lived in the ‘ bourgs’ (the new par ts of the city). The new class mainly consisted of merchants and ar tisans. The bourgeoisie, the nobility and the Church were all interested in the ar ts and the sciences. This is how the first patrons appeared; powerful people who suppor ted and financed the work of intellectuals and ar tists. It was in this context that both composers and performers were recognised as real artists for the first time. The Renaissance was an inf luential cultural movement that star ted in Italy and spread all over Europe dur ing the 15th and 16th centur ies . It was character ised by the belief in the human being as the centre of interest (anthropocentr ism), the use of reasoning as a basis for ever y thing, including ar t , and the ‘rebir th’ of the culture of classical antiquit y, with its ideal of beaut y. Ar tists ceased to use their works to praise God and star ted to see ar t as an end in itself. Four voices perform the melody simultaneously. A polyphonic instrument accompanies the main melody. All the voices sing the same words, with a ver y similar rhythm. A single voice performs the main melody. There is no instrumental accompaniment . Melody and harmony ➔ Melody refers to the way the notes are written horizontally on the score, meaning that the notes are performed one af ter the other. ➔ Harmony refers to the way the notes are written vertically, meaning that the notes are performed simultaneously. 31 ES0000000151531 228847_UNIDAD_02_112310.indd 31 20/1/22 13:39 15. PERFORM Come Again , Sweet Love by John Dowland. Com e a gain, - sw eet l ove dot h now i n - v i t e t hy grac - es t hat re - f rai n ™ ™ t o do m e due de l i ght , - t o see, t o hear, t o t ouch, t o k i ss, ™ ™ t o di e. W i t h t hee a - gai n i n sw eet - est - - sym pa t hy. 44 & # & # & # Œ œ™ œ ˙ Œ œ œ œ œ™ œJ ˙ Œ œ œ œ œ œ ˙ Œ œ œ œ œ™ œ j ˙ ‰ œ j œ ‰ œ j œ ‰ œ j œ ‰ œ j œ ‰ œ j ˙™ ˙ ‰ œJ œ œ œ ‰ œJ œ œ œ œ œ œ œ ˙ Andante D. C. 16. LISTEN to Mi lle Regret z by Josquin des Prez . Then answer. ➔ What l anguage is the piece in? ➔ Is it performed by one or more voices? Does it have instrumental accompaniment? What is its texture? ➔ What musical form does it have? 17. PERFORM this duet f rom the f irst bars of Mi lle Regret z by Josquin des Prez . M i l - l e re gret z - de vous a - ban - don ner. - Et M i l - l e re gret z - de vous a - ban - don ner. - Et ™ ™ ™ ™ d'es - l on ger, - et d'es - l on - ger vos - t re fa - che'a - m ou - reu se. - d'es - l on ger, - et d'es - l on ger - vos - t re fa - che'a - m ou - reu se. - 44 4 4 & & & & w ˙ ˙ ˙™ œ œ œ™ œ j ˙ œ œ œ œ œ œ ˙ Ó ˙ w ˙ ˙ w ∑ Œ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ œ œ#œ ˙ Ó ˙ ˙ ˙ œ œ#œ ˙ œ œ œ œ œ œ ˙ w ˙ ˙ w w ˙ ˙ ˙ ˙ ˙™ œ œ œ ˙ w Andante Secular vocal music in Spain In Spain , the main character istics of Renaissance secular vocal music were strong rhy thms , generally, a homorhy thmic homophony tex ture and words in the local language. Juan del Encina and Mateo Flecha ‘el Viejo’ were two of the best-known composers . These were the main Renaissance secular vocal forms: madrigal song chanson It originated in Italy, but soon became hugely successful all over Europe. It was written in the local language. It was sung by four or more voices, sometimes with instrumental accompaniment . It used imitative counterpoint or homorhythmic homophony. It was popular in England. It was written in the local language. It was sung by a single voice with instrumental accompaniment . It used melodydominated homophony. It had French origin. It was written in the local language and was generally syllabic. It was sung by several voices with instrumental accompaniment . It used imitative counterpoint or homorhythmic homophony. 14. SAY the correct order of the pieces. How do you know? Outstanding musicians The Italian composer Maddalena Casulana (1544-1590) was the f irst woman in the histor y of Western music to publish her compositions. In her f irst book of madrigals, she wrote about the role of women in music: ‘I want to show the world, as much as I can in this profession of music, the vain error that only men possess the gif ts of art and intellect , and that such gif ts are never given to women.’ The expressive melodies of her compositions were designed to be sung, and gave priority to the text . As well as composing, Casulana also sang and played the lute. J 'ay Bien Cause de Lamenter, chanson by Josquin des Prez Altri Canti d 'Amor, madrigal by Claudio Monteverdi Come Again , Sweet Love, song by John Dowland 38 I The Renaissance ES0000000151531 228847_UNIDAD_02_112310.indd 38 20/1/22 13:39 29. DANCE this pavane by an unknown composer. ➔ Starting position: Get into a line made up of several pairs, f acing forward . Each pair will hold hands as follows: the partner on the left with the palm of the right hand f acing upwards, and the partner on the right with their left hand pl aced on their partner's palm . ➔ Basic step: wal k forward to the duple beat of the music. Make each step with your toes f irst and then your heel . The sequence is four bars long. ➔ Do the following movements around the room with your partner. Each part l asts 8 bars and the whole sequence is performed twice. Take a step with your lef t foot and bring your right foot together. Take a step with your right foot and bring your lef t foot together. Take a step with your lef t foot and another with your right foot . Take a step with your lef t foot and bring your right foot together. 4 3 2 1 Part E (8 bars) Make up the steps for the last part! Part C (8 bars) All pairs turn clockwise to make the shape of a cross. Part A (8 bars) Bars 1-4: move forward in a straight line. Bars 5-8: move back to the starting position. Part D (8 bars) All pairs keep turning to return to the starting position (in a line). Part B (8 bars) Bars 1-4: each pair turns around clockwise. Bars 5-8: turn in the opposite direction. 46 I The Renaissance ES0000000151531 228847_UNIDAD_02_112310.indd 46 20/1/22 13:50 L E A R N I N G PAT H ➔ Reflect and discuss about your own personal experience related to the historical period covered in the unit, so that your learning process starts and becomes meaningful. ➔ Make connections. Exercise your mind to remember what you already know. Draw on the knowledge you have acquired in previous units or years, in other subjects or from your own experiences. 2 B U I L D U P YO U R K N OW L E D G E : ES S E N T I A L K N OW L E D G E STA R T I N G P O I N T: T H E L E A R N I N G S I T UAT I O N 1 ➔ Apply your previous musical knowledge with a practical activity before learning about a new topic that will require developing new musical skills and competences. ➔ Acquire essential knowledge from the clear and well-structured content. ➔ Go further and discover supplementary topics and the biographies of some composers of the period. P R ACT I S E YO U R S K I L L S : T H E CO R E S K I L L S 3 2 I Learning path
R E A D I N G A patron is someone who suppor ts and sponsors ar tists and intellectuals so that they can carr y out their works. Throughout histor y, monarchs, popes aristocrats, and other inf luential people have had a decisive role in the creation of European cultural heritage. Today, various types of public and private organisations act as patrons, but there are also more and more individuals making small contributions for different causes. In 1884 , France gave the Statue of Liber ty to the United States as a gif t to commemorate the centenar y of the Declaration of Independence. The statue was sailing to its destination, but there wasn' t enough money to build a pedestal to put it on. Then the newspaper The New York World asked for money to finance the pedestal, with the amount of money that each person could pay. In exchange, all the names of the donors would be published in the newspaper. In a little more than five months, enough money was collected, thanks to the 120,000 New Yorkers who donated money. 80% of them had paid less than one dollar. Over a centur y later, in 1998 , the Spanish group Extremoduro recorded the demo of their first record. They financed it by selling raff le tickets for 1,000 pesetas in exchange for a copy of the demo and a mention in the credits. And in 2003 , a musician and computer programmer from New York, called Brian Camelio, had an idea for an online crowdfunding initiative. He created it for ar tists that could only release their material by financing it themselves. And so Ar tistShare was born, a platform where musicians could ask for help to finance their projects. The launch of Ar tistShare made it possible to release Concert in the Garden, by the jazz composer Maria Schneider. Thanks to the suppor t of her fans, she was able to cover the costs of her new album before star ting to record it. It was a huge success and won a Grammy Award in 2005 . Many similar initiatives have appeared in recent years . One example is the platform K ickstar ter, which broke all records for crowdfunding in 2012 when the singer Amanda Palmer raised over a million dollars to record her album Theatre Is Evil. Journalists and producers were ver y sur pr ised and couldn' t understand how a punk musician could raise such a huge sum of money from people. Palmer gave a straight answer : ‘ I didn' t make them, I asked them. Through the ver y act of asking people, I connected with them.’ So it looks like today ever yone can become the patron of their favour ite ar tist . Patrons of the 21st century Key questions 1 What is a patron? What does ‘crowdfunding’ mean? 2 Have you ever participated in a crowdfunding project? Which artist would you like to f inance in their next piece of work, if you haven't done this yet? 50 I The Renaissance ES0000000151531 228847_UNIDAD_02_112310.indd 50 20/1/22 13:45 O R G A N I S E YO U R I D E AS T Y P E S O F R E N A I S S A N C E MU S I C Vo c a l 29. DANCE this pavane by an unknown composer. ➔ Starting position: Get into a line made up of several pairs, f acing forward . Each pair will hold hands as follows: the partner on the left with the palm of the right hand f acing upwards, and the partner on the right with their left hand pl aced on their partner's palm . ➔ Basic step: wal k forward to the duple beat of the music. Make each step with your toes f irst and then your heel . The sequence is four bars long. ➔ Do the following movements around the room with your partner. Each part l asts 8 bars and the whole sequence is performed twice. T E XT U R E S FO R S E V E R A L VO I C E S Formed by several independent melodic lines that imitate each other, starting one af ter the other. Imitative counterpoìnt Formed by several similar melodic lines that move simultaneously, sharing the same words and a similar or identical rhythm (homorhythm). A main melodic line can be identif ied clearly against a harmonic accompaniment . Po ly p h o n y H o m o r h y t h m i c h o m o p h o n y M e l o d y- d o m i n a t e d h o m o p h o n y Take a step with your lef t foot and bring your right foot together. Motet : more than three voices, which sing the same biblical text in Latin. Mass: formed by several pieces of music based on liturgical texts in Latin. Chorale: words in the local language, linked to the Protestant liturgy, and with a homorhythmic homophony texture. Religious forms Instruments Monophonic: such as the recorder and the sackbut . Polyphonic: such as the harpsichord, the clavichord, the viol , the vihuela and the lute. Madrigal : in the local language and sung by four or more voices. It originated in Italy. Romance: based on popular poetic ballads and consisting of four stanzas. It comes f rom Spain. Song: in the local language and sung by one voice with instrumental accompaniment . It was popular in England. Vi llancico: of traditional origin, the text has a ref rain-stanza-ref rain structure. It was developed in Spain. Chan son : in the local language and sung by several voices. With homorhythmic homophony texture and instrumental accompaniment . It was popular in France. En sa lada: a combination of different secular vocal forms, languages and textures. It also comes f rom Spain Secular forms I n s t r u m e n t a l Instrumental forms Based on vocal music, such as the tiento. Based on improvisation, such as the toccata. With theme and variations structure, such as the diferencia s. 47 ES0000000151531 228847_UNIDAD_02_112310.indd 47 20/1/22 13:43 C H EC K YO U R P R O G R E S S 1 Copy and complete. The Modern period l asted f rom the year to the year . In this period a new social cl ass became more and more inf luential : the . This new social cl ass, the nobility and the Church were all interested in the , and the sciences . This is how the f irst appeared . The was a cultural movement that spread all over Europe during the and centuries . It was characterised by a belief in the as the centre of interest , the use of as a basis for everything , including art , and by the ‘rebirth’ of the culture of antiquity. 2 Answer the questions in your notebook. a. What is the difference between melody and harmony? b. Which musical textures were used the most during the Renaissance? c. What is imitative counterpoint? d. What is homorhythmic homophony? e. What is homorhythm? f. What do polyphony, homorhythmic homophony and melody-dominated homophony have in common? 3 Def ine melody-dominated homophony and represent it with a drawing. 4 Copy the scores and write the correct terms and def initions next to them. 44 & b œ™ œ j œ œ ˙ Ó main melodic line 44 & b ˙˙˙ œœœ™ ™ ™ œJ œœ™ ™ œJ ˙˙ harmonic accompaniment Notes that are played simultaneously. Notes that are played one af ter the other. 5 Look at the score and answer the questions. 44 44 & & ˙˙ ˙ ˙ œœœœ œ œ Ó ˙ ˙ œœœœ ˙ Ó Ó ˙ ˙ ˙ œœœœ œœ Ó ˙ ˙ ˙ œœœœ˙ a. How many musical phrases does the f irst voice have? And the second voice? b. Does it have the texture of a canon? Why? c. How is its texture different f rom that of melody-dominated homophony? d. Draw the texture of the excerpt . 6 Look at the score and answer the questions. 44 44 44 & b & b & b ˙™ œ ˙ ˙ œ œ œ œ ˙ ˙ ˙™ œ ˙ ˙ œ œ œ œ ˙ ˙ ˙™ œ ˙ ˙ œ œ œ œ ˙ ˙ ‹ a. Do all the voices have a similar melodic line? And the same rhythm? b. What texture does the piece have? Draw it . c. How is it different f rom imitative counterpoint? d. In the second bar, why is there a tie and not a dot? 7 Find the odd one out and explain why. a. Monophony, Gregorian chant , homorhythmic homophony, plainsong. b. Imitative counterpoint , canon, polyphony, unison. c. Rhythmic modes, melody-dominated homophony, harmony, homorhythm. 48 I The Renaissance ES0000000151531 228847_UNIDAD_02_112310.indd 48 20/1/22 13:44 Appendix ES0000000151531 228847_FINALES_112312.indd 137 20/1/22 15:22 ➔ Organise your ideas and make sure that you have learnt the essential knowledge with the help of the concept maps which include the main contents of the unit. ➔ Check and apply what you have learnt through the numerous activities included in this material. ➔ Assess your learning process and be aware of what you have learnt and the way you have built this knowledge. SA B E R ES BÁS I CO S ➔ Critical thinking. Analyse a news article and answer the questions that will help you to think about and show your reasoning. Make connections between music and other subject areas and share your knowledge. ➔ Don't stop now! Find the terms that you can't remember in the glossary, check the recorder fingering chart and the basic chords on the guitar and the keyboard to perform the suggested pieces of music. 4 R E I N FO R C E YO U R K N OW L E D G E : CH EC K YO U R P R O G R ES S 5 R E F L EC T A N D R ES E A R CH 6 G O F U R T H E R ➔ Check the LibroMedia and discover all the videos, audio recordings and multimedia materials associated with this book. 7 A N D T H E R E ' S M O R E . . . 3
UNIT • • Musical textures II: imitative counterpoint , homorhythmic homophony and melody-dominated homophony. • • Analysis of a scene f rom the f ilm Shakespeare in Love (1998). • • Active listening to O Sacrum Convivium!, C. de Morales. • • Active listening to Stabat Mater, G. P. da Palestrina. • • Performance of Da Pacem Domine, M. Frank. • • Performance of Más Vale Trocar, J. del Encina. • • Performance of Come Again , Sweet Love, J. Dowland. • • Performance of Mille Regret z, J. des Prez. • • Performance of the Allegro pastorale f rom Spring f rom The Four Seasons, A. Vivaldi. • • Making an instrument to accompany the Allegro f rom Spring f rom The Four Seasons, A. Vivaldi. • • Performance of Une Jeune Fillette, J. Chardevoine, and creation of lyrics for its melody. • • Alberti bass. • • Sonata form. • • Active listening to the Allegro f rom Piano Sonata No. 16, W. A. Mozart . • • Active listening to the Molto allegro f rom Symphony No. 40, W. A. Mozart . • • Analysis of an excerpt f rom the f ilm Amadeus (1984). • • Active listening to the Passa Calle f rom Musica Nott urna delle St rade di Madrid, L. Boccherini. • • Performance of the Andante f rom Symphony No. 94 ‘The Surpri se Symphony ’, J. Haydn. • • Creation of an Alberti bass accompaniment for the melody provided. • • Creation of a rondo f rom the excerpts provided. • • Tonality and modality: relative scales. • • Simple and compound metres. • • The triplet . • • Active listening to Largo al Factot um f rom The Barber of Seville, G. Rossini. • • Analysis of a scene f rom the f ilm La Bohème (2008). • • Active listening to Ständchen f rom Schwanengesang, F. Schubert . • • Active listening to the Moderato f rom Caprice Basque, P. Sarasate. • • Analysis of Dance of t he Litt le Swans, a scene f rom the ballet Swan Lake, P. I. Tchaikovsky. • • Performance of Barcarolle f rom The Tales of Hoffmann, J. Offenbach. • • Performance of Va , Pensiero f rom Nabucco, G. Verdi. • • Creation of an audiovisual presentation about a piece of programme music. • • Performance of Largo al Factot um f rom The Barber of Seville, G. Rossini. • • Consonance and dissonance. • • The chromatic scale or twelve-tone scale. • • Mixed metres. • • Active listening to Le Merle Noir, O. Messiaen. • • Analysis and comparison of two pieces of choreography for The Rite of Spring, I. Stravinsky. • • Creation of a melody with a pentatonic scale and another with the chromatic scale. • • Creation of a graphic score for Art ikulat ion, G. Ligeti. • • Performance of Gymnopédie No. 2, E. Satie. • • Creation of an Expressionist melody following the guidelines given. 5 The Romantic period 95 4 The Classical period 73 3 The Baroque period 51 2 The Renaissance 29 1 The Middle Ages 7 • • Musical textures I: monophony and polyphony. • • Analysis of a scene f rom the f ilm The Name of t he Rose (1986). • • Comparing Gregorian chant and secular vocal monophony. • • Creation of different types of polyphonic texture. • • Creation of a Gregorian-style piece of music. • • Performance of Ut Queant Laxi s, G. d'Arezzo. • • Performance of Tant M ’Abeli s, B. de Palou. Listening and perception ES SEN T I A L K N OWL ED GE • • Scale degrees and their functions: tonic and dominant . • • Antecedent and consequent musical phrases. • • Antecedent and consequent cadences. • • Musical ornaments: appoggiatura, trill and mordent . • • Analysis of a scene f rom the f ilm All t he Mornings of t he World (1991). • • Active listening to the Largo - allegro from the Concerto Grosso in D Major No. 1, A. Corelli. • • Glossar y of musical terms. • • Recorder f ingering chart . • • Chords on the guitar. • • Chords on the keyboard. Performance, improvisation and APPENDIX 137 6 The 20th century 117 4 I Contents
Contexts and cultures • • Performance of Como Poden per sas Culpas f rom the Cant igas de Santa María, anonymous. • • Creation of a present-day chanson de geste. • • Performance of Morenica, anonymous Sephardic song. • • Medieval rhythmic modes. • • Medieval modal scales. • • Plainsong or Gregorian chant and liturgical polyphony. • • Medieval notation. • • Secular monophony. • • Instrumental music. • • Music in al-Andalus. • • Reading The stolen codex, about the Codex Calixt inus. • • Religious vocal music: mass, motet and chorale. • • Secular vocal music: madrigal , song, chanson, romance, villancico and ensalada. • • Instruments and instrumental forms: tiento, toccata and diferencias. • • Court dances. • • Reading Pat rons of t he 2 1st cent ur y about crowdfunding. • • Performance of Tres Morillas me Enamoran en Jaén f rom the Cancionero de Palacio, anonymous. • • Creation of a rhythm to accompany a galliard. • • Performance of a pavane dance and creation of choreography for one of its parts. • • Basso continuo. • • The Baroque orchestra and instruments. • • Instrumental forms: fugue, sonata, concerto (grosso and a solo) and suite. • • Opera seria and opera buffa. • • Religious vocal music: mass, motet , cantata, oratorio and passion. • • Baroque dance and ballet . • • Reading An unforgettable concert about the revival of the work of J. S. Bach. • • Performance of Fugue in C Major, BWV 564, J. S. Bach. • • Performance of Sarabande, G. F. Händel . • • Performance of the Overt ure f rom L' Orfeo, C. Monteverdi. • • Accompaniment with body-percussion ostinatos to the chaconne f rom Le Bourgeoi s Gent ilhomme, J.-B. Lully. • • Classical orchestra and instruments. • • Small instrumental forms: theme and variations, minuet and rondo. • • Great instrumental forms: sonata, symphony, concerto, quartet , etc. • • The reform of the opera. • • Religious vocal music: the requiem. • • Classical dance. • • The Classical period in Spain. • • Reading Beet hoven 's hair, exploring the causes of the death of L. van Beethoven. • • Making a programme for a concert . • • Performance of Non Più Andrai f rom The Marriage of Figaro, W. A. Mozart . • • The instruments and the symphony orchestra of the Romantic period. • • Compositions for piano, symphonic music and programme music. • • Opera, zarzuela and lied. • • Musical nationalism. • • Romantic dance and ballet . • • Reading Music for friends about F. Schubert's musical meetings. • • Performance of Coro de Románt icos f rom Doña Franci squita, A. Vives. • • Performance of the Walt z f rom The Sleeping Beaut y, P. I. Tchaikovsky. • • Performance of the Radet zk y March, J. Strauss I. • • Musical movements of the 20th centur y. • • New ways of representing music: the graphic score. • • Instruments of the 20th centur y. • • 20th-centur y music in Spain: nationalism, the Generación del 27 and the Generación del 51. • • 20th-centur y ballet and contemporar y dance. • • Reading Different Trains about S. Reich’s process when composing this piece. • • Performance of Bolero, M. Ravel . • • Performance of the Ballad of Mack t he Knife f rom The Threepenny Opera, K. Weill , adapted by M. Blitzstein. • • Digital editing of an audio f ile. • • Percussion accompaniment for Sacromonte f rom Cinco Danzas Gitanas, J. Turina. theatrical creation 5
ESSENTIAL KNOWLEDGE 1. The Middle Ages 2. Rhythmic modes and modal scales 3. Medieval musical textures 4. Types of music 5. Liturgical music 6. Secular vocal music 7. Instrumental music 8. Music in al-Andalus CONNECT WITH REALITY What were the main artistic styles in the Middle Ages? Do you know any literary works from this period? Do you know how music was written down in the Middle Ages? What do you think the music was like in medieval churches? And in villages and cities? Which instruments can you identify in the picture? What instrument family and type do they belong to? 1 The Middle Ages
During the Middle Ages, spirituality was more important to the arts than beauty. Artists thought of their creations as divine offerings to God, and their main objective was to spread the Christian faith and to demonstrate the authority of the Church. 1. The Middle Ages 1. SAY the role of these social groups in this period. clergy nobility common people 2. EXPLAIN the differences between these pieces of music. Which one of them do you think is medieval? Why? ➔ Adorate Deum, anonymous. ➔ Nocturne No. 3 by Frédéric Chopin. The fall of the Western Roman Empire in 476 marks the star t of the Middle Ages . The fall of the Byzantine Empire in 1 453 marks the end , although some scholars ex tend it until the ar r ival of Columbus in Amer ica in 1 492 . At this time, Christianity was the main unif y ing element of the Western world , and it had a decisive inf luence on social , scientific and ar tistic development . The year 105 4 saw the East–West Schism, which div ided Chr istians between the Catholic and the Or thodox Church. The Roman Catholic Church was , together with the nobilit y, the most impor tant institution in Europe. The monasteries and cathedrals had schools that taught the monks to read and wr ite, so that they could copy the manuscr ipts of the great authors on all t y pes of subjects . In the 11th centur y, universities star ted to appear. Medieval art ➔ Early in the Middle Ages, Romanesque art (11th and 12th centuries) emerged. It had a sober style and subject matter. ➔ Later, Gothic art (from the 13th to the 16th century) was developed. It was more elaborate and ornate. They ruled and defended the territor y. They worked in agriculture, livestock farming, craf ts, trades and commerce. They guided people in spiritual matters. 8 I The Middle Ages
2. Rhythmic modes and modal scales Rhythmic modes 3. WRITE DOWN all the combinations of minims and crotchets that f it in a triple metre bar and in a quadruple metre bar. 4. CARRY OUT a rhythmic dictation in pairs, using the combinations of note values f rom the previous activity. At the beginning of the Middle Ages , religious texts were sung in free time, but at the end of the 12th centur y rhy thmic modes began to be used. These are rhy thmic patterns based on a combination of long and shor t sounds. There were six different patterns , but the main ones were: trochee iamb dactyl h q q h q q h 5. PERFORM this score. Which rhythmic mode is it written in? 44 & ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ Ó Modal scales In the Middle Ages , modal scales were used , which are different to the scales that we use today. 6. SAY which of these pieces of music uses a modal scale. ➔ Domine, Audivi, anonymous. ➔ Für Eli se by Ludwig van Beethoven. There were eight modal scales in total. Each scale was determined by the note that star ted and ended a melody (final note) and the dominant note that organised the melody (tenor note). 7. MAKE UP a melody using iamb rhythm and the scale in Dorian mode. f i n a l n o t e t e n o r n o t e & w w w w w w w w Medieval modal scales A scale is a series of notes organised in ascending or descending order that is used to compose music. The main medieval rhythmic modes were Dorian, Phrygian, Lydian and Mixolydian. We still use them today in musical improvisation. 9
3. Medieval musical textures 8. EXPLAIN whether there is one or more melodic lines in these pieces. ➔ Viderunt Omnes by Léonin. ➔ Lux Aeterna, anonymous. The musical texture is the way the different melodic lines are combined in a composition. Each of the melodic lines , also called voices , can be per formed by a single voice or instr ument , or by several at once (in unison). In the Middle Ages there were two main t y pes of musical tex ture: monophony polyphony It consists of a single voice. It's performed by a single musician (singer or instrumentalist) or by several in unison. It consists of several voices, independent of each other, that perform in unison. It's performed by several musicians or by a polyphonic instrument (one that can play several notes at once and, therefore, several melodic lines). 9. SAY which drawing represents a monophony and which one a polyphony. 1 2 The first medieval polyphonic textures were ver y simple, but they became more complex over time and the different voices became more independent . 10. CREATE and perform different types of polyphonic texture. 43 & ˙ œ ˙ œ ˙ œ ˙ Œ ˙ œ ˙ œ ˙ œ ˙™ ➔ Add another voice, using only the note La or A and dotted minims tied together. ➔ Add another voice that starts with the note Fa or F and moves in parallel with the f irst voice. ➔ Add another voice that begins with the note La or A and moves in the opposite direction to the f irst voice (in contrar y motion). Remember The distance between two notes is called the interval. We measure inter vals in tones and half-tones, also called semitones. Rhythmic instruments can only play rhythms; melodic or monophonic instruments can play melodies, and harmonic or polyphonic instruments can play several different melodies at the same time. 10 I The Middle Ages
These were the main t y pes of medieval poly phonic tex ture: drone parallel motion contrary motion This is the most complex polyphonic texture. The voices move in contrar y motion, or in the opposite direction to each other. This is the simplest polyphonic texture. One voice moves and the other (called the drone) remains static. In this type of polyphonic texture, the voices move in parallel motion, always keeping the same inter val between them. 44 44 & & ˙ œ œ ˙ œ œ ˙ Ó w w ˙ Ó 44 44 & & ˙ œ œ ˙ œ œ ˙ Ó ˙ œ œ ˙ œ œ ˙ Ó 44 44 & & ˙ œ œ ˙ œ œ ˙ Ó ˙ œ œ ˙ œ œ ˙ Ó 1 1. IDENTIFY the texture of the scores that you created in the previous activity. ➔ Draw a coloured line that joins the noteheads of the top voice. ➔ Use other colours to join the noteheads of the lower voices. ➔ What type of polyphonic texture does each score have? 12. SAY which of the drawings correspond to these anonymous pieces of music. ➔ Rex Caeli , Domine Mari s. ➔ Sol Oritur Occasus Nescius. ➔ Kyrie: Orbi s Factor. A C B 11
4. Types of music 13. READ this medieval text and choose the most appropriate words to def ine the type of music it describes. spiritual simple unpleasant complex earthly pleasant ‘Musicians must work hard to perfect the beauty of their God-given gift and to embellish it with humility, purity, sobriety and all the other holy virtues . Their music must help the f aithf ul to remember the teachings and elevate people's spirits to heavenly love, not just with the words of their melodies, but with the sweetness of their sounds .’ Adapted f rom De Cantoribus, Synod of Aachen (816) . In the Middle Ages there were two t y pes of music, according to their function: Liturgical music Secular music It was vocal , without any type of instrumental accompaniment (a cappella). It was created to support the religious message of the text . It was performed within the Church. It was vocal and instrumental . It was created to dance to, to entertain people, or to tell stories of love and the heroes of the time. It was performed in the castles and public spaces of towns and cities. Liturgy It's the way in which ceremonies are performed in a particular religion. In the Christian liturgy, music was a fundamental element . 12 I The Middle Ages
5. Liturgical music Liturgical music was conceived as sung prayers . It evolved throughout the Middle Ages , from simple songs with a monophonic tex ture to increasingly complex poly phony. Plainsong 14. LISTEN to the introit f rom In Nomine Domini, anonymous. Then answer. ➔ Who sings it : a soloist , a choir, a choir and a soloist , or two choirs? ➔ What type of voice sings it : male, female or a child 's voice? ➔ Is it performed with an instrumental accompaniment or a cappella? ➔ What l anguage is it sung in? ➔ Can you recognise the metre of the music? Liturgical vocal music in the Catholic Church is called plainsong because it consists of a f lat melodic line, without great var iations . It's also known as Gregorian chant. Its main character istics are: It was anonymously created . It has a monophonic tex ture, without instr umental accompaniment . It's based on modal scales . It's in free time. It's wr it ten in Latin. It's composed to suppor t a liturgical tex t . It's sung by monks. It's per formed in several ways: by a soloist , by a choir, by a soloist and a choir in alternation , or by two choirs in alternation. 15. CREATE a Gregorian-style piece of music f rom this melody. & , & , œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ , , ➔ Make up the lyrics: each syll a ble must coincide with a note, and the verses (separated by breathing marks) must have eight syll a bles . ➔ Perform your creation as a group, in one of the following ways: Gregor y the Great was the pope of the Catholic Church between 590 and 604. During his papacy, he organised the compilation of the early Christian chants and contributed to the development of plainsong. This was called Gregorian chant in his honour. a choir in unison 1 a soloist and a choir in alternation 2 two choirs in alternation 3 13
The beginnings of musical notation 16. SAY which of these two types of medieval writing you think is the most accurate. To make sure that plainsong was per formed in a similar way in all places , it was necessar y to wr ite it down. Thus , between the 9th and 13th centur ies , neumatic notation was born. This system of musical notation used a ser ies of symbols , called neumes , that were wr it ten on top of the words to show the changes in pitch of the voice. (The rhy thm was not specified , since it was in free time.) Later, in the 12th centur y, square notation appeared . Its name came from the shape of the head of the neumes , which were wr it ten on a four-line stave to show the pitch of the notes . 17. COMPARE the square notation score of the hymn Ut Queant Laxi s with its modern notation version. Then perform the latter version. Ut que-ant la-xis re-so-ná-re fi-bris mi-ra sol-ve pol-lú-ti, ges-tó-rum fá-mu-li tu-ó-rum, lá-bi-i re-á-tum, sanc-te Io-án-nes. Ut que-ant la-xis re-so-ná-re fi-bris mi-ra sol-ve pol-lú-ti, ges-tó-rum fá-mu-li tu-ó-rum, lá-bi-i re-á-tum, sanc-te Io-án-nes. 1 1 2 Ut que -ant l a x i s, - re -so-ná- re br i s, - m i - ra ges- tó rum , - fá - m u - l i t u-ó rum , - sol - ve pol- l ú-t i , l á - bi - i re - á t um , - sanc t e I o - án nes. - & & œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 Ut que -a t l i , - r - -n - r r i , - i - r - t r , - f - - l i t - r , - l - l- l -t i , l - i - i r - t , - t I - . - & & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Outstanding musicians Guido d'Arezzo (992-1050) was a monk and music teacher born in Arezzo (Italy). He is known for creating the four-line stave and giving the musical notes the names that we still use today. To do this, he used a hymn called Ut Queant Laxi s. However, he didn't take into account the note Si or B, as it was thought that this note belonged to the devil , and gave the name ‘Ut’ to the note that we now call Do or C. He also invented the ‘Guidonian hand’ to help his students to learn music, in which each part of the hand represents a note. 14 I The Middle Ages
Styles of plainsong 18. SAY whether the voices in these three anonymous pieces perform one, several or many notes per syllable. ➔ Adorabo. ➔ Christie Redemptor. ➔ Benedicamus Patrem . Depending on the relationship between the notes of the melody and the syllables of the tex t , Gregor ian chant was classified into different st yles: syllabic one note per syllable Gló - ri - - - - a in ex cél sis De o. neumatic a small group of notes per syllable Vi-dé ___ _ _ __ -runt óm-nes fí - nes tér - rae. melismatic a lot of notes per syllable Al le lu ________________ - - _ - ia. 19. SAY what type of voice performs the Symphonia Armoniae Celestium Revelationum by Hildegard von Bingen. What differences do you notice f rom the plainsong in the previous examples? 20. EXPLAIN which musical elements have been added to the Gregorian chant in Sadness by Enigma. Then create a rhythmic accompaniment . The abbesses and nuns of the medieval convents were also composers and performers of plainsong. However, during long periods of histor y, women have been prohibited f rom participating in the liturgy. This makes it harder for us to know the real role women played in the histor y of liturgical music. Outstanding musicians Hildegard von Bingen (1098-1179) was a German nun, writer, scientist and composer. From an early age, she experienced mystic visions and she said that these visions were accompanied by music. Bingen believed that singing was a manifestation of the divine spirit of humanity. She composed several liturgical pieces of music, grouped together in the Symphonia Armoniae Celestium Revelationum, and the f irst sur viving liturgical musical drama. Her creations were written for female voices. New Age music aims to transmit calm and optimism. Just like in Gregorian chant , the melody is usually long and rather linear. This is why some New Age styles use melodies f rom the Gregorian repertoire, or with the same characteristics, combined with a rhythmic base to make music that is relaxing and evocative. 15
Vocal polyphony In the 9th centur y, a second voice was added to plainsong and poly phony was born. This new musical tex ture became more and more complex , and reached its peak dur ing the Renaissance. 21. LISTEN to the Kyrie from Messe de Notre Dame by Guillaume de Machaut . How many melodic lines can you hear? Do they start at the same time? These were the main medieval liturgical poly phonic forms: 22. SAY which of these pieces is an organum and which is a di scantus. ➔ Rex Caeli , Domine Maris. ➔ Sol Oritur Occasus Nescius. In order to express the rhy thmic r ichness of the more complex poly phony accurately, a new notation system was needed . Mensural notation star ted to be used at the end of the 13th centur y. This included the first symbols related to metre and distinguished different note values depending on the duration of the note. organum discantus conductus This was the earliest form. A second, parallel voice was added to a Gregorian melody (the main voice). A second voice that moved in contrar y motion was added to the Gregorian melody. This was a new composition in the syllabic style for two to four voices. The same text was sung by all the voices, with a strong rhythm. It was performed in processions. 16 I The Middle Ages
23. LOOK at these two scores. Then answer the questions. ➔ In what kind of notation is the f irst score written: square or mensural? ➔ What dif ferences do you see between the two? ➔ Is there any simil arity between the rhythmic note values of the second score and the notation we use today? 24. WATCH a scene f rom the f ilm The Name of t he Rose. Then answer the questions. ➔ Describe the song of the wal kers in the f irst scene. a . Monophonic / polyphonic texture. b. Performed by female / male voices . c. Performed by a single voice / multiple voices in unison . d . With instrumental accompaniment / a cappella . ➔ In the second scene, f riar William and his apprentice are looking for the librarian's assistant . Look up the meaning of the terms scriptorium, manuscript, copyist, scribe or amanuensis, and miniature or illumination. ➔ In the l ast scene, f riar William and Adso retire to a pl ace where the monks of the a bbey are singing. Answer the questions . a . How many melodic lines does the song consist of ? b. Is it sung by a soloist , by a chorus in unison , or by both in alternation? c. Is it in f ree time? d . What l anguage is it sung in? e. Does it have instrumental accompaniment? f . Is it a syll a bic, neumatic or melismatic style? g. What does the book on the music stand contain? 1 2 17
6. Secular vocal music 25. COMPLETE two information cards like these and compare them. Secular monophony appeared in around the 9th centur y, but as it was generally passed on orally, there are hardly any records of it . Its main character istics are: Its composer is known. It has a monophonic tex ture, but with instr umental accompaniment . It uses modal scales and rhy thmic modes . It's written in the local language. It's designed for enter tainment, with secular themes (about love or histor y) or religious themes ( but not linked to liturgy). It was per formed by minstrels in public spaces and troubadours in palaces . 26. LISTEN to A Chantar by Beatriz de Día. Then f ind out information about the piece and its composer, and answer the questions. ➔ When and where was Beatriz de Dia born? ➔ What nickname was she known by? ➔ What kind of music did she compose: religious or secul ar? ➔ Why is this piece relevant? GREGORIAN CHANT Title: Adorate Deum . Composer: anonymous . Type of music: liturgical . ➔ Vocal and /or instrumental : ➔ Texture and accompaniment (yes/no) : ➔ Modal scale (yes/no) : ➔ In Latin (yes/no) : ➔ Subject : ➔ Function : ➔ Where it was performed : SECUL AR VOCAL MONOPHONY Title: Can Vei la Lauzeta Mover. Composer: Bernart de Ventadorn . Type of music: secul ar. ➔ Vocal and /or instrumental : ➔ Texture and accompaniment (yes/no) : ➔ Modal scale (yes/no) : ➔ In Latin (yes/no) : ➔ Subject : ➔ Function : ➔ Where it was performed : 18 I The Middle Ages
Troubadours Troubadours were musicians who belonged to royal cour ts in palaces . Sometimes they were the nobles or monarchs themselves , with an excellent literar y and musical education. They per formed their own compositions , accompanied by str ing or wind instr uments . 27. PERFORM Tant M 'Abeli s by Berenguer de Palou. Tant m ’a - be - l i s j oys et a - m ors et chans et a - l e - gr i - er, de por t - Moderato e cor - t e - z i a, que l m on non a r i - cor ni m a - nen - t i a don m i e lhs d'ai s - som t en - gues per be - na nans; - dons, sai hi eu ben que m i dons t en l as c l aus de t ot z l os bens qu -' i eu a - t en ni es per, ™ ™ e ren d'ai - so sens l i eys non puesc a ver. - non puesc a ver. - 1. 2. 44 & b & b & b & b & b ∑ ∑ œ œ œ œ œ œ œ œ œ œ œ ‰ œ j œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ j œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ j œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ j œ œ œ œ œ œ œ œ ˙ œ œ œ ˙ ™ ™ 44 / œ j œ œ j œ œ The songs of the troubadours were collected in songbooks. One songbook is the Cantigas de Amigo, which includes some love songs wr it ten in Galician by the troubadour Mar tín Códax . Another of the best-known songbooks is the Cantigas de Santa María, compiled by K ing A lfonso X the Wise. It includes more than 400 pieces , in Galician-Por tuguese with mensural notation. They're all dedicated to the Virgin Mar y and some were composed by the king himself and musicians from his cour t . In addition , the miniatures or illustrations in this songbook , which show musicians and instr uments , are impor tant sources of information about the musical practices of the per iod . The Llibre Vermell de Montserrat, located in the monaster y of the same name in Barcelona , is a collection of songs and dances dedicated to the Virgin Mar y in several different languages . Pilgr ims per formed them when they ar r ived at the monaster y. Medieval manuscripts were ‘illuminated’ with gold, silver and bright colours. The decorative elements included elaborate first letters, f loral borders, and small illustrations called miniatures or illuminations. 19
28. PERFORM Como Poden per sa s Culpa s f rom the Cantiga s de Santa María, by an unknown composer. Goliards Goliards were wander ing cler ics or mendicant students , and in the 13th centur y there were lots of them. Many goliards wrote poetr y in Latin , which was of ten satir ical or cr itical of the Church and those who had more power. Carmina Burana is a famous col lection of this t y pe of composition . 29. EXPLAIN at least three characteristics of these anonymous pieces. ➔ Ad Mortem Festinamus f rom the Llibre Vermell de Mont serrat. ➔ Fas et Nefas f rom Carmina Burana. Co - m o po den per sas cul pas - - os ho m es - se - er con t re i - t os, - Presto as - s i po den pe - l a - V i r - gen de - poi s - - se er sa os fe i t os. - ™ ™ ™ ™ ™ ™ ™ ™ Ond' que a foi ve t o - - o l l e i a - t o - un dos ho nem m e, bros - - por du pe - a - ca do - - dos or que que fe hou ze ve - - ra, ra, - - e du - rou as s i - c inc ' a nos - que m o ver - - se non po - de ra, - as s i ha - v i - - a os nen bros - t o - dos do cor - po m al t r tos. e i - - 43 43 & & & F i ne & & & & & & D. C. al F i ne & Œ œ œ œ œ œ ˙ œ ˙ œ Œ œ œ œ œ œ œ™ œJ œ ˙ œ Ó™ ˙™ ˙™ œ œ œ œ ˙ ˙™ ˙™ œ œ œ Œ œ œ œ œ œ ˙ œ ˙ œ Œ œ œ œ œ œ œ œ œ ˙ œ œ ˙ ˙™ ˙™ œ œ œ œ ˙ ˙™ ˙™ ˙™ Œ œ œ œ œ œ ˙ œ ˙ œ Œ œ œ œ œ œ ˙ œ ˙ œ Ó™ ˙™ ˙™ œ œ œ œ ˙ ™ ˙ ˙™ œ œ œ Œ œ œ œ œ œ ˙ œ ˙ œ Œ œ œ œ œ œ œ™ œJ œ ˙ œ Ó™ ˙™ ˙™ œ œ œ œ ˙ ˙™ ˙™ œ œ œ Œ œ œ œ œ œ ˙ œ ˙ œ Œ œ œ œ œ œ œ œ œ ˙ œ œ ˙ ˙™ ˙™ œ œ œ œ ˙ ˙™ ˙™ ˙™ 20 I The Middle Ages
Minstrels Minstrels were musicians, reciters, acrobats and mime artists. They performed in village and city squares and entertained the common people with their art. As well as improvising songs, they often recited or sang compositions by troubadours, like epic poems called chansons de geste which told the news of the moment. 30. CREATE a present-day chanson de geste. Follow these instructions. ➔ Pay attention to the type of metre and the rhythm of the backing track . ➔ Follow the structure in this diagram . chorus 4 bars intro 2 bars verses 1 and 2 4 1 4 bars coda 2 bars verses 3 and 4 4 1 4 bars chorus 4 bars ➔ Think a bout a current topic that interests you and write some lyrics to go with the backing track . Try to make the verses rhyme and the tonic syll a bles coincide with the louder beats of each bar. ➔ Perform the piece of music, paying attention to vocalisation and breathing. Finally, record your creation . 7. Instrumental music 31. LOOK at these images f rom the Cantiga s de Santa Maria and say what types of instruments you see in each one. 1 3 2 4 5 We could say that rappers are the minstrels of our time. Since its birth in around 1970, rap has become an important instrument of social criticism and a way to f ight against social exclusion. 21
The Catholic Church only allowed the organ in liturg y, and no other instr uments . For this reason , most instr uments were only used in secular music to accompany the voice or to per form instr umental pieces in dances or processions . Nobody wrote these compositions down , but we still know about the instr uments of the time. This is thanks to the miniatures in the Cantigas de Santa María and the sculptures on the Por tico of Glor y of Santiago de Compostela Cathedral . 32. LISTEN to the sound of the instruments in the table. strings wind percussion The medieval harp is a plucked string instrument of less than 75 cm high, that is held on the knees. It was used a lot by troubadours. The square hand drum is a type of drum that is hit with the hand. It can have one or two membranes. The tejoleta s are two small , f lat pieces of wood that are hit together like castanets. The tabor is a drum with a membrane and a shell (part of a drum) that is hit with mallets. The carillon is a series of bells that are struck with a hammer. The psaltery has a f lat sound box with strings on it . We pluck the strings with our f ingers or strike them with a mallet . The rebec is an instrument of Arabic origin. It has between one and f ive strings that we rub with a bow. The hurdy-gurdy was used in both secular and religious music. It has a handle that turns a wheel . This wheel rubs against the strings in the sound box. The instrument has keys that are used to change the pitch of the notes. The shawm is the predecessor of the present-day oboe. It's a woodwind instrument with a double reed. The cornamuse is similar to the present-day bagpipes. It has a double reed and the air is held in a bag. In the Middle Ages, shepherds used to play it . The portative organ is a small , portable organ with different-sized pipes and a keyboard. Usually it has a range of two octaves. 22 I The Middle Ages
RkJQdWJsaXNoZXIy