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None today
 We will start bell ringers again on TUESDAY. I will not be here again on MONDAY
(presenting at a conference) so we’ll wait until Tuesday to get them going again.
 I will have your binder grades, and first Bell Ringers grades for you on Tuesday.
 You’ll get your TEST GRADES at the end of class today
 ANYONE WHO WASN’T HERE ON WEDNESDAY IS TAKING THE TEST TODAY!
 NEW TAB IN YOUR BINDERS!!!
 Everything will now go behind the RENAISSANCE TAB

 Roman Christian paintings had a practical intent and started on coffins and tombs
 The Good Shepherd: on an ancient tomb

 Early Christian paintings were primitive
 Reflection
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Lack of technical ability
Pictoralize the faith – artistic skill not important
 Paintings depicted Christian history

 New 2-dimensional art form: on the beautifully illustrated pages of scholarly Church manuscripts
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 Moved to large tempera panels
 Tempera: a painting medium in which egg yolk acts as a binder for the pigment, usually applied to panels that had been prepared with a coating of ground chalk or plaster and glue
 An application of gold leaf and an under-painting in green or brown preceded the application of the tempera paint
 Paintings were larger than anything that had ever been attempted

Cimabue
Duccio
Giotto

 Central focus is even more human, warm, and 3-dimensional
 Sense of drama with lower viewpoint
 The throne encloses the Madonna and cuts her off from the background
 Creates a texture in the colored marble surfaces

 Minor role initially
 The Old Testament prohibited graven images
 Christian sculpture was not monumental, but rather funerary (used for burial) up to this point
 The earliest examples are all on coffins

 The Gero Crucifix
 Realistic crucified Christ
 Downward and forward sagging body pulls against the nails
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 Emotional
Expressive detail: muscles, bulging belly, and rendering of cloth
Human form, but flesh, hair, and cloth do not have expected soft texture
Face – agony!
• Sculpture was MUCH MORE technically accurate than painting

 Decorative elements attached to Romanesque architecture
 Stone sculpture
 Became monumental
 Reemerged in the 11 th century
 Sculpture applied to exteriors of buildings where the worshipper could see and respond

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Illiterate masses could now read the message of the Church
In the center, the figure of Christ

 Early architectural sculpture was subordinate to the overall design of the building
 Later work claimed attention on its own
 Didactic: designed to teach
 Straightforward lessons

 Gregorian Chant
 Also known as plainchant or plainsong
 Developed for use in Christian worship services
 Designed to carry the prayer to God
 Pope Gregory I supervised the selection of melodies and tests and compiled them for
Church services – that’s why they’re named after him

 Vocal
 In Latin
 Used notes relatively near each other on the musical scale
 Monophonic
 Having a single melodic line
 Only 1 vocal line
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Many people may be singing, but they’re all singing the exact same words, on the exact same pitches, at the exact same time
NO accompaniment

 Flexible tempo
 Unmeasured rhythms followed the natural accents of normal Latin speech
 You can’t really tap your foot
 Two types of Chant setting
 Syllabic: each syllable of the chant was given one note
 Melismatic: each syllable was spread over several notes

 Started with one note
 Would change note to represent the start or end of the chant
 Could change notes at “commas” in the text
 Eventually just meant one note per syllable
 One Note per Syllable Example: Sancte Michael
 http://www.youtube.com/watch?v=712QrVEkaAo

 Started to elaborate and decorate certain syllables
 Neume: group of notes on one syllable
 Could be 2, could be 15
 Example: Dominica in Albis - Alleluia, In die
 http://www.youtube.com/watch?v=9FUCZl9dytM&feature=BFa&list=PLA5694801C624D51
7

 Between the 10 th and 13 th centuries, churches began to add a second line
 Melodies became more and more independent of each other and differed rhythmically as well as melodically
 Polyphony: having two independent melodies going on at once
 No melody was more important than another
 Example: Kyrie
 http://www.youtube.com/watch?v=JRQ3gu3g9OM&feature=bf_next&list=PL98EA6FDD17
D25FF7&lf=bf_next

 Music gradually became more formal in notation and in structure
 Musicians felt the need to write down compositions note by note
 They used to simply write down patterns – when to go up and down. Now they’re writing down exactly which pitches to go to

 Originally, music was transmitted from performer to performer or from teacher to student
 Standardized musical notation, however, made it possible for the composer to transmit ideas directly to the performer
 The role of the performer changed
 The vehicle of transmission and interpretation in the process of musical communication
 In the 12 th century, composers in Paris developed innovations in rhythm
 Measured rhythm: definite time values and precise meters

 Early Middle Ages High Middle Ages

 Used vernacular texts in the language of the common people
 Medieval poems
 Subject: mostly love (similar to today)
 Strophic: composed of several stanzas that were sung to the same melody
 Today, each verse of a pop tune (different words, same melody)
 Example: Középkori világi zene / Medieval Secular Music
 http://www.youtube.com/watch?v=O1uBDXf2rM&playnext=1&list=PL2D85733E9B4A8C48

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 Example: http://www.youtube.com/watch?v=egifq8lEEu0

 Bagpipes

 Portable organs
 Eventually found its way into the church