Listening to Early Music

Listening to music from its earliest stages in Western thought using a modern ear, one might say "it all sounds the same". The music usually involves only one vocal line, stays in a conservative range, and is typically in a language that most people don't speak anymore. Sacred music employs only voices, and the instrumentation used in secular music is thin. For the average 21st century listener, music from the tenth-twelfth centuries might seem rather dull. This makes sense considering we are used to hearing the symphonies of Beethoven, Tchaikovsky and Shostakovich as well as dozens of popular genres played in public places. But all of these characteristics deal strictly with the sound. To understand music from ancient eras, I think we must look beyond the aesthetics. We have to use our imagination, continually ask "why?", and strongly consider the text being sung.

The recordings of chant from week one all have a similar sound and communicate sacred texts. I particularly liked the recording of Viderunt Omnes. The singers do a great job giving life to the chant by shaping the phrases and giving contour to the melody. I also enjoyed the echo effect, inviting the listener to imagine the cavernous sanctuaries in which these chants were originally sung. The text is clear- something clergy expected from the music. For me, it does not evoke any particular emotions, but offers a calm, peaceful atmosphere. I understand why this music is still used today. The effect it gives offers listeners an opportunity to step into a mindset ideal for worship. 

It is no surprise that church leaders strongly protested the sounds of secular music making its way into worship services. To modern ears, troubadour songs of courtly love don't sound evocative, especially when put up against modern "romance" music. For many, troubadour songs likely sound similar to sacred chant. Taking a closer look at the text and concentrating on the performer's voice will allow one to see the stark contrast. I particularly enjoyed the recording of Comtessa de Dia's A chantar m'er. The singer does a nice job of immediately evoking emotion in her initial unaccompanied line. By using untraditional vocal technique she effectively communicates the pain in her heart singing:

I am obliged to sing of that which I would not

So bitter am I over the one whose love I am

Troubadours were wealthy, well trained members of the French upper class and nobility. The courtly love they sing about in their chansons often involves love for a married man or woman. The music is sensual and alluring and often invites a character to abandon their spouse. It is no wonder that the church had strong opposition to this music. Not only does it challenge the sacred concept of marriage, but it uses seductive musical features to do so.

Below are two recordings of the pieces mentioned above. Listen for yourself to the contrast in emotion that each piece evokes.