What is the dynamics of medieval music? tabang kalang8an. sh8 bak8 gani2 mapeh mapanak8.
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Chapter 1: Medieval Period (c. 500-c. 1450).
Medieval Period (500-1450)
Medieval music can be described as music that was created and performed during the Middle Ages. This would include both music for the Christian church (liturgical music) and non-religious (secular) music composed for entertainment purposes. This may be music only for voices, otherwise known as vocal music, such as the Gregorian chant that was sung by monks, as well as choral music; music to be played only by instruments; and music that could be performed by both instruments and voices. The Medieval Period is typically considered to begin following the end of the Roman Empire near the end of the fifth century and transitions into the Renaissance Period beginning in the early fifteenth century.
Instruments
Many types of instruments that were used to perform music in the Medieval Period are still in use today; however, due to many technological developments they may be quite different. For instance, the flute was originally made of wood but today is typically made of silver or some other metal. Also it was often made as an "end-blown" instrument like its predecessor, the recorder. Today's "transverse" (held crossways) flutes have complex key mechanisms rather than just holes that are covered by the fingers. Many plucked string instruments like the lute (an earlier version of today's guitar) were popular during the Medieval Period. The dulcimer was originally plucked; in the 14th century when metal strings began to be used it became possible to strike them with hammers. Earlier forms of the vielle and the sackbut, known today by their modern names of violin and trombone, also existed.
Characteristics of Medieval music
Medieval instrumental music may be characterized by its thin "texture" (relatively few instruments as opposed to the "thick texture" of a full symphony orchestra); very rhythmic character; and repetitive quality, as well as by the distinctive sound of instruments of that era .
This recording contains a nice mix of medieval instrumental music (1:01:18):
Genres
Early Medieval liturgical or church music (music for religious purposes) was monophony, mostly sung in a monastery; monophony is a melody that does not include harmony. Polyphony (many voices or sounds) began to develop during the later Medieval Period, and became more common by the later 1200s and early 1300s. This development is part of the Ars nova.
Traditions of early chant
Chant (sometimes known as plainsong) is a monophonic religious type of vocal music that was typically sung during the earliest worship services in the Christian church. Gregorian chant takes its name from Pope St. Gregory I who was in office 590-604. He is credited with "codifying" the extremely large existing body of chant, much of which either lacked sufficient quality or was redundant for church purposes. There was a myth at one time that he actually wrote the chant, but this has been dismissed as legend. He was often depicted in paintings with a dove representing the Holy Spirit sitting on his shoulder dictating the chant to him, reinforcing the myth that Gregorian chant was divinely inspired.
There are three types of Gregorian chant: syllabic, neumatic, and melismatic. Usually they can be easily distinguished from one another by the number of notes that are sung per syllable. In syllabic chant, each syllable has its own note. In neumatic chant, each syllable is sung to a small group of notes (usually 2 to 4) called a neum. In melismatic chant, each syllable may be sung to a long succession of notes, perhaps as many as 10 or 20 or more.
A simple demonstration of the difference between melismatic and syllabic chant is found in the refrain of the well-known Christmas carol, Angels We Have Heard on High. The words "Gloria in excelsis Deo" are sung melismatically, then syllabically. A total of 16 notes are sung melismatically on the "Glo-" part of "Gloria": Glooo-o-o-o-o-oooo-o-o-o-o-oooo-o-o-o-o-oooo-ri-a. This is then followed by each of the six syllables in the rest of the refrain being sung on its own individual note: in ex-cel-sis De-o.
Neumatic chant is a little more difficult to identify. A neum is a small group of two, three, or fours notes with wonderful names like clivis, scandicus, salicus, podatus, porrectus. and torculus. There can be no more than one syllable per neum.
The following recording offers numerous examples of all three types of chant. Many times it is quite easy to distinguish one type of chant from another. However, sometimes the types may be mixed or blended. Other times a particular chant will have a very syllabic section and then have a long melisma. Some of the better examples of the different types of chant are indicated in bold.