➔ 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
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