How Can Music of the Middle Ages Transform Into Modern Art
Over the course of centuries, the relationship between music, the arts and literature has always focused on their similarities and differences.
The departure between painting, which 1 sees and music, which i hears, has always been considered obvious. However, as Philippe Sollers (Tel Quel, No. xx, 1965) says about painting: "Il faudra admettre un jour ce phénomène évident: la peinture n'est ni plus ni moins que de la penseé qu'on peut voir… La peinture cascade être vue, doit commencer par être pensée" ("One will have to admit one 24-hour interval this obvious phenomenon: painting is no more nor less thought that ane can encounter… painting in order to be seen, has to start in beingness thought"). We need to rethink the process past which we look at art and apply the same procedure to music, which, rendered as a thought process – notes on a page – comes to life entirely in its performance. The performance of 'thinking' the painting tin can be related to the functioning of musical compositions.
Many writers, Baudelaire among them, considered music as the highest of the arts in relation to painting and literature, since it remains in the realm of imagination and is not tied to a specific represented reality (the but exception is programmatic music, of course). Rather than establishing the relationship between the 'arts' as a mere comparison of their similarities and differences, we will focus and elucidate their mechanisms, starting here with the Centre Ages and moving, in future articles, to the Renaissance, Baroque, Neo-Classical, Romantic and Modern periods.
During the early Middle Ages, music was monophonic, single line plainchant, transmitted orally, its composers and musical notation unknown. This music emanated from the monasteries, convents and churches in Europe, celebrating the 'Divine Office' eight times during the day, condign also known as Gregorian chants in the 7th century (named after Pope Gregory the Nifty).
In the ninth century, the starting time musical notation appeared, in the form of four lines using square notes on vellum – the square form resulting from the use of the quill. The speed of the music was initially set through the employ of a staff – hence the English language term "staff writing", which indicated the precise speed with which the music was to be performed. Time and infinite nonetheless were not codification. The Latin word 'hora' (hour) was in fact synonymous with prayer. Each of these hours was divided into '4' parts of ten minute duration, while each minute was divided into 'forty' moments. Only by 1400 was the day measured in 24 hours, each hour into 60 minutes, each infinitesimal into lx seconds. The concepts of space and time inverse simply with the Renaissance.
Some of the most famous composers of the tardily Heart Ages were Alphonse the Wise of Spain and Hildegard von Bingen in Germany. Another musical tradition during the Eye Ages were the songs of the troubadours, known every bit trouvères in France and Minnesänger in Germany. These were wandering minstrels singing 'Minne' songs, honey songs to a lady, who usually remained unobtainable. This tradition came to Europe in the form of 'romances', i.e. songs in the Arabic/Castilian tradition of eighth century Spain.
As to the relationship betwixt music and painting, painting was at that time besides two-dimensional, single line, without any pictorial depth. The represented figures were apartment, stylized, without volume or expression, the painters unknown. Paintings would often contain successive fourth dimension sequences, dissimilar historical events, all represented in a flat, two-dimensional space. Medieval sculptures also practise not follow 'correct' proportions. The dimensions here seem distorted, the upper body too long in comparison to the knees and legs. The binary concepts expressed in Medieval music and painting find their equivalent in Medieval literature, in the morality tales, where the protagonists are either simply good or but evil with no psychological depth and no evolutionary change during the course of the tale. Only during the Renaissance period in the 14th, 15th and 16th centuries did a profound change occur in music, the arts and literature.
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Gregorian Chants Benedictinos – Hosanna Filio David
Source: https://interlude.hk/music-and-the-arts-in-the-middle-ages/
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