História da Música Ocidental I

UFSM
Prof. Dr. Lúcius Mota
 Espaços
• Onde se fazia música?
• Arquitetura pré-românica
• Arquitetura românica
• Arquitetura gótica
• Vídeos...
The Roman Liturgy
 Função da missa e da música
• Função da música para os Pais da Igreja
• Agostinho e outros:
• elevar a Alma a Deus
• Pedagógica: realçar os textos
• Missa: principal serviço religiosa da Igreja Católica
 Missa
• (Canto Plano)
• Missa – partes fixas e móveis
• Próprio – móveis
• Ordinário - fixas
http://www.salvemaliturgia.com/2010/06/mus
ica-liturgica-introducao-ao.html
http://cmapspublic2.ihmc.us/rid=1K21X3QQ
3-2CG76MT-14XY/Gregoriano.cmap
 Ofício

• Matinas
• Laudes
• Horas menores (Prima, tercia,
sexta, nona)
• Vesperas
• Completas
• The Office
1. since the Middle Ages, series of 8 services celebrated daily at specific times
a. important in monasteries and convents; occupied several hours every day and night
b. all community members sang in services
2. liturgy codified in Rule of St. Benedict (ca. 530) followed in monasteries and convents
a. Office observances differ outside monasteries; more local repertory of chants
3. Office observances include:
a. psalms sung with antiphons; all 150 psalms sung each week
b. lessons (Bible readings) with musical responsories
c. hymns
d. canticles (poetic passages of the Bible)
e. prayers
•
4. Matins, Lauds, and Vespers most important Office services liturgically and musically
 Livros litúrgicos
• Missa
• Missal - textos
• Gradual – cantos - Liber Gradualis
• Ofício
• Breviário
• Antifonário
• Solesmes
• 3. Solesmes modern editions, late 19th and early 20th centuries
a. prepared by monks of Benedictine Abbey of Solesmes
b. Gradual and Antiphoner; issued Liber usualis (Book of Common Use)
c. most frequently used texts and chants for Mass and Office
d. adopted as official books for use in services
 Características do Canto

• A. Manners of performance
1. responsorial: soloist alternates with choir or congregation
2. antiphonal: two choirs alternate
3. direct: without alternation
B. Styles of setting texts

• “Estilos” (texto e música) (número de sílabas)

• Silábico
• Neumático
• Melismático (Jubilus)
 Características do Canto
• C. Recitation formulas
1. simple melodic outlines that can be used with many texts
D. Melody and declamation
1. melodies vehicle for declaiming words
a. melodies reflect shape of text
b. no attempt to express emotions or depict images
2. phrases and periods correspond to text
a. most phrases resemble arch, parallels spoken Latin
b. accented syllables set to higher notes
c. emphasis through long melismas or syllabic settings
 Gêneros e formas do Canto
• A. Recitation formulas
1. simplest chants, intoning prayers and Bible readings
a. Collect, Epistle, Gospel
b. function: project words clearly without embellishment
c. chanted on reciting note, usually A or C
d. brief motives mark ends of phrases, sentences, and entire readings
e. some formulas begin phrase with a rise to the reciting note
f. sung by priest, occasional responses from choir or congregation
i. priests often untrained singers: simple melodies, limited range
2. some formulas predate system of modes
 Gêneros e formas do Canto

• Recitação – quase fala...

• Tons salmódicos recitação mais elaborada sobre o tenor do modo
(exemplos: Burkholder, p.85)
• Antífona – “introdução” ao Salmo
• Solista alternando com coro, ou dois coros
• Canto antifonal (coro – coro; solista – solista)
• Canto responsorial (solo – coro)
 Gêneros e formas do Canto
• B. Psalm tones: formulas for singing psalms in the Office
1. can adapt to fit any psalm
2. one psalm tone for each of 8 modes
3. mode’s reciting tone: pitch for reciting most of text
4. style example: Dixit Dominus (NAWM 4a) first psalm for Christmas Day Vespers
a. intonation: rising motive used for first verse
b. recitation on reciting tone of the mode
c. mediant: cadence for middle of each verse
• d. termination: final cadence for each psalm verse
e. last psalm verse followed by Lesser Doxology
i. formula of praise to the Trinity
ii. addition of text places Hebrew Scripture into Christian framework
 Gêneros e formas do Canto
• C. Office antiphons
1. precede and follow Office psalm or canticle
2. 150 psalms sung every week, antiphon varies with the church calendar
a. antiphon text refers to event or person commemorated
3. style example: Tecum principium (NAWM 4a) paired with first psalm at Vespers, Christmas Day
a. text: 4th verse of the psalm, herald birth of Jesus
b. antiphon determines mode for the psalm tone (mode 1)
c. termination used with antiphon shown at end; vowels for last 6 syllables of Doxology
d. psalm tone need not close on final of the mode; antiphon does
4. performance style varied: direct performance by soloists, responsorial, antiphonal
a. antiphonal performance suggested by division of psalm verse
b. monastic practice: monks or nuns divided into 2 choirs
i. sang psalm antiphonally: alternating verses or half verses
ii. antiphon sung by soloists reading Antiphoner, or all singing from memory
5. modern performance
a. cantor sets pitch with opening words, full choir completes antiphon
b. cantor sings first half of first psalm verse, half the choir completes it
c. 2 half-choirs alternate verses or half-verses
d. full choir joins for reprise of the antiphon
6. office antiphons are simple, mostly syllabic
a. reflect historical association with group singing
b. over 30 are sung each day
c. fully independent melodies
 Gêneros e formas do Canto
• D. Office hymns
1. most familiar sacred song type
2. sung by choir in every Office service
3. strophic; 4- to 7-line stanzas
4. style example: Christe Redemptor omnium (NAWM 4b), Christmas Day Vespers
a. syllabic and neumatic
b. mode 1; each phrase rises and falls
c. contour moves by 2nds and 3rds to a peak, descends to a cadence
E. Antiphonal psalmody in the Mass
1. psalmody (singing of psalms)
a. early Masses, psalms sung antiphonally
b. used to accompany actions: entrance procession, communion (Introit, Communion)
c. eventually both chants were abbreviated
2. greater solemnity of Mass: greater musical splendor
a. Mass antiphons more elaborate than Office antiphons
b. neumatic with occasional melismas
3. style example: Viderunt omnes (NAWM 3j), Communion from Mass for Christmas Day
a. higher notes and longer note groups emphasize important accents and words
 Gêneros e formas do Canto
• F. Responsorial psalmody in Office and Mass
1. responsorial psalms stem from early Christian practice
a. Office responsories and the Gradual, Alleluia, Offertory in the Mass
b. soloist sang psalm verse, congregation or choir responded with brief refrain
2. chants assigned to soloists: more melismatic
a. musical peaks of the service
b. words secondary to expansive melody
3. text shortened to a single psalm verse, choral respond preceding
4. Office responsories take several forms
a. all include respond, verse, full or partial repetition of respond
b. Matins include 9 Bible readings, each followed by a Great Responsory; neumatic to melismatic
c. other Office services include brief Bible reading, Short Responsory that is neumatic
 Gêneros e formas do Canto
• 5. Graduals
a. more melismatic than responsories
b. style example: Viderunt omnes (NAWM 3d)
i. 52-note melisma on “Dominus”
ii. 3 other 10-20 note melismas
iii. cantor begins the respond, choir completes it
iv. soloists sing the verse, choir joins on last phrase
6. Alleluias
a. includes a respond on word “alleluia”, psalm verse, and repetition of the respond
b. jubilus: long melisma extending the final syllable of “alleluia”
c. St. Augustine: long melismas expression of joy beyond words
d. example Alleluia Dies sanctificatus (NAWM 3e), from Mass for Christmas Day
i. soloist and choir
ii. longer, more effusive melody
iii. articulated phrases, primarily steps and 3rds, arching contour
iv. prominent pitches reinforce mode 2, plagal mode on D
v. long melismas focused around F and D
 Gêneros e formas do Canto
• 7. Offertories
a. as melismatic as Graduals, include respond only
b. Middle Ages, performed during offering of bread and wine
c. choral respond, 2 or 3 ornate verses sung by a soloist each followed by second half of respond
d. shortened ceremony: verses dropped, respond only
8. Tracts
a. several psalm verses set in florid style
b. longest chants in the liturgy
c. originally direct solo psalmody, no responses, no respond
d. verses combine recitation with florid melismas
e. all Tracts in mode 2 or mode 8; melodies resulted from oral composition based on formulas
f. today performed like Graduals
9. chants derived from responsorial or direct psalmody
a. long, virtuosic melismas display the voice
b. passages resemble improvised embellishment of simple melodic outline
c. all but Offertory attached to Bible readings
d. musical parallel to illuminations of medieval Bible manuscripts
Gêneros e formas do Canto
• G. Chants of the Mass Ordinary
1. originally sung by congregation; simple syllabic melodies
2. by 9th century, choir took over singing of Ordinary chants
a. trained singers: new, more ornate melodies composed
b. later style than Proper chants: clearer pitch centers, strong projection of the mode, more melodic
repetition, more individual melodic profile, little or no recitation on a single note
3. Credo (NAWM 3f) and Gloria (NAWM 3c)
a. recurring motives, no set form
b. Credo: longest text, syllabic style
c. Gloria: neumatic
d. priest intones opening words, choir completes chant
Gêneros e formas do Canto
• 4. Sanctus (NAWM 3h) and Agnus Dei (NAWM 3i)
a. repetition of text, musical repetition
b. neumatic
c. Sanctus: third statement often set to variants: (ABB′) or (A BC DC)
d. Agnus Dei: (AAA), (ABA), or (AB CB DB)
5. Kyrie (NAWM 3b)
a. repetitive, 3 statements each of three phrases
b. brief text, florid setting
c. melismas on last syllables of “Kyrie” and “Christe,” and first syllable of “eleison”
d. variety of musical forms: (AAA, BBB, AAA′); (AAA BBB CCC′) or (ABA CDC EFE′)
e. usually performed antiphonally; half-choirs alternate statements
6. 13th century: Ordinary chants grouped into cycles
a. one setting of each text, except Credo
b. similar cycles appear in Liber usualis
i. Ite, missa est set to melody of the first Kyrie
Gêneros e formas do Canto
• H. Style, use, and history
1. type of chant reflects its role and history
a. antiphons and hymns add melodic interest
b. neumatic chants of choir adorn the service
c. melismatic chants decorative beauty, musical jewels of the liturgy
i. soloist and choir, when no ritual actions compete for attention
ii. most elaborate in repertory used to embellish readings from Scripture
2. revisions in liturgy changed function, style and form changed
3. recitation formulas: project words, easy to memorize, apply to many texts
4. chants share common history with ancient roots
a. drew on psalm texts: Jewish practice adapted by early Christians
b. modes and melodic formulas: Jewish, Near Eastern and Byzantine traditions
c. emphasized correct phrasing and declamation of text: classical Latin rhetoric
 Textos do ordinário
• Kyrie
• Gloria
• Credo
• Sanctus
• Agnus Dei
• Alternância entre textos longos (Gloria e Credo) e curtos, influenciou o estilo
silábico, neúmático ou melismático.
 Adições autorizadas
• A. Musicians added to and embellished liturgy
1. creative outlet for musicians
2. most for observances in honor of local saints
3. three new types of chant to authorized liturgy: tropes, sequences, liturgical dramas
Adições autorizadas
• B. Trope
1. expanded existing chant, three types:
a. new words and music before the chant (introductory trope) or before each phrase (intercalated
trope)
b. melody only, extending or adding melismas
c. text only, called prosula; set to existing melismas
2. style examples: NAWM 5, manuscript copied ca. 1025, central France
a. introductory trope: Introit antiphon, Mass for Christmas Day (NAWM 3a)
i. added trope (NAWM 5a), new words and music
b. intercalated trope: Offertory, Mass for Christmas Day (NAWM 3g)
i. added trope (NAWM 5c), new phrase of music and text
c. textless melisma: closes Introit’s antiphon (end of NAWM 5a)
d. prosula: (NAWM 5b) adapted from Alleluia Multipharie olim Deus
i. “Alleluia” replaced with prose text, set syllabically to music of the respond
ii. interpolated words into verse text
3. increased solemnity of chant by enlarging it
4. added words interpret text; link to specific occasion
5. trope composition flourished in monasteries, 10th and 11th centuries
a. hundreds of tropes composed
b. use declined in 12th century
c. banned by Council of Trent (1545–63)
Adições autorizadas
• C. Sequence
1. popular late 9th through 13th centuries
2. sung after Alleluia at Mass; set syllabically, text in couplets
3. derived from melismas added at end of an Alleluia
4. most melodies newly composed; free standing chants
5. with text and as extended melismas on “Alleluia”
6. form: A BB CC… N
a. initial single sentence
b. series of paired sentences or phrases
i. within pairs: 2 sentences or phrases, same number of syllables set to same music
ii. syllable count and music change for each new pair
c. final unpaired sentence
d. tonal focus clear, most phrases end on modal final
7. style examples:
a. Victimae paschali laudes (NAWM 6a); length of verses increases, decreases at next-to-last pair
b. Dies irae (NAWM 6b), example of later sequence; last two verses appended for the Requiem
Mass
8. 9th to 12th centuries, thousands of sequences composed
a. widely used, local practice varied
b. Council of Trent banned most sequences except for four, two of the four being Victimae paschali
laudes and Dies irae
Adições autorizadas
• D. Liturgical drama
1. dialogues that were added to the liturgy
2. recorded in liturgical books, performed in church; processions, stylized actions
3. Easter and Christmas dialogues most common, performed all over Europe
4. all parts sung by male clergy and choir
5. 12th and early 13th century:
a. some performed within liturgy, others staged separately
b. chants strung together, sometimes joined by secular-style songs
 Adições autorizadas
• Adições a um canto existente, através da inserção de textos em
melismas
• Dies Irae
 Adições autorizadas
Drama litúrgico
• Drama... Representação teatral
• Litúrgico.... Uma história sacra
• Poderia ser um texto retirado da Bíblia ou uma história inspiradora...
Hildegard of Bingen (1098-1179)
A. Renowned visionary, best-known composer of sacred monophony
1. born to noble family, Bermersheim, Germany
2. consecrated to the church; vows at Benedictine monastery
3. 1150 founded convent, Rupertsberg near Bingen
4. famous for prophecies
a. corresponded with emperors, kings, popes, and bishops
b. preached throughout Germany
c. Scivias (Know the Ways, 1141–51), account of 26 visions
d. Physica and Causae et Curae, books on science and healing
5. religious poems set to music: preserved in 2 manuscripts in liturgical cycle
6. major works: Ordo virtutum, 43 antiphons, 18 responsories, 7 sequences, 4 hymns, 5 other chants
Hildegard of Bingen
• B. Women excluded from priesthood
1. choir took over singing; women silenced in church
2. convents: separate communities of celibate religious women
a. hold positions of leadership
b. participate in singing and composing
c. learn to read Latin and music
3. Hildegard achieved great success
a. most songs praise Virgin Mary, Trinity, local saints
b. works vary, syllabic hymns to highly melismatic responsories
c. most composed for Office services
Hildegard of Bingen
• 4. Hildegard’s style:
a. melodies exceed range of octave by a 4th or 5th
b. repeats melodic figures in constant variation
c. some patterns derive from chant: rising 5th, stepwise descent; circling around cadential note
d. extraordinary: successive leaps, patterns that quickly span octave or more
e. music prolongs words encouraging contemplation
5. style example: Ordo virtutum (The Virtues, ca. 1151) (NAWM 7), final chorus
a. sacred music drama in verse with 82 songs
b. morality play with allegorical characters
i. Prophets, Virtues, Happy Soul, Unhappy Soul, Penitent Soul
c. all sing in plainchant; Devil speaks, separation from God
d. final chorus, expansive and individual melodies
 Uma enorme exceção
• Hildegard von Bingen (1098 – 1179)
• Filha de uma família rica
• Usou o dinheiro de seu “dote” para a construção de um mosteiro
• Poetisa
• Teóloga
• Compositora
• Ordo Virtutum
 The Continuing Presence of Chant
• VI.
A. Chant deeply influenced later music
1. Christian services throughout central and western Europe until Reformation
2. principal activity of professional singers until end of 16th century
3. chant reformed in late 16th and early 17th centuries; again in late 19th and early 20th centuries
4. Second Vatican Council (1962–65)
a. service held in vernacular
b. chant no longer prescribed; replaced by new tunes with vernacular texts
5. late 20th century: chant known through recordings
a. practiced mostly in monasteries and convents
b. performed in concerts