ESO - Música II - Solucionario

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UNIT 1: ANTIQUITY AND MIDDLE AGES
UNIT ACTIVITIES PAGE 19
1. Listen to the Seikilos Epitaph, one of the few fragments that were preserved of the music from Ancient
Greece. It appeared carved on a funerary pillar in Seikilos (Tralles). But far from being a mournful lament,
it is a song that encourages us to enjoy our short lives.
a. What scale or mode is it written in? What ambitus does it have?
b. What musical instruments can you distinguish? What type of accompaniment are they?
The Seikilos Epitaph is one of the few fragments of music with musical notation that remain from Ancient
Greece. It appeared carved on a funerary pillar in Seikilos (Tralles) in Asia Minor. According to Giovanni
Comotti “it is the result of the melomania of a musician who wanted to have a short composition carved on
the memorial stone of his own grave”.
It is a song with a Bacchic character that encourages us to enjoy this short life.
The original score answers to a Phrygian mode transposed to a 2nd ascending major (upon E). However, we
chose to present the score in this book in Phrygian mode (D’-D) in order to facilitate the comprehension of
the modal scale it uses; and to be able to carry out a short performance activity if you think it would be
useful. (The listening that we give you in the disc is in a 3rd major ascending in relation with our score).
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The analysis of the listening will lead us to insist on the characteristic monodic texture with heterophonic
accompaniment of Greek music. We will highlight the introduction of zills over the Mese and the Final of
the mode (the first two notes of the melody), the plucking of the lyre as the voice’s base and the repetition
of the last notes of the melody at the end.
Expansion suggestion
As we said before, we can use the simplicity of this score to carry out a short performance activity.
By imitating the heterophonic texture, we will alternate the voice and bar instruments (carillons). We will
perform a little plucking of the melody with the guitar (as if it were the Greek lyre) and we will accompany
the beginning and ending of the phrase by softly hitting the triangle and the zills.
UNIT ACTIVITIES PAGE 21
1. Listen to these three examples of Gregorian chant. Follow the track with the help of the scores.
a. Analyze the music-text relation and indicate what type of singing this piece belongs to.
b. Compare the neumatic notation of the first two scores with the almost modern square notation,
indicating their connections.
c. Pay attention to the last piece. The original Kyrie appears first, and then another version with trope,
that is, with new text added to the melisma. Which one is easier to sing?
We will briefly talk about the three fragments that appear in the burst, their liturgical function and their
most relevant musical characteristics.
- Videns dominus flentes: It is a song that accompanies the reading of Lazarus’ resurrection (St John, 11). It
is written in syllabic style, one note per syllable (in general) except in short and more ornamented passages
that indicate a clearly expressive intention to back the text up. It uses a mode II: Protus Plagal (final D,
recited F), with a short, higher-pitched and intermediate passage over the Authentic (recited in A). The
fragment that we give you in the listening only has the first three phrases of the song, until the exclamation
“Lázare veni foras”.
- Puer natus est nobis: It is the introit of the Christmas mass (Isaiah 9, 5), the first of the songs of the mass,
which belongs to the Proper (songs that change depending on the festivity), which has the function of
accompanying the entry of the celebrant “establishing the tone” of the celebration. It is written in neumatic
style (typical of the introit) with some ornamented passages in order to highlight the most important words
of the text. It uses a mode VII: Authentic Tetradus (final G, recited D), the highest-pitched of the octoechos
with an “angelicus” character, typical of youth and jubilation. The fragment that we give you in the listening
only has the two first phrases of the antiphony, although we could explain on the score the usual
continuation with the verse from the Psalm.
- Kyrie fons bonitatis: It is the second song of the mass for solemn festivities and belongs to the Ordinary
(fixed songs) in which each invocation is sung three times by alternating the soloist and the choir (Kyrie
eleison, Christe eleison, Kyrie eleison). As it is usual, the original Kyrie is a melismatic singing with long
vocalizations in the last syllable of the initial word. It uses a mode III: Authentic Deuterus (final E, recited C).
The fragment that we give you in the listening corresponds to the Kyrie with the tropo (fons bonitatis...)
and only contemplates the first two invocations. We will use the scores that appear in the book to explain
square notation in C clef on the 4th, C clef on the 3rd and C clef on the 4th respectively; and also the most
relevant aspects of neumatic notation in the first two examples from the Gradual Triplex. We can ask the
students to transcribe some of the fragments to make sure that they understand what we explained, or to
make possible an activity performance. We offer you the corresponding transcription of the first two
examples:
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Videns dominus flentes
Puer natus est nobis
UNIT ACTIVITIES PAGE 22
1. Listen to the cantiga No. 47 by Alfonso X the Wise called Virgen Santa María.
It is a cantiga of
«miragre» which tells how the Virgin saved a friar from the temptations of drinking.
We will introduce this piece as an example of cantiga of “miragre” with a clear, narrative style. We will
highlight the main goal of cantigas, which were composed to be performed in public, with clear references
to the audience, and responding to the tradition that began in the first centuries of Christianity regarding
the praising and dissemination of the Virgin. We will analyze on the score the most relevant characteristics:
- Virelai form, structured in stanzas and coplas (8 coplas or stanzas in all), very frequent in the
troubadouresque repertoire.
- Robust and popular melody, in G mode, with an ambitus of 7th (f - e’).
We can use this moment to do a little performance activity (the listening can be used as backup). We
suggest that you perform the score with bar instruments and flutes. We can also play a bourdon with
metallophones upon the final with the mode (G-D) and add percussion instruments in the chorus to set the
beat. We give you the complete text of the cantiga with its translation so that you can comment on it. In
the listening that we offer you in the disc there are only the second and third coplas; therefore we will warn
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the students. As all cantigas, it is introduced by a short text that sums up its subject:
Esta é como Santa Maria guardou o monge
que o demo quis espantar polo faze perder.
Virgen Santa Maria / guarda-no se te praz,
da gran sabedoria / que eno demo jaz.
This is how Santa Maria hid the monk
to whom the devil wanted to scare to make him
get lost.
Virgin Santa Maria / free us if you please,
of the great wisdom / that lies in the devil.
Ca ele noi’ e dia / punna nos meter
per que façamos erro / porque a Deus perder
ajamo, lo teu Fillo / que quis por nos soffrer
na cruz paxon e morte / que ouvessemos paz.
Because he, day and night / struggles to make us
fall in errors / so that we lose God
your son / who wanted to suffer for us
on the cross passion and death / to wish us peace.
Virgen Santa Maria...
Virgin Santa Maria...
E desto, meus amigos / vos quer’ ora contar
un miragre fremoso / de que fiz meu cantar,
como Santa Maria / foi un moge guardar
da tentaçon do demo / a que do ben despraz.
And about this, my friends / I want to tell you
a beautiful miracle / from which I made my song,
about how Santa Maria / went to hide a monk
from the demon’s temptation / to whom she
annoys.
Virgen Santa Maria...
Virgin Santa Maria...
Este mong’ ordyado / era, segund’ oy
This monk was ordained / and according to what I
heard
he kept his rules so well / as I learned;
but the devil is smart / it annoyed him in such a
way
that he made him in the wine cellar / drink too
much wine....
muit’ e mui ben ssa orden / tiia com’ aprendi;
mas o demo arteiro / o contorvou así
que a fez na adega / bever do vinn’ assaz.
Virgen Santa María... Virgen Santa María…
Pero beved’ estava / muit’ o monge quis s’ir
dereit’ aa eigreja / mas o dem’ a sair
en figura de touro / o foi polo ferir
con seus cornos merjudos / ben come touro faz.
But when he was drunk / the monk wanted to
leave
straight to church / but the devil came out
in the shape of a bull / and went to hurt him
lowering his horns / like the bull does.
Virgen Santa Maria...
Virgin Santa Maria...
Quand’ esto viu o monge / feramen se espantou
e a Santa Maria / mui de rrijo chamou;
que lle appareceu log’e / o tour’ ameaçou
dizendo: “Vai ta via / muit’ es de mal solaz”.
When the monk saw this / he was full of terror
and Santa Maria / quite vigorously he called;
She appeared immediately / and to the bull she
threatened
saying: “Go your way / for bad games you bring”.
Virgen Santa Maria...
Virgin Santa Maria...
Pois en figura d’ome / parceu-ll’ outra vez,
longu’e magr’e veloso / e negro como pez;
mas acorreu-lle logo / a Virgen de bon prez
Then in the shape of a man / he appeared again,
tall, in black and hairy / pitch black;
by then came / the Virgin with good glory
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dizendo: “Fuge, mao / mui pero ca rapaz”.
Saying: “Go away, wicked / you are worse than a
lad”.
Virgen Santa Maria...
Virgin Santa Maria...
Pois entrou na eigreja / ar pareceu-ll’ enton
o demo en figura / de mui bravo leon;
mas a Virgen mui santa / deu-lle con un baston
dizendo: “ Tol-t’ astroso / e logo te desfaz”.
When he walked into the church / he appeared
again
the devil in the shape / of a brave lion;
but the Virgin, quite Santa / hit him with a staff
saying: “Get away, dirty one / and disappear”.
Virgen Santa Maria...
Virgin Santa Maria...
Pois que Santa Maria / o seu mong’ acorreu
como vos ei ja dito / e ll’o medo tolleu
do demo e do vino / con que era sandeu
After Santa María / had helped the monk
as I have told you / and took fear away from him
of the devil and wine / with which he had gone
mad
she told him:“Be careful since today/and do not be
wicked”.
disse-ll’: “Oy mais te guarda / e non seas malvaz”.
Virgen Santa Maria...
Virgin Santa Maria...
UNIT ACTIVITIES PAGE 23
1. Perform now the cantiga No. 100 called Santa Maria Strela do Dia. It is a cantiga of «loor» or praise,
which presents the Virgin as a star capable of guiding the devoted towards Heaven.
We will use the information that appears on the page to present Alfonso X the Wise and his work. It can be
followed as a model explaining the previous activity.
UNIT ACTIVITIES PAGE 25
2. Listen to the organum cuadruplum Sederunt principes by Perotin.
a. How would you define the sonority that this polyphony produces? What type of rhythm do the higher
voices follow? What does the lower voice do? What consonances are produced in the cadences?
We will briefly talk about Perotin and the so-called “Notre Dame School”, and his main contributions of
extending the composition of the organum from three to four voices. It is the cuadruplum organum (four
voices) composed from the intonation of the first word (Sederunt) of the Gradual St. Stephen’s Day, whose
text sings:
“The princes were in their headquarters and they talked against me, and the enemies have run after me”.
We have to make the students notice the writing of the three higher voices that use a modal rhythm and
the lower voice (tenor) extracted from the Gregorian chant and sung in very long values. We will also
highlight the cadences, marked by consonances of 4th, 5th, and 8th.
Expansion suggestion
In the Annex we give you the complete score of the Sederunt principes that will allow you to further
analyze it and also to comment on Perotin’s extraordinary musical development based on the exchange of
motifs among the voices. For example: between duplum and triplum (measures 13 to 18), between duplum
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and cuadruplum (measures 24 to 29), between the cuadruplum’s phrase (measures 13 to 23) and the
triplum’s (measures 24 to 34), and between the duplum’s (measures 13 to 23) and the cuadruplum’s
(measures 14 to 34). He also uses the exchange of voices, imitating entries and motivic repetition within
the same voice.
These resources pave the way for extraordinarily long compositions (the whole piece is twenty minutes
long) that seem to emulate the size and magnificence of the cathedral. This is the reason why this
composer is remembered as Perotin “the Great”.
2. Perform this anonymous English canon called Sumer is icumen and compare its sonority with the
previous example, explaining the differences.
Also known as Summer has come!, it is an anonymous English “rota” (round or canon) that dates back to
the middle of the 13th century. It is the oldest example that we have of six-voice polyphony: four higher
voices in canon and two lower voices in an ostinato (on the score that we give you we have reduced the
ostinato to one voice). The text has a clear secular theme, and it talks about the arrival of summer: “ The
summer has come. Happy you sing, cu, cu. Grow, and blow and jump. Sing cu, cu.”
We can begin the performance (voices backed up by bar instruments) by first preparing the ostinato to
then add the higher voice. Depending on the level of difficulty that the class is ready for, we will have two,
three or the four voices in the canon. The students will perceive a clearly modern sonority, very different
from Perotin’s example, in which we can talk about major tonality and polyphony based on consonances of
3rd, besides a prominently popular character.
UNIT ACTIVITIES PAGE 26
1. Listen to the song Kalenda maya by Raimbaut_de_Vaqueiras. It is a sung dance and, according to what
they say, the troubadour wrote the lyrics of the song for the melody of an estampie that some
troubadours were playing in the north of France.
a. Analyze the rhythm and the different musical phrases.
b. Compare the track with the Gregorian chants that you heard and explain the differences.
c. Dare to dance: the estampie was probably a circle dance in which dancers moved in circles with strong
steps while holding hands.
We will remember Raimbaut de Vaqueiras’ “life”, who worked at the service of Bonifacio de Monferrato.
He went with him to Italy (and when the Marquee crossed over to Romania he took them with him) and
also participated with him in the 4th Crusade. Some biographies point out that Raimbaut was knighted
when he saved the marquee’s life in one of the battles in which they took part.
Only five songs with music by Raimbaut have been preserved, among them Kalenda maya (The First of
May), a sung estampie or stampede that he composed for his beloved Beatriz, his protector’s sister.
Although he wrote the poem from the melody of a dance the he heard from a couple of French
troubadours, Kalenda maya is actually a love song, addressed to his lady, in order to give her husband real
reasons to be jealous (Beatriz was Enrico del Carretto’s wife).
We will use this listening to connect the troubadours’ music with the popular environment and, in
particular with the dance, one of the favorite hobbies in the Middle Ages. We will make the students pay
attention to the danceable ternary rhythm and to the typical structure of the estampie, formed in this case
by three phrases or puncta that are repeated (a a b b’ c c’). In the second and third phrases we will analyze
both endings, open and closed. Although in the listening that we offer you in the disc there are only the
first of the six stanzas that form the song, we present you the complete text so that you can comment on it.
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Neither calends of May,
nor leaves of beech
nor songs of bird, nor gladiolus flowers
are of my liking,
o noble and merry lady,
until I have a fleet messenger
of your beautiful person to tell me
of new pleasures love and joy
are bringing;
and I repair
to you, true lady;
and let me crush
and strike
the jealous, before I depart from here.
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My beautiful friend
by God, this never be:
that out of jealousy one scoffs at my harm,
he'd command a dear price
for his jealousy
if it were such as to part two lovers;
Since never again I'd be happy
nor would I know happiness, without you;
I'd take
such a way
that I'd never be seen by men again;
that day
I'll die,
brave lady, in which I lose you.
How could I lose
or retrieve
a lady, before I have had her?
neither leman nor lover
is such by imagination alone;
but when a suitor turns into a lover
great is the honour he has accrued,
such is the fame produced by a sweet glance;
yet naked
held
you I have never, nor others have won you;
longed for,
obeyed
you I have, without any meed.
I'd hardly rejoice
should I part from you,
my Beautiful Knight, in sorrow,
since it doesn't turn anywhere else
my hart, nor drags me
my desire, since it desires naught else.
The slanderers, I know, would be pleased,
lady, as otherwise they'd find no peace.
Such one would see
and listen to
my loss, who would be indebted to you for it
as he looks at you
and considers
in his presumption, for which my heart sighs.
So kindly blossoms,
shining above all,
noble Beatriz, and so kindly grows
your valour;
in my opinion
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your dominion is adorned with worth
and of fair speech, without doubt.
You are the source of gracious deeds;
learning
and mercy
you have, along with knowledge;
valour
beyond all dispute
you clothe in kindness.
Gracious lady,
everyone praises and proclaims
your worth, which gives such pleasure;
and he who forgets you,
prizes life but a trifle
and so I adore you, distinguished lady;
since I have chosen you as the kindest
and as the best, laden with worth,
I have flattered
and served
you more kindly than Eric did Enid.
Composed,
and ended,
Dame Engles, I have the estampida.
CHALLENGE PAGE 27
1. a. Build a monochord and draw a graduated scale on its board with the different proportions that
correspond to the sounds of the octave, fourth and fifth. Take into account that the ratios between
numbers 12, 9, 8 and 6 are the same as the ones between 1, 3:4, 2:3, and 1:2.
b. Complete the rest of the scale by taking the tone distance produced between the proportions of fourth
and fifth as a reference. Then apply it from the base note C and from G until putting all the notes.
The main goal of this activity takes into
account two complimentary issues: on one
hand, building a monochord and the acoustic
experimentation of the different sound
effects produced by a string in its different
tensions and lengths. On the other hand, the
practical experimentation of the connections
between mathematics and music, captured in
the numeric proportions of the intervals.
Once you have built the monochord (with a
shoebox and nylon thread, for example) we will try to get the tuning of the note C by changing the tension
of the thread in one of its ends or by putting the fasteners at the required distance. The division of the
string in the proportion 1:2, (dividing the string in half) will allow us to obtain the sound of the octave; that
is, an octave higher in relation to the base sound. We will make the students pay attention to the fact that
the sound of the octave (C and higher C) is perceived almost as the same sound. So it is the perfect or
natural consonance, result of the combined intervention of male and female voices. Once we have
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obtained the two ends of the musical scale (C and C’), we will divide the string in the following proportion
of 2:3 in order to obtain an interval of 5th (G), and the proportion 3:4 to obtain the interval of 4th (F). These
proportions will allow us to obtain therefore the fundamental degrees of the scale. In order to get the rest
of the notes of the scale, we will make the students notice that they have to take as a reference the tone
distance that results between the notes F and G, and play that proportion from the lower C to obtain D, and
from D to obtain E.
We will follow the same procedure in order to increment one tone from the note G to obtain the note A,
and again from A to obtain B. Once we have established the different proportions of the string that give us
the complete C major diatonic scale as a result, we will be able to indicate the intervals on the harmonic
diagram of the instrument in order to mark the different positions of the moving bridge to try to perform
simple melodies by plucking the string. We can also use this moment to practice the hearing recognition of
the main intervals.
SELF-ASSESSMENT PAGE 28
1. Solve this word search puzzle in your notebook by answering the definitions shown below:
ACROSS
1. Conductus
2. Syllabic
3. Protus
4. Motet
5. Gregorian
6. Goliards
7. Metrical
8. Organum
9. Lydian
10. Ethos
11. Canon
12. Deuterus
13. Mixolydian
14. Neumatic
15. Lyre
16. Aulos
DOWN
1. Heterophonic
2. Troubadour
3. Estampie
4. Melismatic
5. Phrygian
6. Dorian
7. Cantiga
8. Monodic
9. Modals
10. Minstrel
11. Polyphony
12. Neumes
13. Trope
14. Tritus
15. Songbook
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SELF-ASSESSMENT PAGE 29
2. Copy in your notebook and complete the following statements:
• Music was for Greeks an art of... origin.
• The concept of music in Greece encompasses...
• Music in Greece had a... texture with... accompaniment.
• The four main scales or modes of Greek music are...
• The most important instruments of Ancient Greece were...
• The driving force of the unification and expansion of the Christian chant was...
• The Gregorian chant was destined for..., it has a... texture with a text in... and... rhythm.
• The eight Gregorian modes are...
• The music of troubadours appeared in...
• The songs of troubadours are written in... and have a... texture.
• Polyphony appeared... and developed into three periods.
• Medieval dances are called... and are structured in...
• Instruments were used in the Middle Ages to...
• The main examples of music of troubadours in Spain are...
- Music was for Greeks an art of divine origin.
- The concept of music in Greece encompasses sound, poetry and dance.
- Music in Greece had a monodic texture with heterophonic accompaniment.
- The four main scales or modes of Greek music are Doric, Phrygian, Lydian and Mixolydian
- The most important instruments of Ancient Greece were the lyre and the aulos.
- The driving force of the unification and expansion of the Christian chant was Pope Gregory I the Great.
- The Gregorian chant was destined for the liturgy, it has a monodic texture with a text in Latin and a free
rhythm.
- The eight Gregorian modes are Protus, Deuterus, Tritus and Tetrardus (subdivided in Authentic and
Plagals depending on the reciting string).
- The music of troubadours appeared in 11th Century (in the south of France)
- The songs of troubadours are written in vernacular languages and have a monodic texture.
- Polyphony appeared in the late 9th Century and developed into three periods.
- Medieval dances are called estampies and are structured in several phrases that are repeated with an
open and closed ending.
- Instruments were used in the Middle Ages to accompany songs and to perform dances.
- The main examples of music of troubadours in Spain are cantigas.
PERFORMANCE-CRATION PAGE 30
1. Perform this song by the trouvère Adam de la Halle called Robins m’aime. It is a song that belongs to
Jeu de Robin et Marion, a staged pastorela with characters, dialogs and sung fragments that was
represented in the Neapolitan court of Charles de Anjou around the year 1284. Analyze the formal
structure, the modal scale, the ambitus and the rhythm.
We will use the information that appears on the page to present Adam de la Halle and his work.
The pastorela is one of the most appreciated genres by troubadours. It has a strophic form, presented first
as a monologue and then as a dialog between a knight and the little peasant, which makes way in a natural
way to its dramatization. The fragment Robins m’aime appears at the beginning of the game performed by
Marion (the little peasant in love with the shepherd Robin), who rejects the insinuations of the gallant (or
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rather bold) knight.
Prior to the performance, we will analyze with the score the most important elements: its F mode (Tritus)
with a melodic ambitus of 6th (e-c’), its ternary rhythm, and the structure composed by two phrases: a (4
measures) and b (6 measures), which result in the form monophonic Rondo, characteristic of great part of
the troubadours’ repertoire: a b a a b a a b.
In this arrangement that we present you, we chose to simplify the performance by adding a second
bourdon voice over the end of the mode (with metallophones) and a third and fourth voices as rhythmic
backup (with jingles and hand drums respectively).
LISTENING PAGE 31
1. Listen to the famous piece by Carl Orff that begins his Carmina Burana.
The name Carmina Burana refers to the collection of over two hundred profane Latin poems from the
13th century found in the Benedictine monastery of Beuron (Germany). They are secular songs that
represent a great deal of the goliards’ repertoire from the Middle Ages.
Orff composed a cantata for the stage in the year 1936 about 24 of these poems, in a version of
impressive sonority written for soloists, choir and orchestra. Its style is simple and with great rhythmic
strength, which accentuates its original popular character.
Read the translation of the text and follow the track with the help of the simplified score we show you.
You can also use it to perform it:
We will use the information that appears on the page to talk about Carl Orff and his work, connecting the
medieval secular song with 20th century music.
We will remember the songs of goliards as a secular repertoire (although in Latin), with a satirical and
burlesque character and a theme centered in political and religious critique, love (from a direct, carnal
perspective), the tavern (“I intend to live inside a tavern”) and fortune (bad luck). Carl Orff selected 24 of
these poems in order to form Carmina Burana, maintaining the title of the collection discovered in 1803 in
the Benedictine monastery of Beuron.
The piece O Fortuna is one of the most famous and impressive fragments of the cantata, and the one that
begins and ends the cycle.
We will highlight the rhythmic strength of this piece and its deliberate simplicity, where wind sections and
percussion stand out over the string in order to achieve an old-fashioned sound of extraordinary force.
The score that we give you in the book is arranged for its possible performance by using the listening as
backup. The first sung voice can be backed up by carillons, the second voice for xylophones and soprano
metallophones, the third voice for alto xylophones, the fourth voice for bass xylophones, and the two lines
of percussion for the cymbal or triangle or bass drum or hand drums.
We will analyze on the score the simplicity of the harmony and the structure, formed by two phrases (a and
b) of 8 measures, divided at the same time into semiphrases of 4 measures for each verse of the text. We
can ask the students to identify and point out the correspondence between musical phrases and verses by
making a little diagram that will be quite useful for simplifying the performance.
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