Midterm Medieval and Renaissance Project

Timeline created by DCart142
In Music
  • Period:

    The Medieval Period

    This is the period in which modern music notation and the bases for music theory begin to take hold in Europe, both of which evolved from earlier Greek influence.
  • 1030


    Written by Benedictine monk Guido of Arezzo (c.990-1050), this treatise on Gregorian chant is an important work which developed the concepts of: the four-line staff, relative pitch, sight singing syllables (Solfège), and the distinction between the Round b (flat) and the Square B (natural).
  • Period:

    Hildegard of Bingen

    Hildegard was sought after for his counsel and prophecies by nobility and clergymen across Europe. He wrote poems which he later set to original chant melodies that he claimed to have divined.
  • 1323

    Ars Nova Treatise

    This treatise, named the “New Art” treatise in its native French, ushered in a new era of western music, as it establishes time and prolation standards. The treatise outlines “perfect” (triple metre) and “imperferct” (duple metre) time and “perfect” (major) and “imperfect” (minor) prolation.
  • Period:

    The Renaissance

    The Renaissance, French for “rebirth”, is a period in which the arts developed and flourished in the West after the one thousand (1,000) year “dark ages” where creativity was stifled due to the Catholic Church's influence.
  • 1485

    Ave Maria... Virgo Serena

    Written by the highly influential French composer Josquin des Prez (c.1450-1521), this work is considered the “Mona Lisa” of Renaissance music due to the mastery of polyphonic writing that Josquin displays.
  • 1529

    Ein feste burg

    This chorale is a popular composition of the theologist and priest Martin Luther. Luther believed that the entirety of the congregation should participate in the singing of worship music and sing in their native German, as opposed to the standard, yet more inaccessible to the common person, Latin. The title translates to “A Mighty Fortress is Our God”.
  • 1538

    Il bianco e dolce cigno

    An early Italian madrigal by Arcadelt, the text of the work was sexual in manner, as was the style of day for this type of piece. Arcadelt uses imitative entrances to harp upon the punchline of «mille mort il di» or “one-thousand deaths a day”, referring to the 16th century “little death”, or sexual climax.
  • 1567

    Pope Marcellus Mass

    Written by prominent Italian composer Giovanni Pierluigi da Palestrina (c.1535-1594), whose compositions are regarded as the gold standard for counterpoint to this day, this mass is, according to legend, credited with swaying the minds of the infamous Council of Trent and saving polyphonic music not only in sacred music, but on the whole.
  • Missa O magnum mysterium

    A parody mass by the Spanish composer Tomás Luis de Victoria (c.1548-1611), this work is a masterclass in the use of counterpoint in the fashion of Palestrina, whilst also setting itself apart in de Victoria's own style.
  • Sonata pian’e forte

    An unusual work by Italian composer Giovanni Gabrielli, this work was likely written to be played by the resident instrumentalists at St. Mark's Basilica in Venice, Italy. The strange nature of the work lies in the fact that it is the first piece to specify the use of brass instruments and calls for either an alto violin or viola as a soloist.