Essay, Research Paper: Examination Of Music History

Examination of Music History
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A verbal art like poetry is reflective; it stops to think. Music is immediate, it goes on to
become." - W.H. Auden. This quote best explains the complex art of music. Music is an
elaborate art form that will always remain ever changing. Music developed drastically
from it's beginning in the Prehistoric era to the 14th Century.

The exact origin of music is unknown. It is known that music was used in prehistoric
times in magical or spiritual rituals but no other use is known. This knowledge is borne
out of the fact that music still forms a vital part of most religious ceremonies today.

The history of Greek music is problematic. Although there are frequent references to
musical performance in Greek manuscripts, there are less than twelve fragments of
actual Greek music, including both vocal and instrumental music, that have survived. It
is impossible to fully understand the notation to make an authentic performance.

For the Greeks, music was of divine origin. According to Greek mythology, the gods
themselves invented music and it's instruments. Many of the early myths told of the
powerful effects of music. Music played an important part in both the public and private
lives of the Greeks. They believed it could deeply affect human behavior. Greek music
was built up of a series of distinct modes, each with it's own name. According to the
doctrine of ethos, each mode was so powerful that it gave music the ability to
influence human actions in a precise way. The Phrygian mode expressed passionate and
intimate emotions, where as the Dorian mode produced forceful, rigid feelings.

In later Greek history the doctrine of ethos was widely argued by the most philosophical
of men. Plato and Aristotle both had broadly different views on the power and
importance of music. The persocratic philosopher Pythagoras was even interested
enough in music to develop the numerical octave system that we still use today. The
Classical Greeks used music in much of their drama and by the time Greece was made a
Roman province, music dominated dramatic performances and social activities.

There is not a great deal of original Roman music. Most of the music that did come out
of the Roman era was derived from the Greeks. Despite this, there was definite musical
activity in the later Roman Empire. An ample amount of evidence survived for
instruments and a good deal of theory also. But by in large Greek music remained the
most popular in the Roman Empire.

Early Christian music drew off of Jewish sources. The custom of singing sacred verses
at services was an ancient Jewish tradition that goes back to Mesopotamian sources.
As the Church grew the music fell more into the care of professionals and it became
greatly complex. Soon the church officials became fearful that the music was
overpowering the worship and music was regulated in worship services.

The beginnings of Byzantine music was mainly based on Syraic and Hebrew music. Most
music of this time was written for religious purposes and was strictly regulated by
church officials. By 386 AD Saint Ambrose of Milian began the use of vernacular hymns
in the church worship services.

The development of the music of the Early Middle Ages was intertwined with the grow
the of the Christian church. Chanting of scriptures and prayers was practiced earlier.
By the sixth century AD modalchant, known as plainchant, had increased so greatly
that Pope Gregory I had it collected and organized, and it came to be called Gregorian
chant. The chant did not have a regular rhythm but was fitted to the natural accents
of the Latin words. Like all previous music, each chant consisted of a single melody,
and all the singers sang the same notes. This type of music is called monophonic, or
one-voiced.

Nonreligious, or secular, music was composed by wandering poets who sang of chivalry
and courtly love in the twelfth and thirteenth centuries. In France they were either
jongleurs, itinerant minstrels who made a living from their songs, or troubadour and
troueres, aristocrats who sang for the love of music. In Germany the poet-musicians
were called minnesingers. Some two thousand minnstrel melodies are preserved in old
manuscripts.

The discovery that two voices could sing two separate melodies at the same time and
still produce a pleasing sound occurred sometime around the ninth century. This
discovery was called Polyphony. The genesis of polyphony occurred in France, first in
very basic notation lacking precise pitch. By the twelfth century, polyphony was
developed into elaborate forms in two centers: Paris and St. Martial de Limoges, the
latter preceding the former. By this time, precise pitch notation is given, and so the
footing is fairly firm.

The first experiments in polyphony were called organum. A secong voice or voices sang
the chant melody at perhaps an interval of a fourth or fifth above the original, or tenor.
Sometimes the two moved in opposite directions. Above the tenor a more elaborate
part might be sung. As the two parts become more independent, often two distinct
melodies proceeded at the same time. When the third and fourth parts were added, the
music became truly polyphonic.

Sometime after the mid-twelfth century, a new Notre Dame Cathedral was being built in
Paris, and with it grew a school of composers. Two names have been preserved from
that school- Leonin and Perotin. They stretched the organum to unheard-of lengths
and embellished it with flourishes of long melismas, or many notes sung to one syllable.
New rhythmic patterns developed, as did repetitions of motifs, sequential patterns, and
imitation.

Out of this developed the motet, originally in Latin on a sacred text. Unlike the
organum, the text was sung in the upper voices as well as the tenor. Bilingual motets
(French-Latin, English-Latin) arose, and secular texts or combinations of sacred and
secular texts were used. Tenors were sometimes chosen from French popular songs
instead of from plainchant. Instruments played lower parts, making the motet an
accompanied solo song.

The period culminated in the works of Guillaume de Machaut. He left 23 motets, more
than 100 secular songs, and a mass. They are characterized by excellent craftsmanship
with colorful melodic and harmonic inflections and constantly shifting rhythms.

The later fourteenth century was a period during which the French style dominated
secular composition throughout Europe. It modified to reflect local tastes in Italy and
England, but remained largely French in inspiration for some decades. However, Italian
composers continued to develop a more native idiom, combining French Ars Nova ideas
with indigenous genres.

Music as a whole progressed slowly through the many years it's been around, taking it's
time to perfect itself. It can be seen that in just the last few hundred years,1300-
1500AD, that the styles in music took a dramatic leap towards the future. It will be
interesting to see how swiftly music will accustom itself to the next thousand years.

Works Cited
Cunningham, Lawrence S., Reich, John J. Culture and Values; A Survey of Western
Humanties. New York: Harcourt Brace College Publishers, 1994.
McComb, Todd Michel. http://www.music.indiana.edu The Origin of Polyphony:
1996
McComb, Todd M. http://www.music.indiana.edu A Selection of Medieval Music:
1996
McComb, Todd M. http://www.music.indiana.edu Early Music: 1996
"Music,Classical." Comptom's Interactive Encyclopedia, Inc. 1995.
Stinson, John music14.html @ www.lib.latrobe.edu.au The Music of the 14th
century: 1997