History of Music, Mr. Robert L. Johnston
Secular Song (Day 1)
Aim:
What was Secular Song and what role did it play the
Middle Ages?
Instructional Objectives:
At the conclusion of this unit, students will:
I.
Have defined and received an introduction to Secular
Song.
II. Have gained an understanding of its content and
subject matter.
III. Have gained an understanding as to its place
medieval life.
IV. Have an understanding of its performance practice.
V.
Have an understanding as to its geographic styles.
VI. Have an introduction to some of the key groups and
figures of its development.
VII. Have heard a strong representation of secular song.
Motivation:
Play Can’t Buy Me Love by the Beatles.
prime example of a modern day secular song.
McCartney singing about?
This is a
What is Paul
Development/Procedures:
I.
The Merriam-Webster online dictionary defines
secular as:
“1 a : of or relating to the worldly or
temporal
b : not overtly or specifically religious
c : not ecclesiastical or clerical
2 : not bound by monastic vows or rules;
specifically : of, relating to, or forming
clergy not belonging to a religious order or
congregation”
II.
It defines song as:
“1: the act or art of singing
2: poetical composition
3 a: a short musical composition of words and
music…
5 a: a melody for a lyric poem or ballad b: a
poem easily set to music”
III. Therefore, secular song is the direct ancestor of
today’s popular music.
a. It was a musical expression of non-religious
(non-sacred) life.
b. It flourished in France and Germany during the
Middle Ages (Miller)
IV.
Miller lists the following characteristics of
secular song:
a. Monophonic
i. A better way to clarify this is there were
no backup singers.
ii. Pictorial evidence shows instrumental
accompaniment, probably improvised.
b. Metrical and mostly in triple meter.
c. Strong and regular rhythmic feel.
i. Used recurrent and short rhythmic
patterns.
d. Clear phrase structure (musical sentences).
e. Clear sectional structure with verses and
refrains.
f. Used the Church modes, but favored the Ionian
and Aeolian modes.
g. Sung mostly in the vernacular.
V.
Dealt with a wide range of subjects in different
forms. (Miller)
a. A love poem (canso).
b. A satirical poem (sirventes or eneug).
c. A plaint or lament on the death of an eminent
person (planh).
d. A song, often in dialogue form, between a
knight and a shepherdess (pastourelle).
e. A spinning song (chanson de toile).
f. The song of a friend watching over lovers until
dawn (aube).
g. A poem in dialogue form (tenso or jeu-parti).
h. An epic chronicle (chanson de geste).
i. The most famous of these is Chanson de
Roland (Song of Roland.
ii. For further reference, see
http://en.wikipedia.org/wiki/The_Song_of_R
oland
VI.
For IV. and V., draw comparisons and differences
between plainchant and secular song.
VII. Le jeu de Robin et de Marion
a. According to Wikipedia, “The jeu de Robin et
Marion is reputedly the earliest French secular
play with music, and is the most famous work of
Adam de la Halle.
The story is a dramatization of a
traditional genre of medieval French song, the
pastourelle. This genre typically tells of an
encounter between a knight and a shepherdess,
frequently named Marion. Adam de la Halle's
version of the story places a greater emphasis
on the activities of Marion, her lover Robin
and their friends after she resists the
knight's advances.”
(http://en.wikipedia.org/wiki/Jeu_de_Robin_et_M
arion)
b. Read the text for Le jeu de Robin et de Marion
i. Discuss relative both to what we have
learned so far, as well as your own
impressions.
ii. Compare to your knowledge of what medieval
life was like.
iii. Compare to the purpose of popular music
today.
c. Play Le jeu de Robin et de Marion (3:01)
i. Discuss elements of IV. relative to this
song.
ii. Identify where in V. this song fits.
VIII.
Instrument Use (Miller)
a. Instrumental usage generally stayed within the
parameters of the vocal music it accompanied.
b. Highly improvised and ornamented.
c. Often used to accompany songs.
i. Instruments were almost never specified.
ii. Usually doubled or replaced voice.
1. We will compare two versions of Can
vei la lauzeta Mover next class, a
vocal version and an instrumental
version.
IX.
Types of Instruments
a. Bowed strings (Miller)
i. The viol family
1. Fretted
2. Six strings
b. Plucked strings
i. The lute family
1. Also fretted (Miller)
2. Various sizes, shapes, and numbers of
strings
3. We will see the lute family in The
Journey & The Labyrinth.
c. Wind Instruments (Miller)
i. The recorder family
1. An end-blown wooden flute
2. Made in various sizes (voices)
d. Percussion
i. Instruments that were struck
ii. Instruments that were shaken
X.
Play Istampita Palamento (4:29)
a. This is a dance tune, different from song.
Materials of Instruction:
Smart Board
The Norton Anthology of Western Music, Volume I
Various Recordings
Summary:
Clearly, secular song is a stark departure from the
daily rigors and devotion of religious life and the culture
of the Church. It is safe to say though, that the
development of secular song, coupled with the development
of chant, led to today’s music.
Secular song dealt with much of what we deal with
today, and the comparisons are and will be evident. With
the release of Sting’s Songs from the Labyrinth, we see a
direct connection between past and present.
Assignment:
Write a short verse or set of verses dealing with
elements that secular song addressed as they relate to your
own life.
Bibliography:
History of Music, Hugh H. Miller, Barnes & Noble
Books, New York. 1972
The Norton Anthology of Western Music, Volume I, ed.
Claude V. Palisca, W.W. Norton & Company, New York.
1980
Suggested Reference:
History of Music, Hugh H. Miller, Barnes & Noble
Books, New York. 1972
http://toisondor.byu.edu/dscriptorium/aix166
Robert L. Johnston