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So, lets get back to the music.
It is clear the time span of the period we call Polyphony is so vast that we can identify a clear difference and development of the music. The music of von Bingen and de Machaut in the beginning compared to Gabrieli and Monteverdi are worlds apart. With the beginning of Polyphony we slowly move from homophony, or non-chord music, mainly vocal towards orchestral music, including the birth of opera generally contributed to Monteverdi. Let us look at some general publications on this strange phenomena, because one thing is clear when we listen to all the excerpts of the music I gave before. It is artistic very interesting, all the parts are individual processed, meeting each other, even introducing dissonant, and only loosely based on the original (Gregorian) theme. This becomes a truly spectacular way of composing, to understand this in its full meaning a little bit on the development of the polyphony during this period. Let’s first say there are books full on this subject. And every mas is still being studied and analysed to discover hidden meanings, combinations, etc. But it is all in the mist of times and these kind of studies are to a certain extent very theoretical. At least, that is my opinion, being just a music lover.
But let’s get back to a short description of the development of the music. Our first point is somewhere during the lifetime of John Dubstable, this polypohic music can be described as:
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Melodic, there is a clear melody and a development over the time. One of these melodies is called Cantus Firmus, the germ of the complete mass;
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Rhythm is varied (in contrast to Gregorian chant for instance)
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Voices sound together, independent of each other along their own lines
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Tactus, there is a defined time interval and definition of bars
When we leave Dunstable, that developed this music in the sheer isolation of England, but whose music was spread all over Europe after his death we move into the age of the Flemish Polyphony. The name of this period is confused all the time, but to be honest, none of the descriptions are either wrong or right. It can be called:
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Flemish: the towns of Gent, Kamerijk and Antwerp are now Flemish (the Dutch speaking part of Belgium)
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Dutch: this part of Belgium has been one “country” of the Netherlands, the low countires
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Burgundy, the French Kingdom until approx. 1500 that later became the 17 provinces ruled by Philip 1 of Castilie (also known as Philip the Fair)
It is typical for this period in history, there is constant war, constant change of ruler, and we have no idea if and how it affected the daily life or the ordinary citizen. But there is another aspect, already mentioned when we have found music of the English composer Dunstaple all over Europe. There is frequent contact between these rulers, marriages are arranged to increase or maintain power, there are diplomats travelling. And a special type of diplomats are the court musicians. When the king travels to another place and he wants to impress either his citizens or his fellow ruler he will bring his court musicians. Now we see the music that we describe as polyphony in its full glory, not just in a church, as part of a service, but as way of experiencing pure music, pure art, pure emotion. It might be my interpretation, but I think that the discovery of art in this way is essential, not the road lays open to further developments. And these developments are led by a long line of Flemish composers.
Let’s now describe the unique features of this music. First it is unique there is such a long timeline of composers within this region that are the at the front of musical development, and together brought this music to its great height. There might be an explanation also in the numerous cathedrals where schools for young pupils were available, and these musicians were trained. Somehow we must get rid of the idea that the churches were highly conservative, I mentioned the building of Gothic cathedrals before, that definitely were great achievements, but also all the developments of the renaissance were for a large part a consequence of development of art within the walls of the church. So, it is not a miracle we see a same situation with regard to music.