Music Middle Ages. Introduction Medieval musician

Medieval musicians. Manuscript XIII century Music Museum of the Middle Ages The period of development of musical culture, covering a period of time from about V to the XIV century AD ... Wikipedia

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A group of musicians on Montmartre French music is one of the most interesting and influential European musical cultures, which draws the origins of ... Wikipedia

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This is an article about musical style. For a group of philosophical views, see the New Age article.

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Books

• Illustrated art history. Architecture, sculpture, painting, music, liking in .. Lifting edition. St. Petersburg, 1884. Edition A. S. Suvorin. Edition with 134 drawings. Owned binding with leather root and corners. Fur Bintovaya. Preservation is good. ...
• Illustrated art history. Architecture, sculpture, painting, music (for schools, self-study and references), Lyubka. Lifting edition. St. Petersburg, 1884. Edition A. S. Suvorin. Book with 134 drawings. Typographic cover. Safety is good. Small holes on the cover. Ornate illustrated ...

More than 1000 years developed the musical art of the Middle Ages. It is a stressful and controversial stage of the evolution of musical thinking - from the monoment (one-s) to the most complex polyphony. Many European musical instruments have been improved in the Epoch of the Middle Ages, the genres of both church and secular music were formed, famous music schools of Europe were formed: Netherlands, French, German, Italian, Spanish, etc.

In the Middle Ages there were two main directions in the development of music: spiritual music and secular, entertaining. At the same time, secular music was believed to religion, was considered the "devilish navation".

The music was one of the tools of religion, a "subwoiled" means that served the goals of the Church, as well as one of the exact sciences. The music was put along with mathematics, rhetoric, logic, geometry, astronomy and grammar. The church developed singers and composer schools with a focus on numerical musical aesthetics (for scientists of that era, the music was a projection of the number on sound matter). This was the influence of the late Hellenism, the ideas of Pythagora and Plato. With this approach, the music did not have an independent value, it was the allegory of the Higher, Divine Music.

So, the music was divided into 3 types:

• World music is music spheres, planets. According to the musical and numerical aesthetics of the Middle Ages, each planet of the solar system was endowed with his sound, tone, and the movement of the planets created heavenly music. In addition to the planets, the seasons were endowed with his tone.
• Human music - every organ, part of the body, the soul of a person was endowed with their sound, which were in harmonious consonance.
• Instrumental music - the art of playing tools, music for envelope, lower type of hierarchy.

The spiritual music was vocal, choral, and secular - instrumental vocal. Instrumental music was considered light, frivolous, and, the musical theorists of that epoch did not perceive it seriously. Although the minstrel craft required the musicians of great performing skills.

The transition period from the Middle Ages to the era of the New Time in Europe, which lasted almost two and a half century. During this period, significant changes occurred in many areas of life; Stormy flourishing survived science and art. The period of revival is divided into many component parts and phases of development. Various superstitions are also associated with it, rooted so firmly that even today there are considerable efforts to refute them.

• The first and, probably, the main misconception is to be considered (like many of the ideologists of the Renaissance) the revival of the revival, the resurrection of culture and civilization, which has come after a long period of the barbaric "middle ages", gloomy time, the period of gap in the development of culture. This prejudice is based on the full ignorance of the Middle Ages and the close connection between it and the revival; As an example, there will be enough two completely different areas - poetry and economic life. Dante lived in the XIII century, i.e. In the climax of the Middle Ages, Petrarka - in the XIV. As for economic life, its authentic Renaissance also falls on the XIII century, the time of the rapid development of trade and banking. It is said that we are obliged to revive the ancient authors, but this is also superstition. It is known that during this period only two ancient Greek manuscripts were discovered, the rest were already in the West (mainly in France), because the return to antiquity associated with the interest in person and nature, Western Europe survived in the XII and XIII centuries.
• The second superstition is associated with the mixing of two components of the revival opposite to each other, namely the so-called humanism and the new natural science. Humanism is hostile to any logic, every reason, any natural science, which he considers the "mechanical" labor, unworthy of a cultural person, designed to be a writer, riser, politician. The figure of the Renaissance, which combines the Erasma of Rotterdam and Galilee at the same time, is the mythical, and faith in a certain one inherent in the era of the revival of the image of the world - nothing but a superstition.
• The third prejudice consists in praising the philosophy of the Renaissance Age as "Great" compared to the scholastic prior to it.

In fact, with the exception of Nicholas Kuzansky (distant from the Spirit of Renaissance) and Galilee (who lived at the Renaissance, the Renaissance philosophers, according to the fair approval of Kristencher, were neither good, nor bad, they were not philosophers at all. Many of them were outstanding writers, scientists, connoisseurs of ancient texts, were famous for mocking and acute intelligence, literary skill. But they did not have almost no relation to philosophy. Thus, oppose them to thinkers of the Middle Ages - Clean Water Superstition.

• • Another misconception is to consider the revival of a stormy revolution, a complete gap with the past. Indeed, during this period there are deep changes, but they are all organically connected with the past, and in any case, their origins can be found in the Middle Ages. These changes have in the past so deep roots that one of the largest professionals on the era of Renaissance, Hasing, had every reason to name this era of the "Autumn Middle Ages".

Finally, the superstition is the opinion that people who lived in the era of the Renaissance, at least most of them, in the spirit of their protestants, monists, atheists or rationalists. In fact, the overwhelming majority of well-known representatives of Renaissance, and in the field of philosophy almost everything, from Leonardo and Ficino to Galilean and Campennel, were Catholics, frequency supporters and defenders34 Catholic faith. So, Martilyo Ficino at the 40th year of life took the Christian faith and created a Catholic apologetics of the new time.

Music theorist Middle Ages Guido Aretinsky (end of the 15th century) gives the following Music definition:

"Music is the movement of vocal sounds."

In this definition, the medieval musical theorist expressed attitude to the music of the entire European musical culture of that era.

Music genres of church and secular music.

The source of spiritual music of the Middle Ages was the monastery environment. The chants were trapped in singing schools for hearing and distributed in church environment. In view of the appearance of a large manifold, the Catholic Church decided to canonize and regulate chants reflecting the unity of the Christian doctrine.

Thus, the choral appeared, which became the personification of the church musical tradition. It is based on other genres created specifically for certain holidays, worship.

The spiritual music of the Middle Ages is represented by the following genres: · Choral, Grigorian Choral - one-haired religious chant on Latin, clearly regulated, was performed by a chorus, some sections - soloist

• • • Mass is the main worship of the Catholic Church, consisting of 5 sustainable parts (Ordarden) - I. Kyrie Eleison (Lord, Pomemui), II. Gloria (Glory), III. Credo (believe), IV. Sanctus (Holy), V. Agnus Dei (Lamb of God).
    • Liturgy, liturgical drama - Easter or Christmas worship, where the Gregorian Choralas alternated with non-canonized trail melodies, the liturgies were performed by the choir, the party of characters (Mary, Evangelist) - soloists, sometimes some kind of costumes appeared
    • Mystery - a liturgical drama with a detailed stage action, costumes
    • Rondel (Rondo, Ru) is a multi-voice genre of mature and late Middle Ages, relied on the author's melody (unlike the canonized cholation), which was performed in the improvisational manner by soloists who join turns (early canon form)
    • Proprium - part of the genre Mass, varying depending on the church calendar (unlike the constant part of the Mass - Ordarium)
    • Antifone - the most ancient genre of choral church music, based on alternating parties by two choral groups

Samples of church music:

1) Kyrie Eleyson

2) Victimae Pashali

The secular music of the Middle Ages was, mostly music of stray musicians and was distinguished by freedom, individualized and emotionality. Also, the secular music was part of the courtie, knightly culture of feudal. Because the code prescribed the knight of exquisite manners, generosity, generosity, duties to serve as a beautiful lady, these parties could not not find their reflection in the songs of Troubadur and Minnesinger.

They performed the secular music of mimes, jugglers, trumpeners or pipes, minstrels (in France), Minnesinger, Spielmen (in German countries), chogres (in Spain), crumbs (in Russia). These artists had to not only be able to sing, play and dance, but also to be able to show circus performances, tricks, theatrical scenes, and should have been in other ways to entertain public.
Due to the fact that the music was one of the sciences and was taught at universities, feudal and noble people who received education could apply their knowledge and art.
Thus, the music developed in court medium. As opposed to Christian asceticism, the knightly music challenged the sensual love and the ideal of an excellent lady. Among the nobility, as the musicians were known - Guyom - VII, Count Poitiers, Duke Aquitania, Jean Briensky - King of Jerusalem, Pierre Moklar - Duke of Brittany, Tibo Champagne - King Navarre.

Main features and features of the Middle Ages:

• • • relies on the folklore, it is not performed on Latin, but in the native languages \u200b\u200bdialects,
    • among the stray artists notation is not used, the music is an oral tradition (later in the court environment, a musical writing is developing)
    • the main topic is the image of a person in the whole manifold of his earthly life, idealized sensual love
    • one-way - as a way of expressing individual feelings in poems and song form
    • vocal and instrumental execution, the role of the tools is not very high, the instrumental was mainly entry, intermediates and codes
    • the melody was diverse, but the rhythmics at the same time - canonized, "the influence of church music, rhythm varieties (rhythmic modes), was only 6, and each of them had a strictly shaped content.

Trumpets, Trubadras and Minnesingers, playing trumpet knight music, created their original genres:

• • • "Weavky" and "May" songs
    • Rondo - form based on repeating refrene
    • Ballad - textzy song
    • Virlael - StaroFronzuz poems with a three-stricken stanza (the third line is shortened), the same rhyme and with the chorus
    • Heroic Epos ("Song of Roland", "Song of Nibelunga")
    • Crusaders songs (Palestine songs)
    • Kanzona (at Minnesinger were called - Alba) - love, lyrical song

Thanks to the development of urban culture in the X - XI centuries. Secular art has become more active. Watching musicians are increasingly choosing a settling style, populated whole city blocks.

Interestingly, stray musicians by the XII - XIII centuries. Return to spiritual theme. The transition from Latin to local languages \u200b\u200band the enormous popularity of these performers allowed them to take part in spiritual ideas in the cathedrals of Strasbourg, Rouen, Reims. Cambone. Over time, some of the wandering musicians received the right to organize performances in the castles of nobility and at the courtyards of France, England, Sicily and other countries.

By the XII - XIII centuries, escaped monks, wandering schools appear among the stray musicians, and the lower layers of the clergy - Vagant and Goliada.

Seced musicians form in medieval cities whole musical shops - "Brotherhood of St. Julien" (Paris, 1321), "Brotherhood of St. Nicholas" (Vienna, 1288). The objectives of these associations were the protection of the rights of musicians, the preservation and transfer of professional traditions.

In the XIII - XVI centuries. New genres are formed, which further develop already in the ARS NOVA Epoch:

• • • Motets (from Franz. - "Word") - a multi-voice genre, distinguished by the melodic nursing of votes that intolerated different texts at the same time, sometimes even in different languages, could be both secular content and spiritual
    • Madrigal (from Ital. - "Song in the native language", i.e. Italian) - Lyric, Pastoral songs,
    • Kachche (from Ital. - "Hunting") - a vocal play on the topic of hunting.

Secular music of the troubadur and professional composers.

Additional Information:

In our information age, the century of high technologies, we often forget about irreversive spiritual values. One of these values \u200b\u200bis classical music - the spiritual heritage of our ancestors. What is classical music, why is it needed by a modern person? Why many believe that this is very boring? Let's try to figure out these difficult questions. You can hear the opinion that classical music is supposedly the one that has been written long ago. This is not the case, since this concept implies all the best that was created in the world of music since the existence of human civilization. Sonata Beethoven, created in the XVIII century, and Romance Sviridova, added 40 years ago, - All this is a classic! The main thing is that this music has passed the test of time. And at the time of Beethoven, and now there are delints from art producing a base musical product. This product is spoiled very quickly, and genuine art every day is becoming more beautiful and more beautiful.

The appearance of notes

Writing, the great invention of humanity, allowed to accumulate and transmit thoughts, ideas and impressions to the upcoming generations. Another invention, no less great, music record, allowed to transfer sounds to descendants, music. To music in European music, special signs were used - the nema.

The inventor of the modern tank record system is the Benedictine monk of Guido Aretinsky (Guido D'Isset) (990-1050). Arezzo is a small town in Tuscany, not far from Florence. In the local monastery, Gvido brother taught singing the execution of church chants. It was not easy and long. All knowledge and skills were transmitted orally in direct communication. Singeing under the guidance of the teacher and from his voice was consistently learned every anthem and every chanting of Catholic Mass. Therefore, a full "course" took about 10 years.

Guido Arettinsky began to mark sounds of notes (from the Latin word nota - a sign). Notes, shaded squares, were placed on a tin one, consisting of four parallel lines. Now these lines are five, and notes are depicted by circles, but the principle introduced by Guido, remained unchanged. Higher notes are depicted on a higher line. Notes seven, they form an octave.

Each of the seven notes of Octave Gwido gave name: UT, Re, Mi, Fa, Sol, La, Si. These are the first syllables of the hymn of St. John. Each line of this anthem comes on the tone above the previous one.

The notes of the next Octave are called the same, but come in a higher or lower voice. When moving from one octave to another sound frequency, which is indicated by the same note, increases or decreases twice. For example, musical instruments set up a note of the first octave. This note corresponds to the frequency of 440 Hz. The next, second, octave will correspond to the frequency of 880 Hz.

The names of all the notes, except first, end onto a vowel sound, it is convenient to sing. Slog UT - closed and disappearing it is impossible. Therefore, the name of the first notch of the octave, UT, in the sixteenth century replaced the DO (most likely, from the Latin word Dominus - the Lord). The last note of the octave, Si is the reduction of two words of the last line of the hymn, Sancate Ioannes. In English-language countries, the name "SI" was replaced by "TI" to not be confused with the letter C, also used in a notice record.

The invenus notes, Guido taught the singers of this kind of alphabet, and also taught them to sing on notes. That is, the fact that in modern music schools is called Solfeggio. Now it was enough to write down the entire Mesa notes, and the singers could already rush the desired melody. Disappeared the need to teach each of each song personally. Guido had only to control the process. Training time Pevichi has decreased five times. Instead of ten years - two years.!

A memorial plaque in Arezzo on Ricassolley Street on the house in which Guido was born. On it depicted square notes.

I must say that the monk Guido from Arezzo was not the first to come up with writing music with the help of signs. Before him, in Western Europe, there was already a system of nonime (from the Greek word "pneumo" - breathing), badges affixed over the text of the Psalms to designate the rise or decrease in the tone of the song. In Russia, for the same purpose, they used their own "hooks" or "banners".

The square notes of Guido Aretinsky, located on the four lines of the Mot, turned out to be the easiest and most convenient music recording system. Thanks to her, a touch grades spread throughout the world. Music left the borders of the church and left at the Palaces of Vladyk and noble, and then in theaters, concert halls and in city squares, becoming the general heritage.

What is a way.

Lada is one of the central terms in the theory of music. Understanding how they are built, and the skillful use of their use opens unlimited opportunities in front of a musician. And often explain exactly how an interesting transition is created in a particular composition, it is impossible - if a person does not understand what is a way. But there is a snag: the term "way" themselves the musicians themselves use, often meaning not at all the same. Why is that? And what is like that in general? The confusion turned out because of this word in different epochs was invested a very different meaning.

We do not realize how our perception is brought up and tied in classical music. (While the concept of "modern music" is a departure from the classical principles). The era of classicism is a large historical layer in the human perception of the world. After the Middle Ages, people discover antique art and fascinate them. Any product of classicism is built on strict canons, thereby finding the slightness and the logicality of the universe itself. Classicism created a structural orderliness - a clear hierarchy of the highest and lower, main and secondary, central and subordinate. Therefore, for example, starting with the Vienna Classics and Romantic Music, we think in the system - "Major Minor". What is it and how affects our perception?

Major and Minor are tonal frets. Tonal Lad is a specific relationship system between tones. What does it mean? What is the tone? Let's try to figure out. Suppose you are piano in front of you: look at the keyboard: we are familiar to the pre-Mi-Fa-Sol-La-Si, 7 white keys and between them are another 5 black, only 12. The distance between each of them is halftone. Between the neighboring black and white - always halftone. Between the adjacent white - the tone (there are exceptions to the Mi-Fa, and Si-up is halftone).

Any set of tones and halftone is a source. In the era of classicism, it began to build it with strict subordination of all tones of tonic - the main tone. Such is a major or mining way. All tone music (the whole classic) is based on the relationship between the main and subordinate consonents. For rumors, we intuitively distinguish Major and Minor on how they are painted - "joyful" or "sad". A variable way is when the major, and minor features are simultaneously in one work. But the principle of them is common - tonal.

However, this principle is not the only possible. Before the era of classicism, when everyone was finally ordered in a slender system of tonalities, musical thinking was different. Ionian, Dorian, Frigian, Lidy, Mixolidian, Eoli, Lokuri ... This is the octave Lada of the Greeks. And there were church frets of Grigorian music. All this is Modal Lada. They composed music in antiquity, Middle Ages, Modalna Eastern Music Tradition (Indian Rags or Arabic Macms, for example). In the music of Europe, the revival era also prevailed modality.

What is the main difference from our usual tonal look? In the tonal freaks there is strictly distinguishing the functions of the main consonance and chords, and in modal music they are much more blurred. For modal Lada, the Sound Sound itself is important - both the meanings and paints that it can bring into music. That is why we are easily at rumor distinguish Indian music from medieval chorals - according to certain consonances and musical strokes.

By the 20th century, composers seem to have tried all the sound options within tonal music. "I'm bored, the demon!", "They said and in search of new colors turned to the old - modal turnover and move. So there was a new modality. In modern music, new frets have appeared - for example, blues. Moreover, there was a special genre - modal jazz. Miles Davis, for example, called modal music "Deviation from a normal gamma from seven notes, where every note is not in focus." And he said that "going in this direction, you go to infinity." The bottomday is that the tonal and modal principles do not exclude each other at all. In one play, their signs can be mixed. Modality is like another layer, which is superimposed on the usual Major / Minor. And the use of various modal logs changes the color of the music: for example, the turns of the Frigian Lada are grilled, because its sound rugs mainly make up reduced steps. Knowing such vegetables, you can achieve interesting sound if you write music.

Color, mood, character - these are signs of Lada, which we hear, but often do not realize it. Often, modal turns are cling to the songs - because they are unusual. Rumor, brought up on classical music, pulls this departure from everyday life. All this and much more opens when you understand the language of music.

Music of the Middle Ages - the period of development of musical culture, covering a period of time from about V to the XIV century AD.

The Middle Ages is a large era of human history, the time of domination of the feudal system.

Culture periodization:

Early medieval - v - x centuries.

Mature Middle Ages - XI - XIV centuries.

In 395, the Roman Empire broke into two parts: Western and Eastern. In the western part on the ruins of Rome in the V-IX centuries, there were barbarian states: sharpening, modes, francs, etc. In the 9th century, three states were formed in the decay of the Empire Karl Great here: France, Germany, Italy. Constantinople became the capital, founded by Emperor Konstantin on the site of the Greek colony of Byzantium - from here and the name of the state.

In the era of the Middle Ages in Europe there is a new type musical culture - a feudal, combining professional art, amateur music and folklore. Since the church prevails in all areas of spiritual life, the basis of professional musical art is the activities of musicians in the temples and monasteries. Secular professional art was presented at first only singers who create and execute epic legends at the courtyard, in the houses of know, among warriors, etc. (Bards, Scalds, etc.). Over time, amateur and semi-professional forms of chivalry musitization are developing: in France - the art of Trubadurov and Trovers (Adam de la, the XIII century), in Germany - Minnesinger (tungsten von Eschenbach, Walter von der Foelweid, XII-XIII century), and Also urban artisans. In feudal locks and in the cities are cultivated all sorts of childbirth, genres and forms of songs (epic, "dawn", Rondo, Le, Velel, ballads, chancests, lands, etc.).

New musical instruments are included in life, including those who came from the East (Viola, Lute, etc.), ensembles (unstable compositions) arise. Folklore blooms in the peasant medium. "People's Professionals" operate: the observance of the wandering synthetic artists (juggles, mimes, minstrels, spiens, crumbs). Music reiterates mainly applied and spiritual and practical functions. Creativity performs in unity with the execution (as a rule in one person).

Gradually, although slowly, the content of music, its genres, forms, means of expressiveness are enriched. In Western Europe from the VI-VII centuries. There is a strictly regulated system of single-voice (monodic) church music on the basis of diatonic lands (Grigorian singing), which combines recitation (psalmody) and singing (hymns). At the turn of the 1st and 2nd millennia, multi-beams are born. New vocal (choral) and vocal-instrumental (choir and organ) genres are formed: organs, mott, Conduct, then Mesia. In France in the XII century, the first composer (creative) school is formed with the Cathedral of the Paris Mother of God (Leonin, Peroths). At the turn of the Renaissance (ARS NOVA style in France and Italy, the XIV century) in the professional music of one-haired multi-voyage, music begins to be freed from purely practical functions (servicing church rites), it increases the importance of secular genres, including songs (Gille De Masha).

The material basis of the Middle Ages was a feudal relationship. Medieval culture is formed in the conditions of a rural estate. In the future, the social basis of culture becomes the urban environment - Burgemi. With the formation of states, the main estimia is formed: clergy, nobility, people.

The art of the Middle Ages is closely connected with the church. Christian creed is the basis of philosophy, ethics, aesthetics, the whole spiritual life of this time. Filled with religious symbols, art is directed from earthly, transient to spiritual, eternal.

Along with the official church culture (high), there was a secular culture (lower) - folk (lower public layers) and knightly (courti).

The main foci of the professional music of the early Middle Ages - cathedrals, singing schools in them, monasteries are the only centers for the formation of that time. They studied Greek and Latin, arithmetic and music.

The main center of church music in Western Europe in the Epoch of the Middle Ages was Rome. At the end of the VI - early VII century. The main variety of Western European church music is formed - Gregorian Choral, named so named Pope Gregory I, who carried out the reform of church singing, collecting together and streamlining various church chants. Grigorian choral is a single-haired Catholic chant, which merged the centuries-old singing traditions of various Middle Eastern and European peoples (Syrians, Jews, Greeks, Romans, etc.). It was the smooth single-haired deployment of a single melody that was intended to personify the united will, the focus of attention of the parishioners in accordance with the dogmas of Catholicism. The character of music is strict, extravaluable. He was performed by Choral Choir (hence the name), some sections - soloist. Prevails adulted on the basis of diatonic frets. Gregorian singing allowed a lot of gradations, ranging from the harsh-slow choir psalmody and ending with the anniversaries (melting syllable syllable) requiring virtuoso vocal skills for its performance.

The Grigorian singing gives a listener from reality, causes humility, leads to contemplation, mystical extension. Such an impact contributes to the text in Latin, incomprehensible bulk of the parishioners. The rhythm of singing was determined by the text. It is vague, undefined, due to the character of text recording accents.

The diverse types of Gregorian singing were summarized in the main worship of the Catholic Church - Messe, in which five stable parts were established:

KYRIE ELEISON (Lord, Pomelia)

Gloria (Glory)

Credo (believe)

Sanctus (holy)

Agnus Dei (Lamb of God).

Over time, the elements of folk music through anthems, sequences and trails begin to leak into the Gregorian Choral. If the psalmodia was performed by professional chorus of singers and clergy, then the hymns at first are parishioners. They were insertion into official worship (they were inherent in the features of folk music). But soon the grams of the mass began to push the psalmodic, which led to the appearance of polyphonic mass.

The first sequences were a downstream under the melody of the anniversary so that one sound of the melody would have a separate syllable. The sequence becomes a common genre (the most popular "Veni, Sancate Spiritus", "Dies Irae", "Stabat Mater"). "Dies Irae" used Berlioz, Leaf, Tchaikovsky, Rachmaninov (very often as a symbol of death).

The first samples of polyphony occurred from monasteries - organs (movement of parallel quints or quarts), Gimel, Fogramsdon (parallel sextaccord), Conduct. Composers: Leonin and Peroths (12-13 centuries - Cathedral of the Parisian Mother of God).

The carriers of secular folk music in the Middle Ages were mimes, juggles, minstrels in France, spiers - in the countries of German culture, and chogres - in Spain, scomerculos - in Russia. These wandering artists were universal masters: they combined singing, dance, game on various tools with focus, circus art, puppet theater.

The other side of the secular culture was a knightly (courterous) culture (culture of secular feudal). The knights were almost all noble people - from the poor warriors to the kings. A special Knight's Code is formed, according to which the knight, along with courage and valor, was supposed to possess exquisite manners, to be educated, generous, generous, to serve as an excellent lady. All sides of the knightly life reflected in the musical and poetic art of Trubadurov (Provence - Southern France), Drivers (Northern France), Minnesingers (Germany). The art of Trubadurov is mainly connected with love lyrics. The most popular genome of love lyrics was Chancend (at Minnesinger - "Morning Songs" - Alba).

Trumpets, widely using troubadur experience, created their original genres: "Weaving Songs", "May Songs". The important area of \u200b\u200bthe musical genres of troubadurov, drovers and minnesinger was the song and dance genres: Rondo, Ballad, Viselle (refrained forms), as well as heroic epos (French Epos "Song about Roland", German - "Song of Nibelunga"). The Minnesiangers had the songs of the Crusaders.

Characteristic features of the art of troubadurov, drovers and minnezinger:

One-way - is a consequence of the inseparable communication of the entry with the poetic text, which follows from the very essence of music-poetic art. Single-band corresponded to the installation on an individualized expression of their own experiences, to personal assessment of the content of the statement (often the expression of personal experiences was framed by outlining nature paintings).

Mostly vocal execution. The role of the tools was not significant: it was reduced to the fulfillment of entry, intermedia and post-short, framing vocal entanglements.

About Knight's art can not be spent on both professional, but for the first time in the context of secular musitization, a powerful musical and poetic direction was created with a developed complex of expressive means and relatively performed musical writing.

One of the important achievements of the mature Middle Ages, starting from the X-XI centuries, the development of cities (burgher culture) was the development of cities. The main features of urban culture were anti-carcinal, freeing orientation, connection with folklore, its laughter and carnival character. Gothic architectural style develops. New polyphony genres form: from 13-14 to 16 centuries. - Motet (from Franz. - "Word". For the mott. Typically melodic nursery of votes that intonated different texts - often even in different languages), Madrigal (from Ital. - "Song in the native language", i.e. Italian. Texts Lyubovoy-lyrical, pastoral), kachche (from Ital. - "Hunting" is a vocal play on text, painting hunting).

Folk wandering musicians are moving from a nomadic lifestyle to a settled, populate whole city blocks and add up to peculiar "musician shops." Starting from the XII century, Vagatants and Goliada were joined to folk musicians - declared immigrants from different classes (Scholas-students, runaways, wandering clerics). Unlike illiterate juggles - typical art representatives of the oral tradition - Vagant and Goliada were competent: they owned the Latin language and the rules of classical poems, composed music - songs (the circle of images is associated with school science and student life) and even complex compositions of type of conducts and motes .

Universities became a significant focus of musical culture. Music, more precisely - musical acoustics - together with astronomy, mathematics, physicist entered the quadrium, i.e. The cycle of four disciplines studied at universities.

Thus, in the medieval city there were various foci of musical culture in the nature and social orientation: association of folk musicians, court music, music of monasteries and cathedrals, university musical practice.

Music theory of the Middle Ages was closely connected with theology. In a few musical and theoretical treatises, music was considered as a "servant of the church". Among the prominent treatises of the early Middle Ages, 6 books "On Music" Augustine, 5 Books "On Music Settlement" and others have been highlighted. A large place in these treatises was paid to abstract scholastic issues, the teachings on the space role of music, etc.

The medieval foot system was developed by representatives of church professional musical art - therefore, the name "Church Lads" was entrenched for medieval frets. The Ionian and Eolic and Eolist are established as the main frets.

Music theory of Middle Ages put forward the doctrine of hexahorda. In each Lada, 6 steps were used in practice (for example: to, re, mi, fa, salt, la). Xi then avoided, because Food together with the FA move on the increased quart, which was considered very intact and figuratively called the "Devil in Music".

Inviable recording was widely used. Guido Aretinsky has improved a tank recording system. The essence of his reform was as follows: the presence of four lines, the terrent relationship between individual lines, the key sign (initially alphabet) or the coloring of the lines. He also introduced the sludge notation for the first six levels of Lada: Ut, Re, Mi, Fa, Salt, La.

Menzular notation is introduced, where a certain rhythmic measure was fixed for each notew (lat. Mensura - measure, measurement). Name of durations: Maxim, Long, Brevis, etc.

The XIV century is the transition period between the medieval and the era of the revival. The art of France and Italy of the XIV century received the name "ARS NOVA" (from lat. - New art), and in Italy, it has all the properties of early revival. Basic features: Refusal to use exclusively genres of church music and appeal to secular vocal-instrumental chamber genres (ballad, kachche, Madrigal), rapprochement with household soles, the use of various musical instruments. ARS NOVA is opposite to the so-called. ARS Antikva (Lat. Ars Antiqua is old art), implying musical art before the beginning of the XIV century. The largest representatives of ARS NOVA were Guillaume de Masho (14th century, France) and Francesco Landino (14th century, Italy).

Thus, the Music culture of the Middle Ages, despite the relative limitation of funds, is a higher level compared to the music of the ancient world and contains the prerequisites for the magnificent flourishing of musical art in the Renaissance era.

music Museum Grigorian Troubadur

Music Middle Ages

Music culture of the Middle Ages - an extremely volumetric and versatile historical phenomenon, chronologically located between the era of antiquity and revival. It is difficult to imagine as a single period, since in different countries, the development of art has passed its special ways.

A specific feature of the Middle Age of the Middle Ages who had fallen an imprint on all spheres of human life at the time, was the guidance of the church in politics, ethics, art, etc. Music also did not avoid such a fate: she was not yet separated from religion and had mainly spiritual function. Its content, imagery, its entire aesthetic essence embodied the denial of values \u200b\u200bof the earthly life for the sake of reward after death, the preaching of asceticism, abundance from external goods. The folk art that continued to carry the imprint of pagan beliefs was often attacked by the "official" art of the Catholic Church.

The first period is the early Middle Ages - it is customary to calculate from the era immediately after the fall of the Roman Empire, i.e., from the 6th century n. e. At this time, there were many tribes and peoples in different stages of historical development. However, the preserved monuments of the musical art of this period are only the music of the Christian Church (mainly in later notation), inherited, on the one hand, the culture of the Roman Empire, on the other - the music of the East (Judea, Syria, Armenia, Egypt). It is assumed that the performing traditions of Christian singing - an antiphip (opposition of two choral groups) and respondents (alternation of solo singing and "answers" of the choir) - developed on the basis of oriental samples.

By the VIII century, the tradition of liturgical singing is gradually formed in European countries, the basis of which the Grigorian choral becomes the architects of a single-haired choral chanting, systematized by the Pope Gregory. Here it is necessary to dwell on the personality of Grigory himself, awarded, thanks to the significance of his figure in history, the title is great.

He was born in Rome in 540 in the family of noble origin, not experiencing money. After the death of Parents, Gregory received a rich inheritance and was able to establish several monasteries in Sicily and one in Rome, on the Telly Hill, in his own kind. The last abode, called the monastery of the Holy Apostle of Andrei, he chose a place to stay.

In 577, Gregory was dedicated to San Dyakon, in 585 - elected the abbot of the monastery founded by him, in 590 he was elected to the unanimous decision of the Roman Senate, Clear and the people to the Papal Thicket, which he held up to his death that followed in 604 .

In yet the life of Gregory used tremendous respect in the West, they did not forget him after death. There are many stories about the wonders committed by him. He also became famous as a writer: Biographers equate him in this respect to the great philosophers and sages. In addition, Grigory Great is one of the main figures in the development of church music. He owns merit in expanding the AMV Rosian Lady system and in creating a special school of singing, called Cantus Gregorianus.

Grigory for many years collected singing of various Christian churches, making it subsequently a collection called "Antifonary", which chained to the altar of St. Peter's church in Rome as a sample of Christian singing.

Dad introduced an octave system instead of the Greek system of tetrachidges, and the names of the tones that were previously previously greek designated Latin letters a, B, s, etc., and the eighth tone received the name of the first. The entire sound of the Great Grigory consisted of 14 tones: A, B, C, D, E, F, G, A, B, C 1, D 1, E 1, F 1, G 1. The letter in (b) had a dual value: in a round (in Rotundum) and in a square (in Quadratum), that is, the Si-Bembol and Si-Bachar, depending on the need.

But back to Pope Gregory, who, who else, became the founder of the singing school in Rome, was jealously followed training and even taught himself, strictly punishing students for negligence and tape.

It should be noted that gradually the Grigorian choral, consisting of two types of chants - Psalmodius (measuring speeching the text of the Holy Scriptures, mainly on one sound height, at which one note of the text accounts for one note) and Hymn-Jubi-Lialias (free syllas of syllables of words "Hallelujah"), outstretched Amvrosian singing from the church. From the latter, he was distinguished by the fact that it was even, independent of the text. This in turn gave the possibility of melody to pour naturally and smoothly, and the musical rhythm was now becoming independent, which was an essential event in the history of music.

The effects of choral singing on the parishioners intensified by the acoustic capabilities of churches with their high vaults reflecting the sound and creating the effect of the divine presence.

In the next century, with the spread of the influence of the Roman Church, the Grigorian Khoral was introduced (sometimes enforced) in the worship services of almost all European countries. As a result, by the end of the XI century, the entire Catholic Church was united by common forms of worship.

Music science at this time developed in close connection with the monastery culture. In the VIII - IX centuries on the basis of the Gregorian Chorala, the system of church lands of the Middle Ages is developing. This system is associated with a single-haired musical warehouse, with a monody, and is eight diatonic speakers (Dorian, Hydrodoric, Frigian, Hipofrigian, Lidia, Hypolithine, Mixolidian, hymixicolidian), each of which was perceived by medieval theorists and practitioners as a combination of certain expressive opportunities (first Lad - "dexterous", the second is "serious", the third is "rapid", etc.).

In the same period, notation begins to form, at first, the so-called nemami is the icons, visually showing the movement of the melody up or down. From the Neva later developed music signs. The reform of a music letter was carried out in the second quarter of the XI century Italian musician Guido d'Israzzo, who was born in 990. A little known about his children's years. Having achieved mature age, Guido became the monk of the Benedictine Monastery Pompozy near Ravenna.

Guido d'Asezzo

Nature generously gave it various talents, which gave him the opportunity to easily exceed his comrades in teaching. The latter envied his successes and how Guido showed himself as a teacher of singing. All this entailed a sharply negative, and partly even the hostile attitude of those around Gvido, and in the end it was forced to go to another monastery - to Arezzo, from the name of which and received his nickname Aretinsky.

So, Gwido was one of the outstanding musicians of his time, and his innovations in the field of teaching spiritual singing gave brilliant results. He drew attention to the notation and invented the four-line system, which accurately determined the location of the halftone (from them, which came between the steps of the Gregory Ladins, depended on the characteristic features of one or another Lada, as well as the melody based on this).

In an effort to record a melody as soon as possible, Gvido came up with various rules that were decorated in a complex and confusing system with new names of the tones: UT, Re, Mi, Fa, Sol, La. Despite the various difficulties caused by the use of such a system, it lasted quite a long time, and its traces are found in the theorists of the 18th century.

Interestingly, first Guido d'Areszo for his innovations were persecuted. But since the system of a talented musician largely facilitated the entry and reading of the melodies, dad with the honors returned it to the Pomposa Monastery, where Guido d'Israzzo and lived to death, that is, until 1050.

In the XI - XII centuries, the Middle Ages in the development of the artistic culture of the Middle Ages, there was a fracture due to new socio-historical processes (the growth of cities, crusades, the nomination of new social layers, including chivalry, folding the first centers of secular culture, etc.). New cultural phenomena apply throughout Europe. There is a folding and distribution of medieval novel, Gothic style in architecture, in music there is a multi-voice letter, the formation of a secular musical and poetic lyrics.

The main feature of the development of musical art during this period is the statement and the development of polyphony, which was based on the Grigorian Choral: the singers joined the main church melody. In the early examples of binding, recorded in the music samples of the IX - XI centuries, the voices move in parallel in a single rhythm (in quarters, quints or octaves). Later, samples of non-parallel movement of votes appear ("One singer leads the main melody, the other is skillfully wanders on other sounds," Gvido D'Oreszo's theorist writes). This type of two- and multi-beams by the name of the acceding voice is referred to as an organ. Later, the joined voice began to decorate with Melmami, he began to move freely in rhythmic attitude.

The development of new forms of polyphony was particularly actively held in Paris and Limoges in the XII - XIII centuries. In the history of musical culture, this period entered as the "notre-lady's era" (by the name of the world famous architecture monument, where the singel chapel worked). Among the authors whose names retained the story - Leonin and Peroths, organochinkers and other multi-voiced works. Leonin created a "big book of organs", calculated on the annual circle of church singing. The transition to three- and four-voice, further enrichment of a melodic letter is associated with the name of the peroth. It should be noted that the importance of the school notre-ladies is significantly not only for France, but also for the entire European art of the time.

The formation of secular genres during this period was prepared by the work of the stray folk musicians - jugglers, minesters and spies. Rejected and even persecuted by the official church, stray musicians were the first carriers of secular lyrics, as well as a purely instrumental tradition (used various brass and bow tools, harp, etc.).

At that time, the artists were actors, circus, singers and instrumentalists in one person. They traveled from the city to the city, performed at the celebrations at the courtyards, in the castles, on the fairgrounds, etc. To the juggles, spiers and minstrels were also joined by Vagatants and Goliada - unfortunate students and fucked monks, thanks to which in the "artistic" environment spread literacy. Gradually, specialization has emerged in these circles, stray artists began to form goals, settle in cities.

In the same period, a peculiar "intelligent" layer is nominated - chivalry, in whose environment (during periods of truce) also flares up interest in art. In the XII century, the art of Trubadurov, which became the basis of a special creative movement in Provence. Trubadras for the most part were out of the highest nobility, owned musical literacy. They created complex in the form of musical and poetic works, in which earthy joy, heroic of crusades, etc.

Trubadour was primarily a poem, the melody was often borrowed from them from everyday help and creatively rethought. Sometimes the troubadours hired minstrels for the instrumental support of their singing, attracted jugglers to the execution and writing of music. Among the troubadur, whose names came to us through the veil of centuries, - Juafre Ryudel, Bernart de Veentorne, Bertrand de Born, Rambaut de Vakeras, etc.

Poetry of Trubadurov had a direct impact on the formation of the work of the pipes, which was more democratic, because most of the pipes are coming from citizens. Some trumpets created works to order. The most famous of them was Adam de la Al, the native Arras, the French poet, the composer, the playwright of the second half of the XIII century.

The art of the troubadurov and the pipes spread throughout Europe. Under its impact in Germany, the century later (XIII) there were traditions of the Minnesinger School, whose representatives, gifted musicians and composers were mainly served at the courtyards.

A peculiar transition to the Renaissance era can be considered the XIV century. This period in relation to French music is customary to denote "ARS NOVA" ("New Art") on the name of scientific work, created about 1320 by the Paris theorist and composer Philippe de Vitrate.

It should be noted that at the specified time in art, fundamentally new elements really appear: for example, approval (including on theoretical level) of new principles of rhythmic division and vote, new la or alterations (in particular, alterations and tonal gravity - i.e. "Diezov" and "Bemoley"), new genres, access to a new level of professional skills.

In the number of the largest musicians of the XIV century, in addition to the Philip Dave, who created Motkets on their own texts, you need to put Gioma de Masho, born in the city of Masha, in Champagne, about 1300.

Guillaume de Masho at one time consisted of the courtyard of John Navarre, the wife of Philip is beautiful, later became the personal secretary of the King of Bohemia John Luxembourg, and at the end of his life was at the courtyard of Karl V French. Contemporaries worshiped his extraordinary musical talent, thanks to which he was not only a brilliant performer, but also an excellent composer who left a huge number of works: It was reached by his motes, ballads, rondo, canons and other songs (song-dance) forms.

The music of Guillaume de Masho is distinguished by sophisticated expressiveness, grace and, according to researchers, is the Spirit of the Ars Nova's Epoch. The main merit of the composer is that he wrote the first in history by the author's Mass on the occasion of joining the throne of Charles V.