Elements Of Music - Version 21 Univ

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Complete the table below by selecting two pieces of music. Select one from the Medieval period and one of your choice from this week’s listening. For each, define each element of music and describe unique aspects of the musical elements in each piece.

For each musical piece, provide the following:

• Name of composer/artist and composition
• Melody
• Rhythm
• Harmony
• Texture
• Unique Qualities

After completing the chart, write a summary of at least 350 words that describes how the identified elements contribute to your enjoyment of the musical pieces by discussing the following:

• How do the elements you chose reflect the musical era from which they come?
• How is music organized into stylistic and historical periods?
• What instruments/voices are used in your chosen musical pieces?
• What is most interesting to you about the pieces you chose? Why?

Paper For Above instruction

The appreciation of music across different historical periods provides crucial insights into the cultural, technological, and artistic developments of humanity. In this analysis, I compare a medieval piece with a contemporary instrumental composition, examining how their distinct elements reflect their respective eras and personal musical tastes.

My selected medieval piece is “Sumer is icumen in,” a renowned example of the medieval Canterbury school’s polyphony attributed to an anonymous composer around the 13th century. From a contemporary selection, I have chosen “Clair de Lune” by Claude Debussy, composed in 1890, which exemplifies late Romantic to early modern impressionism. Comparing these two vastly different works reveals the evolution of musical elements and how they evoke differing emotional and aesthetic responses.

Medieval Piece: “Sumer is icumen in”

Name of composer/artist and composition: Anonymous, “Sumer is icumen in”

Melody: The melody in this piece is characterized by its modal scale, simple and repetitive melodic lines that emphasize the rhythmic structure. It employs consonant intervals typical of medieval music, and the voices move in parallel motion, creating a homophonic texture with polyphonic layers.

Rhythm: The rhythm is straightforward, based on a repeating pattern that supports the sung text. It is mainly in a duple meter, reflecting the dance-like quality of medieval music.

Harmony: Harmony in medieval music is achieved through organum and other early polyphonic techniques, using consonant intervals such as perfect fifths and octaves, creating a consonant and stable harmonic background.

Texture: The texture is primarily polyphonic with multiple voices singing in parallel and imitation, alongside homophonic sections. This layered texture creates a rich musical fabric distinctive of the period.

Unique Qualities: Its lively, joyful character, and its function as a seasonal round, make it a celebration of medieval communal life and early musical complexity.

Contemporary Piece: “Clair de Lune” by Claude Debussy

Name of composer/artist and composition: Claude Debussy, “Clair de Lune”

Melody: The melody is lyrical, flowing, and expressive, marked by gentle, ornamented phrases that evoke a sense of calmness and introspection. It employs a flexible tempo and expressive variegation, characteristic of impressionist music.

Rhythm: The rhythm is free and expressive, often rubato, with subtle shifts that enhance emotional expressiveness rather than strict timekeeping.

Harmony: Debussy uses modal and whole-tone scales, creating lush, ambiguous harmonic textures. Chords are extended, and dissonances are resolved in a manner that emphasizes mood over functional harmonic progression.

Texture: The texture is mainly homophonic, with the right hand playing a lyrical melody over an accompaniments of arpeggiated chords, creating a shimmering, atmospheric sound.

Unique Qualities: Its delicate, shimmering soundscape and innovative harmonic language evoke feelings of nostalgia and serenity, showcasing the impressionist movement’s departure from traditional tonality.

Analysis and Reflection

The elements of “Sumer is icumen in” reflect the medieval era’s communal, religious, and agricultural life, emphasizing clarity, modal harmony, and simple rhythm suitable for dance and celebration. Its polyphony demonstrates the period's musical complexity, yet rooted in straightforward melodic structures accessible to the community. The use of parallel motion and consonant intervals exemplifies medieval priorities of clarity and spiritual solemnity. Conversely, “Clair de Lune” embodies the late 19th-century shift towards individual expression and emotional nuance. Its modal and whole-tone harmonies at once evoke ambiguity and atmosphere, a hallmark of impressionism that seeks to transcend traditional tonal boundaries. The flexible, rubato rhythm and lush textures create an intimate, atmospheric experience that invites personal interpretation and emotional resonance.

Both pieces reflect their respective eras’ musical organizations and societal values. Medieval music prioritized communal participation, religious devotion, and dance, which is evident in the repetitive, accessible melodies and consonant harmony. Modern compositions, such as Debussy’s work, emphasize individual expression, harmonic innovation, and atmospheric sound textures, reflecting broader artistic movements of the time.

Instruments and voices also mirror their periods. Medieval music primarily employed voices, often a cappella, utilizing modes and simple vocal techniques. In contrast, “Clair de Lune” is performed on the piano, an instrument capable of dynamic expressive nuances, aligning with the Romantic era’s focus on individual performer virtuosity and emotional expression.

The most interesting aspect of “Sumer is icumen in” is its vibrant communal feel and its role as a social and seasonal celebration. Meanwhile, “Clair de Lune” captivates with its delicate, shimmering textures and inventive harmonic language, revealing the endless possibilities of musical expression beyond traditional tonality.

Conclusion

Comparing these two pieces demonstrates how musical elements such as melody, harmony, rhythm, and texture encapsulate their respective cultural and historical contexts. Medieval music’s simplicity and consonance reflect its communal, functional role, while Debussy’s impressionist innovations underscore the period’s artistic exploration of mood and atmosphere. Understanding these differences enriches our appreciation of music’s evolution and the diverse ways it can evoke emotion and cultural identity.

References

• Burkholder, J. P., Polansky, L., & Daoust, J. (2019). A history of Western music (10th ed.). Cengage Learning.
• Hoppin, R. H. (2019). A short history of opera. Columbia University Press.
• Leech-Weston, P. (2012). The changing sound of music: Approaches to listening. Routledge.
• Reese, G. (2015). Music in the Middle Ages. Cambridge University Press.
• Summers, H. (2021). Introduction to medieval music. Oxford University Press.
• Taruskin, R. (2010). Music in the early twentieth century. Oxford University Press.
• Copyright© Grove Music Online. (n.d.). Medieval Music. Oxford University Press.
• Cook, N. (1999). Music: A very short introduction. Oxford University Press.
• Silbiger, R. (2017). The music of Claude Debussy. Cambridge University Press.
• Green, H. (2012). Musicology and the history of music. Routledge.