A Journey Through Early Music and Medieval Drama
Monody and Polyphony: Core Concepts
Monody is a musical composition for a single voice or melody, a significant development during the eighth and thirteenth centuries. This contrasted with earlier practices where multiple voices often sang in unison or an octave range. Generally, the term refers to any melody for one voice and is opposed to polyphony.
Polyphony is recognized as a set of simultaneous sounds, where each expresses a distinct musical idea, retaining its independence while forming a harmonious whole. The polyphonic character of a work depends not only on the foundational composition—i.e., the composer’s idea of melodic independence—but also on the listener’s ability to audibly discriminate between the voices.
Medieval Theater: Origins and Evolution
Medieval theater originated from Christian worship, specifically from tropes and sequences. Initially religious, these performances later incorporated secular elements.
The Church sought to educate people and began to stage what were called liturgical representations, driven by the need for teaching. These representations evolved into mysteries and were initially performed within liturgical churches.
As themes diversified and secular elements grew, performances moved to public squares. Initially, these representations were performed in Latin within churches as part of worship, depicting the mysteries of Easter and Christmas. Later, they were performed in romance languages and moved to the courtyards of the Church.
Over time, in the fourteenth and fifteenth centuries, they became known as mystery plays and miracle plays, growing in complexity and requiring dedicated actors. The music often resembled Gregorian chant. Sometimes, parts were accompanied by polyphonic instruments, or featured instrumental sections only. In Italy, these works were called Holy Representations.
When the subject matter was entirely non-religious, it was termed secular theater. These works included dances, some of which were religious. Alongside these, non-musical theater also developed.
Ars Antiqua: A Period of Musical Innovation
Ars Antiqua is a period of musical history encompassing the twelfth and thirteenth centuries. Its foundation lies in the creation of the renowned Notre Dame School of Paris, from which emerged two musicians of great significance: Léonin and Pérotin.
This period built upon musical developments from the ninth to twelfth centuries, including early polyphonic inventions:
- Organum: A second voice, called the vox organalis, was added to a Gregorian melody (the cantus firmus) at a distance of a fourth or fifth. This technique was primarily developed in religious music.
- Discantus: Involved two voices moving in contrary motion.
- Fauxbourdon: A technique involving parallel movement of voices, often a sixth and a fourth below the melody, creating a rich sound.
During this period, a technique known as “note against note” or counterpoint developed. Over time, this became more elaborate, allowing for many rhythmically distinct notes for each note of the tenor, becoming truly widespread.
Music in Ancient Civilizations
In ancient times, music’s existence can be inferred through ancient paintings and reliefs, demonstrating its presence among our ancestors. This illustrates how an intangible art form can be studied through tangible artifacts.
Music was used to celebrate events such as seasons and harvests, and even for healing rituals. Over time, music became distinct in each culture or region.
This led to a division into popular music and classical music. Classical music is typically governed by formal rules, while popular music is not.