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Medieval music encompasses the sacred and secular music of Western Europe during the Middle Ages, [1] from approximately the 6th to 15th centuries. It is the first and longest major era of Western classical music and is followed by the Renaissance music; the two eras comprise what musicologists generally term as early music, preceding the common practice period.
In medieval and early-modern times (and sometimes even now) in South Asia, excommunication from one's caste (jāti or varna) used to be practiced (by the caste-councils) and was often with serious consequences, such as abasement of the person's caste status and even throwing him into the sphere of the untouchables or bhangi.
Date ranges of classical music eras are therefore somewhat arbitrary, and are only intended as approximate guides. Scholars of music history do not agree on the start and end dates, and in many cases disagree whether particular years should be chosen at all. The 20th century has exact dates, but is strictly a calendar based unit of time.
Middle Ages c. AD 500 – 1500 A medieval stained glass panel from Canterbury Cathedral, c. 1175 – c. 1180, depicting the Parable of the Sower, a biblical narrative Including Early Middle Ages High Middle Ages Late Middle Ages Key events Fall of the Western Roman Empire Spread of Islam Treaty of Verdun East–West Schism Crusades Magna Carta Hundred Years' War Black Death Fall of ...
In the early Medieval music era, notation indicated the pitches of songs without indicating the rhythm that these notes should be sung in. The most famous music theorist of the first half of the 13th century, Johannes de Garlandia , was the author of the De Mensurabili Musica (c. 1240), the treatise which defined, and most completely elucidated ...
Medieval (c. 500 – c. 1400) – Period characterized by the development of early music notation systems and a strong emphasis on vocal music. Sacred music like Gregorian chant and various other religious and non-religious styles were developed during this time.
A descant is a form of medieval music in which one singer sang a fixed melody, and others accompanied with improvisations. The word in this sense comes from the term discantus supra librum (descant "above the book"), and is a form of Gregorian chant in which only the melody is notated but an improvised polyphony is understood.
Medieval singers improvised the refrains of the conductus. The refrains serve as a visual cueing for the repetition of music and text. By changing the lyrics and rhythmic delivery of the refrains, singers can add improvisatory meaning to the conductus. [8]