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The role music plays in religion
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Relationship between religion and music
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The isorhythmic motet is a compositional style that emerged from the movement Ars Nova in the fourteenth century. It is defined based on the use of a talea, a repeated rhythmic pattern, to the main melody of a motet that is the color or the melodic pattern. Philippe de Vitry and Guillaume Machaut are the two most representative composers of this music style. Both composers wrote sacred and secular music in a variety of styles. For the purpose of analysis, the pieces Cum statua/Hugo, Hugo/Magister invidie composed by Philippe de Vitry in 1320 and Felix virgo / Inviolata / Ad Te Suspiramus composed by Guillaume de Machaut in 1360 will serve as a subject of comparison and contrast to determine the characteristics of isorhythmic motet from …show more content…
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.
Themes in both pieces differ even though they are related to a religious subject. There is a biblical context in both pieces. For instance, Guillaume Machaut expresses devotion to the Virgin Mary in the lyrics. To illustrate, the composer wrote the following text for the motetus voice:
The lyrics are very straightforward, and all the voices have similar texts which are dedicated to the Virgin Mary. Then, the poetry written on the piece by De Vitry has some biblical context as well; however, it seems to be more about a personal argument.
In either case, both pieces agree with the concept of a motet because although this music style was more expected to be heard in churches, it started as a composition of secular
In terms of the technical differences between the art music of early times and that of the modern period (i.e., after 1600) we can identify five specific features that make post-1600 styles in music sound more or less "familiar."
“For over one thousand years the official music of the Roman Catholic church had been Gregorian Chant, which consists of melody set to sacred Latin texts and sung without accompaniment” (Kamien 67). The credit for developing Gregorian chant music, also known as plain...
In order to fully encapsulate Leonardo’s conquest of the almighty heavens it would only be fitting to have the text set to a full orchestra accompanied by a SATB choir. This is the only combination of instrumentation and vocals that will fully capture the piece’s dramatic story (save a Wagnarian music drama). A full orchestra is a glorious medium that can be used to accommodate the full range of emotions embodied in the poem because of the breadth of orchestral timbre. In parallel with the orchestra, a four-person choir is ideal for the lyrical expression of the poem due to the wide range of notes that can be sung by the soprano, the bass and everyone in between. The parts of the poem sung by the full choir would be done in an imitative polyphony texture utilizing malismas on the repeated line “Leonardo, Leonardo, viene á volare” to accentuate the fact that this line is a “siren-song” sung by “the very air itself.” However, the majority of the text would be sung by the tenor to give the piece a story telling quality, with the rest of the choir chiming in for the Italian parts. This will serve to emphasize the contrast between English and Italian that Sylvestri creates in his poem. It seems appropriate to have the orchestra and choir perform a through-composed setting with a change in music for each st...
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.
Music during this period by the composer’s songs I listened to was very pleasant to listen to. It is a high renaissance style of polyphonic vocal music. The motet "Ave Maria” is a great example of the style during this time frame. This song had a great opening and subsequent structural interplay. The opening section summarizes the first four lines of text in a simple structure. Clear imitation of each phrase echoes from the highest to lowest voice, almost resembling a Gregorian chant. The phrases appeared to be identical in length, the counterpoint's turbidity increases, climaxing where all four voices were singing together. This climax turns to an imperfect, deceptive
As in the virelais, one found two types of melody. One is pure and another one is folksong like, the other synthetic and similar to melismatic, decorated line of the ballades. The typical trochaic major Prolation of the Vitry and Machaut motets occurs notably in two works. It seem that Machaut work is ongoing. His biggest goal was to develop “ballades”, which symbolized in his Rondeaux and Virelais. The twenty-three motets found in traditional pattern and them three all written in France and Latin word. Therefore, Machauts started with traditional form of polyphony music, only to realize that it will be unnecessary to have more than one voice singing text in love song. Machaut show complete master of subtleties of the late Ars Nova. It was in the direction of rhythmic and extreme syncopation the late fourteenth century. The Ars nova had tremendous impact on his history of the music. Phillip De Virty would be large influence on the next generation of the composers. Especially Guilllame De Machaut. The new notation system would spread throughout Europe and eventually began to develop in to the modern musical notation system that used today”. Therefore, Phillip de Vitry and Guillaume De Machaut play huge rules in Ars Nova
When considering the structure of the poems, they are similar in that they are both written loosely in iambic pentameter. Also, they both have a notable structured rhyme scheme.
The link between music and art, in de Maistre’s case, is very different from that of Kandinsky’s art. Whereas Kandinsky was thought to have a natural proclivity to experiencing sound and colour simultaneously, de Maistre took a far more intentional, systematic
These two poems, despite of its differences are still unified under the same author who laments about the same subject. Secondly, both poem are examples of Petrarchan sonnets meaning they have an octet and sestet. Lastly, both poems utilize the same thematic values that a man’s infatuation leads to duplicity in a woman.
These two songs are different but the same .The names of these song are called,meant to be and god’s plan.
These two pieces of music are considered Secular music, which is defined in the Webster’s Dictinary as “of” or relating to worldly things as distinguished from things relating to church or religion; not sacred or religious.
In the beginning of the first Gregorian plainchant, I feel my heart slowly ascends into the air with the music and harmonies, but towards the latter portion of the chant, the ascending feeling changes to a much stronger and forceful push that seems like it will never settle, as if I am not allowed to go back to where I came from or who I was before. The second Gregorian plainchant seems like it is sang by someone who has been through certain hardships, recovered from it, and is now helping others to get back on their feet. It gives me the vibe that I am not alone in whatever I am having a hard time with right now and can find support through this music. Both of these "sounds" remind me of religious ceremonies and, coming from a non-religious background, I don’t really feel a powerful connection to, perhaps, the first plainchant, which has a more holy tone than the second one. The background harmony that joins the main singer makes the second plainchant more down-to-earth than the first plainchant because, now, instead of having only one person to seek support from, I have a group of people to turn to.
Although, in 'A Dirge' they lack different morals. This is a poem unlike the other one. But 'A Dirge' is a poem talking how the world is crying and the tears are tears of vain. Also that the wind is moaning, and too full of grief to sing a song.
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.
Mary has been often a figure in Christianity; she was a disciple of Jesus Christ, who also watched his death and later resurrection. Throughout the song it explores Mary’s relationship and also faith towards Jesus before his crucifixion. While there is no official video to accompany this song, there is a fan made video which matches the overall theme of the song. Mary is deep in grief and must overcome that of a broken heart, having to stay strong by keeping faith towards her lover, Jesus Christ, which Mary displays throughout the song and parts of the fan-made music video. While the video is not a direct telling of the lyric’s story, it still keeps the main theme of keeping faith and dealing with grief of Jesus’s