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Medieval music encompasses the sacred and secular music of Western Europe during the Middle Ages, 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. Following the traditional division of the Middle Ages, medieval music can be divided into Early (500–1000), High (1000–1300), and Late (1300–1400) medieval music.
Renaissance music is traditionally understood to cover European music of the 15th and 16th centuries, later than the Renaissance era as it is understood in other disciplines. Rather than starting from the early 14th-century ars nova, the Trecento music was treated by musicology as a coda to medieval music and the new era dated from the rise of triadic harmony and the spread of the contenance angloise style from the British Isles to the Burgundian School. A convenient watershed for its end is the adoption of basso continuo at the beginning of the Baroque period.
The rebec is a bowed stringed instrument of the Medieval era and the early Renaissance. In its most common form, it has a narrow boat-shaped body and one to five strings.
A chanson is generally any lyric-driven French song. The term is most commonly used in English to refer either to the secular polyphonic French songs of late medieval and Renaissance music or to a specific style of French pop music which emerged in the 1950s and 1960s. The genre had origins in the monophonic songs of troubadours and trouvères, though the only polyphonic precedents were 16 works by Adam de la Halle and one by Jehan de Lescurel. Not until the ars nova composer Guillaume de Machaut did any composer write a significant number of polyphonic chansons.
Jacques Arcadelt was a Franco-Flemish composer of the Renaissance, active in both Italy and France, and principally known as a composer of secular vocal music. Although he also wrote sacred vocal music, he was one of the most famous of the early composers of madrigals; his first book of madrigals, published within a decade of the appearance of the earliest examples of the form, was the most widely printed collection of madrigals of the entire era. In addition to his work as a madrigalist, and distinguishing him from the other prominent early composers of madrigals – Philippe Verdelot and Costanzo Festa – he was equally prolific and adept at composing chansons, particularly late in his career when he lived in Paris.
A minstrel was an entertainer, initially in medieval Europe. The term originally described any type of entertainer such as a musician, juggler, acrobat, singer or fool; later, from the sixteenth century, it came to mean a specialist entertainer who sang songs and played musical instruments.
The Burgundian School was a group of composers active in the 15th century in what is now northern and eastern France, Belgium, and the Netherlands, centered on the court of the Dukes of Burgundy. The school inaugurated the music of Burgundy.
Claude Le Jeune was a Franco-Flemish composer of the late Renaissance. He was the primary representative of the musical movement known as musique mesurée, and a significant composer of the "Parisian" chanson, the predominant secular form in France in the latter half of the 16th century. His fame was widespread in Europe, and he ranks as one of the most influential composers of the time.
Corvus Corax is a German band known for playing neo-Medieval music using authentic instruments. Their name is the Latin name for the common raven. The band was formed in 1989 by Castus Rabensang, Wim (Venustus) and Meister Selbfried in East Germany. The band often uses bagpipes as the solo instrument; their live performances attract attention with the bizarre look of the musicians being reminiscent of ancient Greek myths: half-naked, dressed in unusual clothes, wearing primitive tribal decorations, often tattooed.
Colin Muset was an Old French trouvère and a native of Lorraine. He made his living in the Champagne by travelling from castle to castle singing songs of his own composition and playing the vielle. These are not confined to the praise of courtly love that formed the usual topic of the trouvères, but contain many details of a jongleur's life. His complete works are eighteen: nine attributed in chansonniers, three self-referencing, and six whose attributions are based on modern scholarship. Twenty one poems credited to him were edited and published by Joseph Bédier in 1912 (Paris). Two further editions appeared in 2005: one by Callahan and Rosenberg with translations into modern French, and, with translations into Italian, an edition by Massimiliano Chiamenti, which reduced his authentic corpus to sixteen poems. Oxford Music online, lists 12 songs. Nine of his poems have surviving music. Seven are chansons jongleuresques, that is, songs describing the life of a jongleur. His three serventois condemn the avarice of the nobility, but his moralising is balanced by self-deprecating humour. He also wrote two descorts, one lai, and one cynical tenson with Jacques d'Amiens.
France has a rich music history that was already prominent in Europe as far back as the 10th century. French music originated as a unified style in medieval times, focusing around the Notre-Dame school of composers. This group developed the motet, a specific musical composition. Notable in the high Middle Ages were the troubadours and trouvères soon began touring France, composing and performing many original songs. The styles of ars nova and ars subtilior sprung up in the 14th century, both of which focused on secular songs. As Europe moved into the Renaissance age, the music of France evolved in sophistication. The popularity of French music in the rest of Europe declined slightly, yet the popular chanson and the old motet were further developed during this time. The epicenter of French music moved from Paris to Burgundy, as it followed the Burgundian School of composers. During the Baroque period, music was simplified and restricted due to Calvinist influence. The air de cour then became the primary style of French music, as it was secular and preferred by the royal court.
During the reign of Queen Elizabeth I (1558–1603), English art and high culture reached a pinnacle known as the height of the English Renaissance. Elizabethan music experienced a shift in popularity from sacred to secular music and the rise of instrumental music. Professional musicians were employed by the Church of England, the nobility, and the rising middle-class.
The Dufay Collective is an early-music ensemble from the United Kingdom, specializing in Medieval and Renaissance music. Founded in 1987, it was named after the Renaissance composer Guillaume Dufay. The group is directed by William Lyons. Group size and personnel varies according to the needs of the project.
Classical music generally refers to the art music of the Western world, considered to be distinct from Western folk music or popular music traditions. It is sometimes distinguished as Western classical music, as the term "classical music" can also be applied to non-Western art musics. Classical music is often characterized by formality and complexity in its musical form and harmonic organization, particularly with the use of polyphony. Since at least the ninth century it has been primarily a written tradition, spawning a sophisticated notational system, as well as accompanying literature in analytical, critical, historiographical, musicological and philosophical practices. A foundational component of Western culture, classical music is frequently seen from the perspective of individual or groups of composers, whose compositions, personalities and beliefs have fundamentally shaped its history.
The Harp Consort is an international early music ensemble directed by Andrew Lawrence-King, specialising in Baroque opera, early dance-music, and historical World Music.
Oni Wytars is an early music ensemble that was founded in 1983 by Marco Ambrosini and Peter Rabanser.
Early music of Britain and Ireland, from the earliest recorded times until the beginnings of the Baroque in the 17th century, was a diverse and rich culture, including sacred and secular music and ranging from the popular to the elite. Each of the major nations of England, Ireland, Scotland, and Wales retained unique forms of music and of instrumentation, but British music was highly influenced by continental developments, while British composers made an important contribution to many of the major movements in early music in Europe, including the polyphony of the Ars Nova and laid some of the foundations of later national and international classical music. Musicians from the British Isles also developed some distinctive forms of music, including Celtic chant, the Contenance Angloise, the rota, polyphonic votive antiphons, and the carol in the medieval era and English madrigals, lute ayres, and masques in the Renaissance era, which would lead to the development of English language opera at the height of the Baroque in the 18th century.
Greatest hits 3 is a vinyl album by Ensemble Renaissance, released in 1984 on the PGP RTB label, Ensemble's third album overall. It is their first greatest hits compilation with Medieval music on the A side and Renaissance music on the B side. The material from this LP will find its place on their German CD Anthology in the remastered form.
Mon amy is a vinyl album by Ensemble Renaissance, released in 1985 on the PGP RTB label, Ensemble's fourth album overall. It is a compilation of the Renaissance tunes from various styles: Spanish Renaissance music from the Cancionero de Palacio, Elizabethan music from the William Shakespeare's theatre and works by John Dowland, Franco-Flemish School, pieces from the most famous dance collections of Tielman Susato, Michael Praetorius and Claude Gervaise. Mon amy owes its name to the rondeau from Susato's collection Danserye. The material from this LP also appears on their German CD Anthology in the remastered form.
Music in Medieval Scotland includes all forms of musical production in what is now Scotland between the fifth century and the adoption of the Renaissance in the early sixteenth century. The sources for Scottish Medieval music are extremely limited. There are no major musical manuscripts for Scotland from before the twelfth century. There are occasional indications that there was a flourishing musical culture. Instruments included the cithara, tympanum, and chorus. Visual representations and written sources demonstrate the existence of harps in the Early Middle Ages and bagpipes and pipe organs in the Late Middle Ages. As in Ireland, there were probably filidh in Scotland, who acted as poets, musicians and historians. After this "de-gallicisation" of the Scottish court in the twelfth century, a less highly regarded order of bards took over the functions of the filidh and they would continue to act in a similar role in the Scottish Highlands and Islands into the eighteenth century.
