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Middle ages and renaissance music
Music as a religious tool
Compare and contrast music from the medieval and renaissance periods
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Part of this week's reading assignment was to read Appendix 1: Musical Notation, which would cover Part 2: The Middle Ages and Renaissance. During the Medieval and Renaissance period, musicians were supported by the church, the royal and aristocratic courts, and the city and state. Most musicians found jobs as choirmasters, composers, teachers, instrumentalists, etc. This shows that during these periods society was widely accepting and adapting to music as a part of culture. As mentioned in the text, most musicians were men, but as time progressed women began to get involved in music as well and were living as court singers. During this period, the church viewed music as a testimony of the spiritual nature of the Middle Ages. Religion continued
The live theatrical production I chose to see was 9 to 5 The Musical. The production was performed by Fayetteville Technical Community College’s very own Fine Arts Department. The musical is based on the film released by Fox in 1980. Collin Higgins adapted the film from the book 9 to 5 written by Patricia Resnick. It wasn’t until 2008 that the film was adapted to a theatrical production. The production was originally brought to broadway by Robert Greenbait and Dolly Parton wrote the lyrics and the music for the Musical. The run on broadway was very short but the production later toured in other countries around the around the world.
The book begins with a prologue, in which a letter is sent from a musician working for a cardinal in 1347. It is sent from the papal court of Avignon and is received by some of the musician's ...
TitleAuthor/ EditorPublisherDate James Galways’ Music in TimeWilliam MannMichael Beazley Publishers1982 The Concise Oxford History of MusicGerald AbrahamOxford University Press1979 Music in Western CivilizationPaul Henry LangW. W. Norton and Company1941 The Ultimate Encyclopaedia of Classical MusicRobert AinsleyCarlton Books Limited1995 The Cambridge Music GuideStanley SadieCambridge University Press1985 School text: Western European Orchestral MusicMary AllenHamilton Girls’ High School1999 History of MusicRoy BennettCambridge University Press1982 Classical Music for DummiesDavid PogueIDG Books Worldwide,Inc1997
Atlas, Allan W. Renaissance Music: Music in Western Europe, 1400-1600. New York: W.W. Norton & Company, Inc., 1998.
Taruskin, R., & Taruskin, R. (2010). Music in the seventeenth and eighteenth centuries. Oxford: Oxford University Press.
One of the very first things taught in this class was the concept of the Qur'anic recitation. It is a practice reciting different passages in the Quran. Much to the frustration of those who take part in this practice, it is often mistaken for music by those who are not very familiar with the idea. Music in this culture, however, is considered a nonreligious thing and is thought to be “secular” and “profane”. I found this extremely different from music in Africa, for example, where music plays a huge role in religion. Praise dances are very common in West African cultures where music and religion go hand in hand. Music is most often present in worship and passage rites, as well.
John Warrack, author of 6 Great Composers, stated, “Any study of a composer, however brief, must have as its only purpose encouragement of the reader to greater enjoyment of the music” (Warrack, p.2). The composers and musicians of the Renaissance period need to be discussed and studied so that listeners, performers, and readers can appreciate and understand the beginnings of music theory and form. The reader can also understand the driving force of the composer, whether sacred or secular, popularity or religious growth. To begin understanding music composition one must begin at the birth, or rebirth of music and the composers who created the great change.
Therefore, to endure the pains and sufferings the slaves had to use music. As illustrated above, the advent of music had far reaching results as it encouraged and gave them hope to continue working. The early music composers are the evidence of existence of early music which in turn has shaped today’s music like the blues and pop lyrics. In this case, the culture of the past has been rescued from getting lost.
There was an obvious split between the lower-classes and the middle classes; between the religious people and the secular. During slavery, secular music was considered blasphemy and forced underground. What emerged from thi...
McGee, Timothy J. Medieval and Renaissance Music: A Performer’s Guide. Toronto: University of Toronto Press, 1985.
There is a growing body of work in the philosophy of music and musical aesthetics that has considered the various ways that music can be meaningful: music as representational (that is, musical depictions of persons, places, processes, or events); musical as quasi-linguistic reference (as when a musical figure underscores the presence of a character in a film or opera), and most especially, music as emotionally expressive. Here I will focus on the last topic, for I believe it will be useful for researchers in music perception and cognition to avail themselves of the distinctions that aestheticians have worked out regarding the musical expression of emotion.
In the 20th century, its formal use came to be, during World War I and II musicians started to play music in hospitals to raise the moral of the people. These people had notable physical and emotional responses to music, which led the doctors and nurses to hire more musicians. (1) In its early stages of this therapy music was used to promote the well-being of the individuals, create a positive outlook on what had happened, to foster emotional expression and support, express what they were feeling, build personal relationships, interact socially, and support other forms of learning. Even though these people got better, there was not enough evidence that these people were healed by music.
A common theme that runs through the songs of 20-year-old Callum Burrows, better known as Saint Raymond, is that of youth and growing up. This theme is particularly apparent in Burrows’ song “As We Are Now”, which he has explained to be about a time period in his life during which all of his friends were beginning to move away for university or to begin their career and he was still at home, whilst Burrows himself decided after attending college for merely one lesson that he wanted to pursue a career as a musician and quickly dropped out (The Telegraph, 2014). He has also claimed that it is one of his favourite songs he has written due to the personal meaning and connection he has with it. Aiming to be successful in the music industry can be scary for any music artists but particularly so for someone so young that is unsure of what their alternative route would be, whilst watching friends they have grown up with going off to do completely different
Music played a very influential component in Elizabethan England and still holds the same grasp on todays society. People are able to bond and find their niche because of music. Music still has an affect on social identity and social formations today as it did back then. Though, the drastic change of music due to a number of influences has its own affects on social gatherings. Todays social formations have both similarities and differences compared to the Elizabethan era. Because of the changes there are a variety of genres now that help people find their true identity. The importance of music has still remained and artists of all backgrounds are flourishing as a result.
The music trade in 16th Century Europe was an evolving and expanding business. The invention of the printing press by Johann Gutenberg in 1440 and the subsequent improvements made by inventors and music publishers was essential to this expansion. The research presented in this essay examines the work of two music publishers, Ottaviano Petrucci and Pierre Attaingnant, who made significant contributions to the music trade of the mid and early 16th century in Europe. I will argue that their innovations were vital to the expansion of the music trade and influenced music printing methods centuries after their deaths. Their single greatest contribution to the music trade was their alterations to the process of music printing. By making it both