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Medieval Music

Code: 100638 ECTS Credits: 6
2024/2025
Degree Type Year
2500240 Musicology OB 2

Contact

Name:
Maria Incoronata Colantuono Santoro
Email:
mariaincoronata.colantuono@uab.cat

Teachers

(External) Maria Incoronata Colantuono

Teaching groups languages

You can view this information at the end of this document.


Prerequisites

A good level of music theory and harmony is recommended


Objectives and Contextualisation

For the students to acquire the theorical and practical knowledge to understand the music of the medieval West.


Competences

  • Critically analyse musical works from any of the points of view of the discipline of musicology.
  • Identify and compare the different channels of reception and consumption of music in society and in culture in each period.
  • Know and understand the historical evolution of music, its technical, stylistic, aesthetic and interpretative characteristics from a diachronic perspective.
  • Make changes to methods and processes in the area of knowledge in order to provide innovative responses to society's needs and demands.
  • Relate concepts and information from different humanistic, scientific and social disciplines, especially the interactions which are established between music and philosophy, history, art, literature and anthropology.
  • Relate knowledge acquired to musical praxis, working with musicians through the analysis and contextualisation of different repertoires, both related to historical music and to the different manifestations of contemporary music.
  • Students must be capable of applying their knowledge to their work or vocation in a professional way and they should have building arguments and problem resolution skills within their area of study.
  • Students must be capable of communicating information, ideas, problems and solutions to both specialised and non-specialised audiences.
  • Students must have and understand knowledge of an area of study built on the basis of general secondary education, and while it relies on some advanced textbooks it also includes some aspects coming from the forefront of its field of study.
  • Take sex- or gender-based inequalities into consideration when operating within one's own area of knowledge.
  • Use digital tools and interpret specific documentary sources critically.

Learning Outcomes

  1. Analysing ideas about an artistic phenomenon in a given cultural context.
  2. Analysing the creators of an artistic phenomenon in a specific cultural context.
  3. Analysing the recipients of an artistic phenomenon in a specific cultural context.
  4. Apply the conceptualisation of philosophy, history, literature and anthropology to musical research.
  5. Assess the reliability of sources, select relevant data and contrast information.
  6. Communicate using language that is not sexist or discriminatory.
  7. Consider the subject as a whole and identify the context in which the processes studied are inscribed and their interrelationship with the elements and factors that are involved in their sociohistorical development.
  8. Contextualise new tendencies in musical creation in general historical evolution and observe its incorporation in the sociopolitical panorama in which they are framed.
  9. Contextualise musical works in their hsitorical and cultural setting from a critical perspective.
  10. Correctly identify the essential repertoire and the main composers of each historical period.
  11. Critically identify the different orientations of musical praxis that musicians apply to the music of each hsitorical period.
  12. Define the processes of periodisation and stylistic classification and usual typology in the historical conceptualisation of the musical fact.
  13. Identify and critically assemble the basic bibliography that has shaped the field of study.
  14. Identify and critically place different musical typologies in their historical periods.
  15. Identify phenomena of the circulation of ideas in music proficiency.
  16. Identify situations in which a change or improvement is needed.
  17. Identify the complexity of music reception processes.
  18. Identify the stylistic properties of each historical period.
  19. Identifying the context of the historical processes.
  20. Identifying the specific methods of history and their relationship with the analysis of particular facts.
  21. Integrate knowledge acquired in the production of clear and concise appropriate to the academic and specialist communication.
  22. Interpret the most important theoretical texts of each period.
  23. Interrelate technological and scientific changes in each period with the creation and reception of music.
  24. Link the periods of the history of music to periods of the history of art, in their similarities and differences.
  25. Present knowledge about the history, art or other cultural movements.
  26. Produce correct, precise and clear argumental and terminological writing of knowledge acquired, both in the area of musical specialisation and dissemination.
  27. Propose new experience-based methods or alternative solutions.
  28. Recognise in musical praxis element of different cultures and different historical periods.
  29. Solve problems of a methodological nature in the area of musicology.
  30. Use specific vocabulary of history correctly.
  31. Use the vocabulary of musicology related to each period of history.

Content

 

  1. Introduction to medieval music
  2. Music in the medieval cultural universe
  3. Origins of Christian worship: liturgy and chant
  4. The variety of liturgies and chants in Christianized Europe 
  5. The Gregorian chant and liturgical rites
  6. Musical notations.
  7. Gregorian aesthetics: composition techniques, styles and modality
  8. The Mass
  9. Monastic world and Divine Office
  10. Trops and sequences
  11. Liturgical drama
  12. Troubadour lyricism
  13. Galician lyricism and Cantigas de Santa Maria
  14. Musical instruments and musica instrumentalis mediaevalis
  15. Origins of primitive polyphony
  16. Organum of Notre-Dame, conductus and motetus
  17. Ars vetus/ars nova french: political motet, ballade and rondeau
  18. The Italian Trecentomadrigale and ballata

Activities and Methodology

Title Hours ECTS Learning Outcomes
Type: Directed      
Lessons 36 1.44 1, 2, 3, 4, 7, 9, 10, 11, 12, 14, 15, 17, 18, 19, 20, 22, 23, 24, 25, 31
Tutoring of class activities 4 0.16 4, 21, 26, 29, 30, 31
Type: Supervised      
Individual or group Tutorials 1 0.04 29
Participatory debate 4 0.16 1, 2, 3, 4, 7, 29, 31
Reading of musical illustrations 7 0.28 10, 11, 12, 14, 18, 30, 31
Type: Autonomous      
Preparation and correction of the notes 20 0.8 8, 13, 15, 31
Preparation of activities and oral debates 20 0.8 1, 2, 3, 8, 9, 10, 12, 13, 14, 16, 18, 19, 20, 21, 22, 25, 26, 29, 30, 31
Reading of bibliography 20 0.8 26, 30, 31
Study of the subjects 32 1.28 4, 7, 9, 11, 12, 14, 17, 19, 20, 23, 24, 28, 30

 

Development of the syllabus from master classes open to the student's participation. 

Realitzation of activities, questionnaires and oral debates at the end of each thematic block.

Annotation: Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.


Assessment

Continous Assessment Activities

Title Weighting Hours ECTS Learning Outcomes
Final Exam 50% 2 0.08 1, 2, 3, 4, 7, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 28, 29, 30, 31
Partial Exam 30% 1 0.04 7, 8, 9, 10, 12, 14, 16, 18, 19, 20, 25, 26, 30, 31
Questionnaires and oral debates 20% 3 0.12 5, 6, 16, 19, 20, 21, 26, 27

Evaluation

1. Partial exam (30%): it will be necessary to develop a proposed theme, identify and analyze a musical fragment and an audition.
										
											
										
											2. Subject exam (50%): it will be necessary to develop a proposed theme, identify and analyze two musical fragments and two auditions.
										
											
										
											3. Completion of questionnaires and oral debates for each of the two thematic blocks in which the course is divided (20%).
										
											
										
											
										
											Clarifications for the evaluation
										
											
										
											- In the event that the average mark of the partial exam is less than 5, it will be necessary to re-evaluate the contents suspended in the resit exam
										
											
										
											- Class activities are not recoverable
										
											
										
											- In no case will it be possible to pass the course with the a failed partial exam 
										
											
										
											- To be able to access the resit exam, you must have taken the partial exam and the final exam with a minimum average grade of 3,5.
										
											
										
											- In the resit exam, only the suspended contents will be re-evaluated.
										
											
										
											- Individual exams will not be carried out outside the established day and time, except in duly justified cases of force majeure.
										
											
										
											- Students will be considered "non-assessable" if they have not taken the partial exam or the final exam.
										
											
										
											- In the event that the student performs any irregularity that may lead to a significant variation in the grade of an evaluation act, this evaluation act will be graded with 0, regardless of the disciplinary process that may be instituted. In the event that various irregularities occur in the evaluation acts of the same subject, the final grade for this subject will be 0.
										
											
										
											- In the event that the tests cannot be carried out in person, their format will be adapted (maintaining their weighting) to the possibilities offered by the virtual tools of the UAB. Homework, activities and class participation will be done through forums, wikis and/or exercise discussions through Teams,etc. Theteacher or teacher will ensure that the student can access it or offer alternative means, which are within their reach.

 

SINGLE ASSESSMENT
										
											
										
											On a single date, 2 evaluation activities will be carried out, of which one will be identification and analysis of 3 fragments and 3 auditions and a second activity will be a questionnaire of 4 questions about the contents of the syllabus.
										
											
										
											- The weight of the first activity corresponds to the sum of 30%+30% and the second activity corresponds to 40%.
- At the time of carrying out each assessment activity, lecturers will inform the students (Moodle) of the procedure and the date of review of the qualifications. - The same re-evaluation system will be applied as for the continuous assessment. Possible date of the final exam: consult the degree information list.

Bibliography

BIBLIOGRAFIA BÀSICA


Cattin G., La monodia nel medioevo, Torino, EDT, 1991 (Storia della musica, a cura della Società Italiana di Musicologia, 2)

Fassler M., Music in the Medieval west, New York - London, W. W. Norton & Company, Inc., 2014 (trad. La música en el Occidente medieval, ed. Akal Música, 2020)

Fassler M., Music in the Medieval west Anthology, New York - London, W. W. Norton & Company, Inc., 2014

Gallo A., La polifonia nel medioevo, Torino, EDT, 1991 (Storia della musica, a cura della Società Italiana di Musicologia, 3), chapters I-III (Il
Duecento, Il Trecento francese, Il Trecento italiano).

Hoppin, R.H., Medieval Music (New York, 1978; edic. española, 1991)

Ibidem, Anthology of Medieval Music (New York, 1978; edic. española Madrid, 2002)

 Source readings in music history O. Strunk & L. Treitler eds. (New York, 1998) [“The Early Christian period and the latin middle ages”]

 The New Grove Dictionary of Music and Musicians, S. Sadie ed. (London etc., 2001)

 Gómez, MªC., La música medieval en España (Kassel, 2001)

 Ibidem, Historia de la Música en España e Hispanoamérica 1. De los orígenes hasta c.1470, MªC. Gómez ed. (Madrid, 2009)

Rossell A., Literatura i música a l'Edat Mitjana, 2 voll. (Lírica i Cancó èpica), Dinsic (Barcelona, 2004)

 

 BIBLIOGRAFIA ESPECÍFICA

 Música

Liber Usualis

Graduale Triplex

Monumenta Monodia Medii Aevi

Werf, H.Van der, The Extant Troubadour Melodies (Rochester, 1984)

Anglés, H., La música de las Cantigas de Santa María del rey Alfonso el Sabio (Barcelona, 1943-64) (3 vols.)

Karp, Th., The Polyphony of Saint Martial and Santiago de Compostela (Oxford, 1992) (2 vols.)

Magnus Liber Organi, E.H. Roesner, ed. (7 vols.)

The Montpellier Codex, H. Tischler ed. (Madison, 1978-85) (4 vols.)

Polyphonic Music of the Fourteenth-Century (24 vols.) [PMFC]

Corpus Mensurabilis Musicae [CMM]

 

Libros (según temario)

1.

Haynes, B., The End of Early Music (Oxford, 2007)

Leech-Wilkinson, D., The Modern Invention of Medieval Music (Cambridge, 2002)

Sherman Bernard D., Inside Early Music: Conversations with Performers (Oxford University Press, New York, 1997)

 

2.

Boecio, Tratado de Música, trad. S. Villegas (Madrid, 2005)

Fubini, E., Música y estética en la época medieval (Pamplona, 2008)

Schueller, H.M., The Idea of Music. An Introduction to Musical Aesthetics in Antiquity and the Middle Ages (Kalamazoo, 1988)

 

3-4.

Busse Berger, A.M., Medieval Music and the Art of Memory (Berkeley-Los Angeles-London, 2005)

Chailley, J., L’imbroglio des modes (Paris, 1960)

Levy, K., Gregorian Chant and the Carolingians (Princeton, 1998)

Treitler, L., With Voice and Pen. Coming to Know Medieval Song and How it was Made (Oxford, 2003)

 

5-10.

Apel, W., Gregorian Chant (Bloomington, 1958)

Asensio, J.C., Elcanto gregoriano (Madrid, 2003)

Baroffio G. – Ju Kim E., Cantemus Domino Gloriose. Introduzione al canto gregoriano, Saronno, Urban, 2003

Carrillo Rojo R., Text, Liturgy, and Music in the Hispanic Rite, Oxford University Press, 2021

Colantuono M. I., Música i litúrgia medieval a la Biblioteca de Catalunya, s. IX-XIII. Vol. 3 de la col·lecció Escrits i Memòries. Generalitat de Catalunya: Departament de Cultura.

Harper, J., The Forms and Orders of Western Liturgy from the Tenth to the Eighteenth Century. A Historical Introduction and Guide for Students and Musicians (Oxford, 1991)

Hiley, D., Western Plainchant. A Handbook (Oxford, 1993)

 

11.

Donovan, R.B., The liturgical drama in medieval Spain (Toronto, 1958)

Nardini L., Chants, Hypertext, and Prosulas, Oxford University Press, 2022

Orden, D.H., The Staging of Drama in the Medieval Chuch (Wewak-London, 2002)

Ranking, S., The Music of the Medieval Liturgical Drama in France and England (New York & London, 1989)

 

12.

Aubrey, E., The Music of the Troubadours (Bloomington-Indianapolis, 1996)

Krause K. M. & Stones, A., Gautier de Coinci. Miracles, Music and Manuscripts, ed. Brepols, 2007

Menéndez Pidal, R., Poesía juglaresca y juglares (Madrid, 1991/9ª edic., etc.)

Rossell A., El cant dels trobadors, Ajuntament de Castelló d'Empuries (Castelló d'Empuries, 1992)

Van der Werf, H., The chansons of the troubadours and trouvères. A studyof the melodies and their relation to the poems (Utrecht, 1972)

Zuchetto, G., Terredes troubadours XII-XIIIe siècles (Paris, 1996)

 

 

13.

Colantuono M. I., Memoria y composición melódica en las Cantigas de amigo de Martin Codax, a Roda de Fortuna, Revista electrónica 2 (2015)

Ibidem, De la vox mortua a lavox viva: sistemas de composición y oralidad en las Cantigas de Santa Maria, Boitatá, Revista de Literatura oral de la Universidad de Londrina (Brasil),  n. 19 Voz, poesia e performance na Idade Média.

Ferreira, M.P., O som de Martin Codax (Lisboa, 1986)

 

14.

E. Baldassarre, Musica instrumentalis mediaevalis, Il Salentino editore (Melendugno, 2014)

 

15-17

Musica enchiriadis and Scolica enchiriadis, trad. R. Erickson (New Haven-London, 1995)

Wright, C., Music and Ceremony at Notre Dame of Paris 500-1550 (Cambridge,1989)

Everist, M., French Motets in the Thirteenth Century (Cambridge, 1994)

Fauvel Studies. Allegory, Chronicle, Music, and Image in Paris, Bibliothèque Nationale de France, MS Français 146 (Oxford, 1998)

 

Gómez Muntané, Maricarmen, El Llibre Vermell. Cantos y danzas de fines del Medioevo (Madrid, Fondo de Cultura Económica, 2017)

Kügle, K., The Manuscript Ivrea, Biblioteca Capitolare 115: Studies in the Transmission and Composition of Ars Nova Polyphony (Ottawa, 1997)

Leech-Wilkinson, D., Machaut’s Mass. An Introduction (Oxford, 1990)

Robertson. A.W., Guillaume de Machaut and Reims (Cambridge, 2002)

Stäblein-Harder, H., Fourteenth-Century Mass Music in France (MSD 7, 1962)

 

18.

Beck, E.M., Singing in the Garden. Music and culture in the Tuscan Trecento (Innsbruck, 1998)

Pirrotta, N., Music and Culture in Italy from the Middle Ages to the Baroque (Cambridge, 1984)

 

 

Revistas

Early Music [EM]

Early Music History [EMH]

Musica Disciplina [MD]

Plainsong & Medieval Music

 

Acta Musicologica [AcM]

Archiv für Musikwissenschaft [AfMw]

Journal of the American Musicological Society [JAMS]

Notes

The Musical Quarterly [MQ]

Revista de Musicología [RdM]

 

 


Software

There is no specific software required.


Language list

Name Group Language Semester Turn
(PAUL) Classroom practices 1 Catalan first semester morning-mixed
(TE) Theory 1 Catalan first semester morning-mixed