Music of Medieval France 1200-1400 Sacred and Secular album
A1. Conductus, "Dic Christi Veritas". Alleluja Christus Resurgens (With Clausula, "Mors"). B1. Hoquetus "In Seculum".
A1. Conductus, "Die Christi Veritas".
Non-religious secular music and sacred music were the two main genres of Western music during the Middle Ages and Renaissance era. The oldest written secular music are songs with Latin lyrics. These earliest types were known as the chanson de geste (song of deeds) and were popular amongst the traveling jongleurs and minstrels of the time.
4 Medieval Court Music Secular composers for the voice: Troubadours, S. France Trouveres, North France Minnesingers Germany Listening Example: Bernard de Ventadorn, La dousa votz, 12 th century, troubadour. 5 Divine Office Part of the liturgy A series of 8 daily church services, approx. 3 hours apart, in which the Psalms were sung. Unaccompanied Plainchant (at least in the Middle Ages). 6 The Mass Kyrie-a sung simple prayer 3-part, or ternary, form Gloria-a long hymn Credo-a recitation of beliefs Sanctus-a shorter hymn Agnus Dei-a sung simple prayer
Sacred and Secular music. Sacred Music used in religious services (Catholic, Protestant) Secular Music not used in religious services. Medieval Sacred Music. Holy Roman Catholic Church Creation of written music Used in the Mass (Catholic service). Medieval Sacred Music, Mass Proper, Parts of the Mass whose words vary depending on the day in the church calendar, Introit: entrance music-Kyrie, Gradual: words from psalms, Alleluia: a somber chant during Lent, Offertory: a chant sung before communion, Communion. com/watch?v 9DebCLdf c0.
Redirected from Medieval Music). Medieval music consists of songs, instrumental pieces, and liturgical music from about 500 . Medieval music was an era of Western music, including liturgical music (also known as sacred) used for the church, and secular music, non-religious music.
Both religious and secular music was composed, although during the early medieval times, musicians did not enjoy a respectable status in society because of religious restrictions. During the late medieval times, however, the social status of musicians and composers considerably increased and various renowned medieval composers created music that has survived the test of time. Many medieval composers left indelible mark on the collective memory of medieval Europe and music from many of them has survived to the date. For instance, from the middle medieval times, various secular and religious songs of Moniot d’Arras have survived. He was a composer and a poet in addition to being a monk at the abbey of Arras in the north of France. Other important medieval composers from the era include Adam de la Halle, Guillaume de Machaut, and Perotin.
Church (liturgical or sacred) music dominated the scene although some secular, folk music heralded by troubadours were found throughout France, Spain, Italy, and Germany. Gregorian chants, a monophonic vocal line sung by monks, as well as choral music for a group of singers, were among the main types of music. During this time of liturgical musical drama unfolds throughout Europe. Also, the music of the troubadour and trouvère, a vernacular tradition of monophonic, secular song is accompanied by instruments and singers. Guillaume d'Aquitaine was one of the well-known troubadours with most themes centered around chivalry and courtly love. It was around this time when a new method to teach singing was invented by a Benedictine monk and choirmaster named Guido de Arezzo.
Some secular music, as well as sacred music, was also preserved by these institutions. These surviving manuscripts do not reflect much of the popular music of the time. At the start of the era, the notated music is presumed to be monophonic and homorhythmic with what appears to be a unison sung text and no notated instrumental support. In this era, music was both sacred and secular, although almost no early secular music has survived, and since musical notation was a relatively late development, reconstruction of this music, especially before the twelfth century, is currently subject to conjecture. In music theory, the period saw several advances over previous practice, mostly in the conception and notation of rhythm.