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Chapter 5 The Middle Ages

Chapter 5 The Middle Ages. Later Medieval Polyphony. Key Terms. Motet ars antiqua ars nova Isorhythm Hocket. Later Medieval Polyphony. Late Middle Ages moved toward: Greater melodic independence More intricate rhythms and notation Greater focus on secular music

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Chapter 5 The Middle Ages

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  1. Chapter 5The Middle Ages Later Medieval Polyphony

  2. Key Terms • Motet • ars antiqua • ars nova • Isorhythm • Hocket

  3. Later Medieval Polyphony • Late Middle Ages moved toward: • Greater melodic independence • More intricate rhythms and notation • Greater focus on secular music • de Vitry treatise Ars Nova (New Art) • Sophisticated notation system c. 1320 • Widely used for more than two centuries • Previous music now ars antiqua—ancient art • These trends clearly visible after 1250 in the motet

  4. The Motet • Originated in Notre Dame School • Composers added new words (mots, in French) to upper voice of organum • Different words for each voice! • Three voice motets became standard • Poetry shifted from: • Latin to French • Sacred to secular (love poems, political satire) • Voices moved at different speeds • Top voice fastest, bottom voice slowest

  5. Guillaume de Machaut • Lived c. 1300-1377 • A priest who served the courts of France and Luxembourg • Greatest composer and greatest French poet of his day • Described himself as short in height, blind in one eye, gout sufferer, and lover of nature, horseback riding, and falconry

  6. Machaut, “Quant en moi” • Based on repeated chant fragment from Eastertide service, played by viol • Above this are two faster voices, each singing a different poem about love • Viol slow, tenor faster, soprano fastest • Isorhythm—rhythms of each stanza repeat • Easiest to follow in the viol part • Count quarter notes: • 9 9 (rest 3) 6 9 9 (rest 9)

  7. Machaut, “Quant en moi” • Hocket— • Quick alternation between voices • Derived from old French word for hiccup • Note clever wordplay between soprano and tenor at line 7 of each stanza

  8. SOPRANO’S POEM When I was first visited by Love, he so very sweetly Enamored my heart; A glance is what he gave me as a gift And along with amorous sentiments He presented me with this delightful idea: To hope To have Grace, and no rejections, But never in my whole life Was boldness a gift he meant for me. TENOR’S POEM Thanks to love and consummate beauty Fearing, Feigning Are what consume me entirely. Machaut, “Quant en moi”

  9. Machaut, “Quant en moi” • Resting points between phrases, but voices don’t rest together; unfamiliar cadences • Some major and minor chords, but scale and tonal center are hard to hear • Metrical, moderately fast tempo • Quirky, nervous rhythms, great rhythmic variety • Nonimitative polyphony in three parts • Soprano, tenor, and viol used throughout • No obvious patterns of repetition • Poetry about love’s joys and sorrows

  10. Machaut, “Quant en moi” • Note complicated rhythm of upper voices • Nervous, hyperelegant manner of uttering words

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