The history of music

French and Italian Music of the 19th Century    SOCIAL OVERVIEW- Comparatively speaking, the thirteenth century was an era of stability And unity, while the fourteenth century was of change and diversity. The big Symbol of this contrast was the situation of the papacy: in the thirteenth century the authority of the Church, Centered by the Pope of Rome, was universally respected and recognized as Supreme, not only in matters of faith and morality, but also, to a large extent, in Intellectual and political issues; In the fourteenth century this authority, especially supremacy Of the pope, began to be widely disputed. During most of the century - from 1305 to 1378 - the popes, exiled as a result of anarchy and riots Who lived in Rome, lived in Avignon, Southeastern France (the "captivity of Babylon "), and for another thirty-nine years-until 1417-there were always two, Sometimes up to three rival candidates to the papacy (the "great schism"). The criticisms to t

The beginnings of polyphony and eighteenth-century music    The beginnings of polyphony and eighteenth-century music The eleventh century is of crucial importance in the history of the West. The 1000- -1100 d. C. witnessed a revival of economic life throughout the Western Europe, an increase in population, the clearing of uncultivated lands and Birth of modern cities; The conquest of England by the Normans, some Important steps towards the reconquest of Spain from the Muslims, the first crusade A cultural resurgence, with the first translations of Greek and Arabic, The beginnings of universities and scholastic philosophy and the diffusion of architecture Romanesque style. The cultural independence of the West has been marked by the Of literature in the vernacular and found its symbol in the schism Between the churches of the West and the East in 1054. The eleventh century was no less crucial to the history of music. In those years, Certain changes which, when taken to

Monódia non-liturgical and secular    FIRST SECULAR MUSICAL FORMS     The earliest specimens of music Songs are preserved with Latin texts. The first of these form the Repertoire of the songs of the goliards of the eleventh and twelfth centuries. The goliards - name From a probably mythical patron, Bishop Goliath - were students or Wandering clerics who migrated from school to school in the days preceding Foundations of the great sedentary universities. His vagabond life, barely seen by respectable people, was celebrated in his songs, of which numerous Handwritten collections. The themes of the texts are almost always Eternal trinity of interests of young males: wine, women and satire. The treatment given them is sometimes delicate, others are not; The spirit is Frankly biting and informal, as it becomes very noticeable when we hear some Of the modern musical versions of Carmina Burana by Carl Orff. Just a little Part of the original music of the goliardos is recorded in the

Musical theory and practice in the Middle Ages    The treatises of the Carolingian era and the lower Middle Ages were much more For practice than those of the classical and post-classical or the early Christianity.     Although Boethius never ceased to be quoted with veneration and the The mathematical fundamentals of music transmitted by it have continued to constitute The basis of the construction of scales and speculation about the intervals and Consonances, his writings were not very useful when it came to Solving the immediate problems of rating, reading, classification and interpretation of Or improvising and composing organum and other primitive forms of polyphony. Such were now the dominant topics of the treaties.     For example, Guido Of Arezzo, in his Micrologus (c. 1025-1028) attributes to Boethius the exposition of quotients Intervals. Guido tells the story of the discovery of these relations Numbers from the sound of a blacksmith's workshop hammer and appli

Categories, shapes and types of chandeliers    In the set of chanting pieces we can distinguish those that use texts Biblical texts and those that use non-biblical texts; Each of these divisions can be Subdivided into pieces about prose texts and pieces about poetic texts.     Examples Biblical texts in prose are the lessons of the offices and the epistle and gospel of the mass As biblical texts in prose we have the psalms and the songs. In the Biblical prose texts include the Te Deum, several antiphons and three of the four antiphons Marianas; Songs with non-biblical poetic texts are hymns and sequences. The chant can still be classified according to how it is sung (or was Sung in more remote times), in antifonal (in which choirs sing alternately), Responsorial (the voice of the soloist alternates with the chorus) and direct (without alternation).     A third classification is based on the relationship between the notes and the syllables. The Songs in which most or all of t

Liturgical song and secular song in the Middle Ages Canto romano e liturgia    In studying the history of music, it is of course necessary to acquire some Notions about the musical styles and genres of the various historical periods, but it is It is even more essential to know the music itself. The facts are only one skeleton; Only music gives them life and meaning.     It is especially important to have this in mind. Account when studying the chant, because it is a type of music with which many people Not familiar with.     The songs should be heard and sung until the person is To accustom to the sonority, and in each step from the knowledge process, Not only the intrinsic beauty of the pieces, but also the With the relevant historical, liturgical and analytical data This chapter is proposed. This advice is all the more pertinent since the substitution of Latin for the Vernacular languages, with the Second Vatican Council, from 1962-1965, the chanting practically Disapp