Disparities In Medieval Music

The Italian composer Chiara Margarita Cozzolani was one of the few women who could compose well known music during the Baroque Era. Religious wars were raging on across Europe, and many of Cozzolani’s musical pieces focus on religion and musical dialogues, which portrayed notable religious scenes from the bible (Forney, Dell'Antonio, & Machlis 111). One of Cozzolani’s pieces, Magnificat, was focused on in our textbook. After listening to the piece and reading some history about Cozzolani and her music, I felt like I could really understand what was happening during that time in history and how she wanted to make people feel with her music. Chiara Margarita Cozzolani’s music relates to the Baroque Era of music for several reasons. First of all,

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The musical work that I am going to use in this essay is “Non avra ma’ pieta” by Francesco Landini. Classical Archives (2008) have noted that Francesco Landini was the most celebrated musician in the first school of polyphonic music in Italy. They also say that Landini was born in Fiesole on the outskirts of Florence and that he was the son of Jacopo Del Casentino, a painter and student of Giotto. It also states that when Francesco Landini was a child, he suffered from smallpox and as a result of this, left him blind for the rest of his life. He dealt with this by taking refuge in music. One way in how Landini done this was by playing a wide range of instruments. One in particular that he mastered was the organ. Landini was famed for his

From the beginning of times, music has played an important role in everyone’s life. At first, it started with drum-based and percussion instruments made out of what was available as rocks and sticks. Our ancestors proved that human beings have an innate need of music. Nowadays, no one teaches a baby to follow the beat of a song, he just naturally lets his body get involved with the rhythm. Since the prehistoric era to Christian times, several forms of music have developed leaving a trail to new genres of music. For Christianity, hymns and plainchants were the first forms of music considered as a worship to God. As time passed by, Christian music has evolved giving way to new and fresh sounds.

During the middle Ages, the Catholic Church was the sole contributor to musical development. The music of the early church was monophonic, and had nonmetric melodies set in one of the church modes, or scales. The rise or development of polyphony came about during the Renaissance period; the Council of Trent wanted polyphonic church music to be created and Palestrina composed the Pope

Another comparison that can be made to the modern era and Renaissance Europe is the field of music. Music has always been a part of the history and served as a form of entertainment for a long time. In early Renaissance Europe, wealthy merchants were able to educate their family in the arts and music. Women from rich families were also involved in music. Music in early renaissance was created in a way to sooth the listener's ears. Music with vocals was predominant and composers documented music for certain instruments. Events that led to changes from 1400 to 1600 (Arkenberg, 2002) led to the major shift in the styles making music, ways of distributing music, neo musical genres and the creation of instrument used in making music. The early Renaissance

Madrigals are defined four ways in A History of Western Music. The fourth definition, “English polyphonic work imitating the Italian genre,” is what will be covered in this paper but, to understand this definition, the other four must be explored. Madrigals originated as a musical style in Italy in the 14th Century, but, the style came around again in the 16th century (1588-1627), much more popular and extremely more influential than the previous incarnation of madrigals. Madrigals are songs in a poetic setting, such as a sonnet, or, another nonrepetative verse form. Madrigals in England developed at the same time as mass music printing, under William Byrd, although he himself eventually stopped composing madrigals. In volume 15 of the Second Edition of The Grove Dictionary of Music and Musicians, as to the circumstances of the rise of the madrigal, it states: “A favourable literary situation developed in the 1570s, when Spenser, Sidney and other ‘new poets’ undertook a comprehensive reform of native poetry along Italian lines.” From here, Musica transalpina was translated by Nicholas Yonge. Musica transalpina

The use of music in the church was one of the greatest debates of the Reformation era. “One of the great debates of the Reformation era concerned the use of music in church. (Noll 167)” In the era of Reformation the use of music in church was one of the greatest debates ever.

During the Middle Ages, the Catholic Church had aspects of plainchant, architecture and visual arts that played a role in their sovereignty throughout the era. Plainchant, or Gregorian chant, is a monophonic vocal style that was meant to exalt certain segments of the religious services provided by the churches. One example of a plainchant is a piece called “Salve Sancta Parens”. The chanted hymn was intended for a choir of men to sing in unison in Latin. At the time, the only people who knew how to read and write were people, mostly men, who served at the church.

1. How is the history of European and Arabic cultural contact reveal through musical characteristics in places such as Spain and Bulgaria?

A brief essay on two influences on musical notation in the middle ages Modern musical notation as we know it can be directly credited to the Catholic Church. The Catholic church being a primary influence in Western history, the church had many resources and was source of education. While there are a variety of rudimentary music notations pre 9th century the foundation of music notation as we know it is due to an Italian Benedictine monk, Guido de' Azzero, who invented solfege, a vocal scale we know as do, re, mi, fa, so, la, ti, do but was introduced as ut, re, mi, fa, sol, la. This scale was a huge breakthrough for vocalists that were struggling to learn new chants in the late 900's but has had a lasting effect as this is the same scale vocalists use today. Along with this he introduced the four line staff, a fifth would be added as music became more complex.

The Renaissance and Baroque era entailed very different characteristics, due to the Renaissance composers writing more freely and being more individual then those of the Baroque era where they followed more ‘rules’ and experimented less. This essay will show the difference in two pieces by different composers, even though they were written less than a century apart.

There are many categories of turning points we can discover and value, but looking at the intervalic relationships in the harmony throughout these 1,650 years makes it much easier to determine the definitive turning points. This advantage comes from the notion that harmony can be studied in a very scientific manner. Composers undoubtedly use specific intervals for specific reasons in a period of history, which provides clear evidence of actual changes in music. For example, the medieval harmony from the middle ages contains mostly intervals of the perfect fifth, the perfect fourth, octave, and unison (typically on the final note).

3. Medieval and Renaissance culture varied in many ways, aside from the differing music. In the Medieval age (the time between the 5th and 15th century), the church controlled many things, not only music. The church was in charge of education, the church also dominated politics. People very much feared God. Whereas in the Renaissance (15th and 17th century) the state ruled over the church. People in the Renaissance believed that God wasn’t some fearsome being, instead they believed more in logical and practical thinking.

Beginning at around 476 AD, the medieval era is mostly related to the church as most music from this era is sacred. The style of this era, the Gregorian chant is monophonic only comprising of the plainchant (or the single- line melodies of early church music) in texture only comprising of the plainchant (or the single- line melodies of early church music). It is not until the arrival of the French composers Léonin and Pèrotin in 1100 and 1200 respectively that polyphony would be incorporated into musical worship with the “decoration” of Gregorian chant with one or more simultaneous musical lines, thus transitioning from Gregorian chant to Organum. During this era, most of the music and roles for musicians belonged to the church except for the troubadours of southern France and the trouvères of northern France. The music was responsorial between the mass and the father during church and was