The organum, which thrived at Notre Dame cathedral in Paris, was one of the earliest types of polyphony. It was very much similar to a trope, as it added vertical notes onto an existing melody or plainchant. There is quite the development of the organum between the 10th and 12th centuries. French composers, Leoninus, and Perotinus, were leading contributors to the evolution of the organum advancing the terms “free organum”, and “discant organum”. Through examining the works throughout Musica enchiriadis of the 10th century, and the compositions of Leoninus and Perotinusis in the 12th century, it is made clear that the the organum endured influential alterations both melodically and rhythmically.
The 10th century organum features a duplicated fourth, fifth, or octave below the plainchant melody in the principal voice. The duplicated voice moves in oblique and/or contrary motion, with a multitude of intervals interspersed. In addition to oblique and contrary motion, there is parallel motion, and similar motion. All of these types of motion can be featured in an organum, however in the 10th century, oblique and contrary were the most typical. An example of a 10th century organum can be found in Musica enchiriadis. Musica enchiriadis is an anonymous treatise that was the first of its kind to describe polyphony. It set up a system of guidelines for polyphony, and it included many examples of the organum. While the examples in Musica enchiriadis are mere teachings and instructions on how to sing an organum, some of the earliest examples of organums ever recorded exist within the treatise.
As the 12th century approached, the organum withstood many modifications in terms of rhythm and melody. Additionally, the terms “free or...
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...uadruplum”, for four voices. While more voices were added, there was still a constant drone that maintained the chant melody below. These changes in organum are featured in Perotinus’s Viderunt omnes. In addition to the added voices, there are rhythmic modes in the upper voices that repeat phrases.
Through using Musica enchiriadis as an example of the 10th century, and the works of Leoninus and Perotinusis as examples in the 11th and 12th century, it is evident that the organum experienced a copious amount of changes between the 10th and 12th century both melodically and rhythmically including the adding of voices, the changing of motion, and the development of rhythm. These adaptations to the organum, though might seem insignificant, tremendously helped further the evolution of polyphony in western music, which consequently contributes to the music of today.
1. Narrow-ranging, dynamically restrained modal melodies are played in a variety of tuning temperaments that generate an "illogical" modal harmonic succession. 2. An unrestricted range of multimeters, polymeters, and complex rhythms are used. 3. A texture of two or more independent and equally important melodies accompany one another (i.e., polyphony). 4. The formal construction is often vague and unclear. 5. The instrumentarium is unrestricted and nonstandardized.
A sinfonia (Italian for symphony) broadly refers to a number of instrumental works from the Baroque period, including symphonies, sonatas, canzonas, concerti, and Italian opera overtures. Even J.S. Bach titles his “three-part” inventions for harpsichord “Sinfonia”. Torelli’s Sinfonia in D (G.8) is a four-movement “concerto” for trumpet, strings and harpsichord continuo. Unlike a concerto grosso, where a main theme is presented and then reappears in fragments, the main themes of Sinfonia in D are developed rather freely. The second movement (Adagio) is a very short, slow, interlude without trumpet that introduces the third movement (Allegro). Hence, the program shows these two movements as “adagio-allegro” joined together.
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
During the Baroque Age, many changes took place in the instrumental music area. This type of music became very popular and just as important as vocal music, with many new mechanical and technological developments taking place. The keyboard, strings, winds, and percussion were used to produce instrumental music. Among these instruments, the keyboard was a major one used for solo music and “basso continuo” (a musical notation used to signal chords, non-chords, and intervals in connection to bass notes) parts. The keyboard also was involved in an abundance of instrumental literature during this time. The three types of keyboards that existed were the organ (mainly used with church music and solo accompaniment), the clavichord (produces sound by the striking of a medal wedge against a string when a key is pressed), and the harpsichord (contains two keyboards and a sound that produces “quills” when the strings are plucked due to a key being pressed). G.F. Telemann, J.S. Bach, and G.F. Handel were three men that had a major impact on the development of keyboard music in the Baroque Age. With their superior musician skills, they left behind many pieces of music that we play and listen to today.
In this style of composition, it was very common for composers to use a Gregorian chant as a base to compose original pieces. As a general rule, the tenor voice sang the Gregorian chant, and the upper voices have new original material. Machaut followed this line by putting the chant Ad te suspiramus gementes et flentes on the tenor voice in his piece; whereas, Philippe De Vitry composed original music for all voices. Although the piece by De Vitry is called a motet, it might be just labeled as a polyphonic composition since all the voices have original music.
Atlas, Allan W. Renaissance Music: Music in Western Europe, 1400-1600. New York: W.W. Norton & Company, Inc., 1998.
Daum, Gary. "Chapter 12 The Baroque Era (1600-1750)." Georgetown Prep. 1994. Georgetown University. 12 July 2005 .
The first composition, "Miserere Mei, Deus", was produced by Gregorio Allegri in 1638. I learned this, as I read along with the well-thought-out program that was given. As we, the audience, looked up to the vocalists, we were entranced by the consuming sound. The room filled with a vibrant melody, in which the harmonization and tone color was spectacular. The emotion conveyed throughout the room was one of absorption and delight. During this piece, the sopranos hit such high notes, that I was astounded. Being a person who participates in concert choir, I understand the level of commitment and talent it takes to reach those notes and stay in tune. This ...
The rhythm is far from strict and predictable, offering a lot of flexibility. Throughout the song, the dynamics can clearly be identified. At some points of the piece, the music will grow louder creating a crescendo and other times it will get softer also called a decrescendo. Classical music is common for having a simple melody that is catchy and tuneful. By listening closely, one can sense that this piece has an underlying melody that slightly resembles the children song, “Mary Had a Little Lamb.” The tone color of the piece contains specific instrumental timbres and certain playing techniques that make it stand out and very unique and exciting. Throughout the entire piece, bass is often repeated to create a set structure making its form binary. A piece can only be in binary form when there are two related sections, both of which sections have to be repeated. The piece starts out with its introduction and then swaps from ABA form up until the
The classical era lasted from the 1750s to the 1820s, during this period the progression in instrumental music depended greatly on the influence of three master composers. The three were Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven (Kamien 156). Like the period before classical music, instrument has become just as important as vocal music. But, unlike the baroque period, the classical period music incorporated more movements, had more than one central mood, rhythm was flexible, the texture was centrally homophonic, and other characteristics. The classical orchestra during the period had four section which are strings, woodwinds, brass, and percussion. During this period one of the great master composer, Wolfgang Amadeus Mozart, was born on 1756. At a young age, he was considered a music prodigy. During the classical period some of the musical forms that were written are operas, piano concertos, chamber music (string quartet and string quintet), symphonies, and other genres. Mozart was able to write in all those musical forms and considered the most versatile composer during this period (Kamien 176). Although, Mozart composed over 600 music pieces, which is considered a tremendous amount during his time. Out of all Mozart’s symphony, he only had two symphonies that were in minor key symphonies no. 25 and no. 40 (classicalmusic.about.com). This research paper would analysis and discuss symphony no. 25 and Mozart’s life a few years before and after he composed this symphony (biographyonline.net).
Music throughout the ages has changed dramatically. Starting in the Medieval period, from 400-1475, music was in the form of what is called the Gregorian chant. Instruments were very rarely used at this time. Since songs during this period were either troubadour or trouvere these chants had no real harmony. One example of this type of medieval composition is “Viderunt Omnes” by Leoninus. Like most Gregorian chants the texture of this piece is monophonic and polyphonic. “Viderunt Omnes” is a typical Gregorian chant in that it uses diatonic, not chromatic notes of the scale. Musical compositions during the Medieval period was made mostly by members of the church for the church. It was and is a very slow and steady movement that was meant to create a feeling of peace for worship purposes.
•Figured Bass—a system of numbers placed under the music—was developed to indicate clearly the harmonies that should be played with each note indicated in the bass line. The figured bass was typically realized—performed—by the harpsichord.
The hurdy gurdy, or street organ, is an instrument with not only a funny name, but a fascinating sound. The humorous name was actually a derogatory term in the 18th century, meaning the hurdy gurdy was not held to such a high regard. In the 12th and 13th century, the hurdy gurdy was either described in its primitive form as the symphonia or a organistrum. The symphonia was a peasant’s instrument, only street folk played it. Through this proposal, I will describe how society’s view of the hurdy gurdy shifted through centuries of music. In the medieval ages, the hurdy gurdy may have been held to the same regard and as popular as the piano of modern day. The street orga that we know today is in no way, shape, or form a representation of what
Also known as the “inventor of new art,” Vitry made two new innovations to the preexisting rhythmic notation. One of his great works that included this change was called In arboris/Tuba sacre fidei/Virgo sum which excellently utilized Vitry’s new innovations. This piece became very central to the ideas and changes that he instilled in the idea of Notation. The first change he made was to allow duple, or “imperfect,” divisions of note values on top of the traditional triple, or “perfect,” divisions of note values. The second innovation was to allow for the smallest note value, the “semibreve,” to be divided into even smaller increments called “minims.”