History of Western Music I Final Exam Study Guide PDF

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Notes from beginning of book to around the 11th century...

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History of Western Music I Final Exam Study Guide Chapter 1: Music in Classical Antiquity Music in Greece Greek culture provided standard or model for modern-day Western Culture. Plato defined music as: consisting of words, harmony, and rhythm. Aristotle defined music as: consisting of words, melody, and rhythm. Doctrine of Ethos- belief that music had the power to affect human character and behavior. o Three ways Doctrine of Ethos was applied to music:  1. Applied to spiritual life through Apollo and Dionysus.  Appollonian music appeals to intellect.  Dionysian arouses emotions.  2. In secular life, music considered major component of education and character-building.  Ennhobling music led to virtuous character.  Lascivious music led to debauched life.  Catharsis- emotional release induced by music  3. Ethos rooted in both words of songs and aspects of musical style  Ex: Instrumentation  Lyre and Kithara- associated with Apollo.  Aulos- associated with Dionysian.  Rhythm, poetic meter, melodic configuration (harmonia) had ethical force. o Monophony- single voice melody without accompanying harmony or chords - Greek Music Theory: - Fundamental scalar unit in Greek music is tetrachord (4 consecutive pitches spanning a fourth) - 3 kinds of tetrachords: o Diatonic (two whole tones & semitone; semitone in lower of outer two pitches) o Chromatic (augmented whole tone and two consecutive semitones) o Enharmonic (two quarter tones and a ditone-two whole tones) -

- Greater Perfect System- consecutive tetrachords form two pairs of conjunct fourth separated by a whole tone; extra whole tone at the beginning of spectrum makes it two octaves - Lesser Perfect System- three conjunct tetra chords with the added note - Greeks recognized different ways to take an octave from G.P.S which produced their own arrangement of pitches and sounds/scales – tonos o 15 different scales were produced. Music in Rome - Romans more inclined to develop music for pleasure. - Contributions to ideas that fit music into educational system. 5th Century CE - Martianus Capella outlined program on seven liberal arts, divided into two divisions: o Trivium: grammar, rhetoric/style, logic o Quadrivium: arithmetic, geometry, astronomy, music - Inclusion of music in quadrivium (mathematical disciplines) assumed music dealt with harmonic proportions. - Boethius followed up with De Instituione musica, by harmonic proportions, music reflects mathematical principles. – VERY IMPORTANT!

Chapter 2: The Early Christian Period: - Christians faced prosecution for about 300 years. - 313 CE: Emperor Constantine issues Edict of Milan o Edict of Milan- religious freedom to Christians and makes Christianity the official language of the Roman Emprie. - Music from 4th-9th centuries influenced by Church’s cultural dominance o Christianity rooted from Pagan faith and culture o Church reliance on scripture led to preservation of literacy o Music was an essential medium of Worship but had its qualms - St. Augustine: Confessions- sensuous pleasure from music threatens to distract from words being sun and turns attention away from contemplation of God. Jewish Heritage

- Early Christians took worship and music practice from Jewish traditions. o Power of music over the human mind part of Jewish experience o Jewish synagogue traditions carried over to Christian practice  Based on scripture, included prayer, readings/teachings, and giving of alms o Jewish religious repertoire comprised of both scriptural and nonscriptural songs  Scriptural: Psalms from book of Psalms, and Canticles (from religious text, but not book of Psalms)  Non-scriptural: Hymns - Musical style of early Christian music derived from Judaism which was characterized by: o Monophonic texture; although performances may have included ornamentation (heterophony) o Not metered, controlled by word rhythms - Three different ways of performing: o Direct- solo or unison performance of the music throughout o Responsorial- solo singer/leader performed verses of text and entire congregation answered each verse with following verse or with a response or refrain (common responses were amen or hallelujah) o Antiphonal- division of singers into 2 groups, have them sing in alternation. - Pitch organization relied on principle of modes o Basic melodic units were outlines or prototypes serving as patterns for actual sung phrases. - As Christianity spread, worship and musical practices diversified. - Emperor Constantine made Constantinople (Byzantine Empire) his capital. o Led to development of highly sophisticated culture here o With this culture came an elaborate repertoire of musical compositions o Byzantine music:  Kontakion- long, poetic serom on a biblical text  Kanon- complicated, multi-sectional, piece based on series of nine biblical canticles o Developed a kantiphonal (beautifully sounding) style rather than syllabic

- After 4th century, churches and monasteries in different regions of Europe developed different local musical idioms o Religious and musical tradition of Rome known as: Old Roman o Between 6th and 8th centuries was Frankish territory singers developed Gallican chant o Christians in Iberian region developed Mozarabic chant in 8th-11th centuries Chapter 3: Establishment of a Catholic Tradition - Music and liturgy developed in the 9th century in Europe due to political division o Rome Empire falling led to diversification of liturgy - Europe begins to politically reunify - Rome fell after attacks by Germanic tribes o Powerhouse were the Franks (Northern Germany) o Led by Charlamagne “King of the Franks” - Charlamagne wanted to unify the empire religiously to solidify his rule - Pope Leo III threatened and asked Charlamagne for assistance - Charlamagne crowned Holy Roman Emperor by Pope Leo III on Christmas Day in 800 - Charlamagne takes Old Roman musicians up North to the Gallican Chant trained musicians, this fusion of styles becomes Gregorian Chant o Called Gregorian Chant due to legend that Pope Gregory I composed the music under divine influence - The Roman Liturgy o Liturgy: prescribed order for the conduct of worship o Roman Liturgy encompasses the entire year, liturgical year is sacralized (made Holy) all around Christ o Liturgical ear centers around Christmas and Easter o Diagram + Explanation pg. 26 - The Divine Office o Divine office was a private setting for worship for the community in the monastery or convent  Public worship was mass o 8 services:  Greater Hours: (Matins, Lauds, Vespers, and Compline)

 Lesser Hours: (Prime, Terce, Sext, and None)  Full day schedule on pg. 27 - Mass o Most Solemn service of the liturgy o Divided into Foremass and Eucharist  Foremass (Teaching Service):  Introit  KYRIE ELEISON  GLORIA IN EXCELSIS  (Collect)  (Epistle)  Gradual  Alleluia  (Gospel)  CREDO  Eucharist  Offertory  (Prayers)  (PSALM 23)  (Secret)  (Preface)  SANCTUS  (CANON)  (PATER NOSTER)  AGNUS DEI  Communion  (PRAYERS)  (Postcommunion)  BENEDICTION

o Important structuring principle in liturgy is division of material into parts that remain the same (Ordinary) and those that change according to the particular day in liturgical year (Proper).  Mass Proper: Closely related to text of scripture  Introit, Gradual, Alleluia, Offertory, Communion, Dismissal

 Ordinary Mass: Mass refers to Ordinary Mass only  KYRIE- Plea for forgiveness; Lord have mercy  GLORIA- song of praise; Glory to God  CREDO- I believe in one God  SANCTUS- Holy, holy, holy  AGNUS DEI- lamb of God Aesthetic Considerations Regarding Chant - Concern that music must not take away focus from text/religious experience - Chant depends on text for music structure - Chant is monophonic so words can be clear o Musical expression of sentiments through sung text was not a priority - Expression was seen through the unification of voices into a single statement (monophony) Musical Style of Chant - Unaccompanied solo and choral male voice in unison - Within limitations of unision singing, variety occurred through:

o Octave doubling (boys singing with men) o Contrast from direct, antiphonal and responsorial performance  Hymns and chants of Mass Ordinary were direct.  Psalms and antiphons were antiphonally performed - Rhythm came from spoken language - Syllables fell into category of long and short - Linguistic phrases flowed smoothly - Melodic style of chant guided intention of vocal performance - Music proceeds gracefully, no large leaps, unfolds naturally in a moderate range - Phrase shapes reflect grammar and reflections of natural speech by rising and falling to parallel the sound and sense of texts - Three melodic types used for different pieces: o Recitation tones- used for readings/prayers.  Allow singer to cover long passages clearly and efficiently  Reflect speech patterns  Pitch contour is almost completely monotone  Broken by few upward/downward inflections at punctuations o Psalm tones- used only in psalms  Similar to recitation tones, but more exaggerated depiction of speech  Begins with rising gesture called intium/intonation

 Brings voice to tenor pitch  Punctuation in middle of verses produces mediato/mediant which leaves line suspended on tenor  Second half of verse begins on tenor, and ends with descending figure called termination/termination o Most phrases are arch-shape or descending curves  Grammatical phrase ending indicated by downward inflection - Important to consider the manner in which syllables were matched to music o Syllabic- one pitch per syllable  Used for long passages (i.e. Credo)  Intended for untrained singers o Neumatic- 1 to 7 pitches per syllable o Mellismatic- more than 7 pitches per syllable  Used in pieces with short text  Well trained singers Developments in Liturgical Chant - Due to oral tradition, it was natural for musical composition to be based on the repertoire of familiar melodies - Gloss- commentary on given text o Could be written as interlinear entries in book, marginal notes, or extended discussion - Application of gloss to chant led to trope - Trope- addition of words or music (or both) to amplify an existing chant (Troping began in 9th century! Ended in 12th century)

o Usually words added to a melismatic chant  Before chant is introductory trope  Before each phrase or section of chant is intercalated trope o New melismatic material to less complicated passages o Newly invented passage of words with their own music within an earlier piece...