Henry's College Years

Henry V (16 September 1386 - 31 August 1422) was King of England from 1413 until his death.

For a time, in his youth, he was at Queens College in Oxford. There are no records saying he was enrolled (he would have been very young at the time, considering that he was away from Oxford by the time he was sixteen, fighting the Battle of Shrewsbury), but there is other evidence to examine.

For one, his uncle Henry Beaufort was chancellor there from 1397-99. A resident of Oxford named John Rouse affirms in a history that Henry studied there "under the guardianship of his uncle Henry Beaufort, then Chancellor of Oxford."

As king, Henry supported Queens College's rights in a dispute with Archbishop of Canterbury Thomas Arundel. After this, Henry made sure that Queens would not be bothered by Canterbury, and instead put it under the protection of the Archbishop of York.

It is also recorded that he learned to appreciate literature and music while at Queens. Prior to Queens he had learned the harp, the recorder, and the flute. While campaigning in 1421 in France he even had a harp delivered to him. As king he granted pensions to musical composers. He is even known to have set to music two parts of the Mass, the Gloria and the Sanctus. Note the illustration and the words in red in the upper-left corner: "Roy Henry." The music is "highly skillful" and was possibly done with help from a professional composer. You can hear the selections at this link.

In a first for an English king, he learned to write in the Middle English vernacular.

Most people's knowledge of Henry is based on Shakespeare's plays. If they remember anything about the plays, it is probably the larger-than-life character of Falstaff. Falstaff was based on a real friend of Henry, Sir John Oldcastle. And yes, Henry had to change his attitude toward Oldcastle radically from when he was a prince. The colorful Sir John Oldcastle and his fate is a good tale for next time.

The First Troubadour

William IX, Duke of Aquitaine and Gascony (1071 - 1127), also Count of Poitiers, had a shaky start in life. He was the son of Duke William VIII of Aquitaine and his third wife, Hildegarde of Burgundy; but the duke's earlier marriages and divorces (and the very close relatedness of the parents) caused the Church to declare the young William illegitimate. William senior had to make a pilgrimage to Rome for approval from Pope Alexander II (who wasn't always so obliging in marital questions).

Our subject was also a Crusade leader, but not of a Crusade that gets talked about, or even included in the numbering system: it is simply called the "Crusade of 1101."

He invited Pope Urban II—who had called for the Crusade in November 1095—to his court for Christmas of that year, during which Urban urged William to take up the Cross. William was more interested, however, in whether his rival, Count Raymond IV of Toulouse, would go on Crusade, leaving Toulouse unguarded (he did). William's wife, Philippa of Toulouse, was Raymond's niece, and William thought she could make a claim to the territory. The pair did capture Toulouse in 1098, and were subsequently threatened with excommunication.

What William is most known for now, however, is his career as the first known troubadour. There are 11 songs attributed to him. A 13th century vida says of him:

The Count of Poitiers was one of the most courtly men in the world and one of the greatest deceivers of women. He was a fine knight at arms, liberal in his womanizing, and a fine composer and singer of songs. He traveled much through the world, seducing women.

He did in one song admit to deceiving two women. Several of his songs show an attitude toward women in the courtly love tradition, however, in that the subject is called midons, "master":

Every joy must abase itself,
and every might obey
in the presence of Midons, for the sweetness of her welcome,
for her beautiful and gentle look;
and a man who wins to the joy of her love
will live a hundred years.
The joy of her can make the sick man well again,
her wrath can make a well man die,

Orderic Vitalis tells us that he wrote and performed "witty measures" of his adventures on Crusade, but the only Crusade in which he participated, as mentioned, was the Crusade of 1101. I'll tell you what happened with that tomorrow.

The Troubadour Styles

Troubadours originally referred to their songs as vers, but over time developed a set of several different specific types of composition. The vers was a love song that later took on the term canso. The newer identifiable genres include:

Alba (called an aube in German love songs or Aubade in French): a "dawn song"; the lament that dawn approaches and the man must depart before the lady's husband discovers them).

Comiat: a song renouncing the lover.

Canso de crozada: a song encouraging the Crusades.

Desdansa: a dance for sad occasions.

Devinalh: a riddle or cryptogram.

Gap: a boasting song.

Maldit: a complaint of a lady's behavior.

Planh: a lament on the death of an important figure (evolved from the Latin planctus, a lament).

Serena: a song expressing impatience, waiting for night to fall so one could join their lover.

Tenso: a debate between two poets.

Viadeira: a traveller's complaint.

Let's look at the man thought of as the original troubadour next time.

The Female Troubadour

The word "troubadour" was masculine, and the feminine form was "trobairitz" (both singular and plural). The term was rarely used, and was first seen in a 13th century Occitan romance, Flamenca. Trobairitz wrote and performed for Occitan noble courts from 1170 to about 1260—significant because up until then known female composers only produced sacred music.

Almost all information we have about them comes from their own biographical lyrics. We know of only 20 or so female poets. They were outnumbered by troubadours by 20 to 1, and their surviving works are about 1% of the total musical works from the 12th and 13th centuries. In fact, of the works of trobairitz that have survived, we have perhaps only a single work from each, except for two women.

The Comtessa Beatriz de Dia (pictured here from a 13th century codex; Dia was a town in southern France) was born c.1140 and died c.1212. She left us 5 works—four cansos and one tenson—one of which is the only trobairitz work with musical notation. (In the case of troubadours, about 10% have musical notation intact.)

The other trobairitz who left us more than one composition was Castelloza, the wife of Lord Turc of Meyronne (in southwestern France). She wrote several cansos about Arman de Brion, whose status was higher than hers. She describes the pain of betrayal:

My handsome noble-natured dear,
I’ve loved you since the day you pleased me.
How great a fool I am is clear.
For you held back, while such love seized me
That I not once have turned away.
Though you repay my good with ill
I’ll stand my ground and love you still,
For love so has me in its sway
That I now doubt my life can offer. [source]

Cansos and tenson were only a few of the types of songs composed by the troubadours and trobairitz. There were also alba, devinalh, gap, planh, ensenhamen, and many others. I'll give you a list next time, in case you want to try your hand at some different styles of song.

What Makes a Troubadour?

In the years 1100 - 1350, a type of musical performer arose called a troubadour. They did not call themselves troubadours; that term was first used in 1575 to refer to court poets of the 12th and 13th centuries. They almost always referred to themselves as chantaire, "singer." The term "troubadour" is assumed to come from Occitan trobador, from trobaire, "composer," which may be from Late Latin tropare, "to compose, to invent a poem."

The earliest known troubadour whose work has survived was Duke William IX of Aquitaine (grandfather of Eleanor of Aquitaine). He may not have been the first troubadour: it is possible that his political prominence helped him appear to be the start of a tradition, but he may instead have been just one example of an already thriving cultural event. The chronicler Orderic Vitalis records that William composed songs about his experience on the First Crusade. Order also gives us a first-hand account of William performing "many times ... with rhythmic verses and witty measures."

The troubadour phenomenon rose and fell. The 12th century began with few examples of activity, but the final decades saw a burst of output: almost half of the almost 2500 pieces (from a total of about 450 known names) that have survived come from the years 1180 - 1220. Beginning in western Aquitaine, it spread to eastern Aquitaine, then down to Toulouse and Provence. In the early 1200s it reached Italy and Spain.

Duke William was probably the highest-ranking member of society who could be designated a troubadour. Most described themselves as "poor knights," although there was Jaufre Rudel, prince of Blaye in southwestern France.

The troubadours had an "enemy" in the jongleur. The jongleur was not the juggler that the word has become, but was actually a minstrel. The difference is that the minstrel plays songs he has heard from others, although there may be an element of dancing and acrobatics. The troubadour is a poet-composer, a much higher calling requiring skill. Troubadours often wrote attacks on jongleurs. There were, however, many troubadours who also entertained in the manner of the jongleur.

The word troubadour is masculine; a female troubadour is a trobairitz. It would make sense to look at the phenomenon of the female composer in the troubadour tradition next.

John de Garlandia

There were two "Johns of Garland" whose careers get conflated in the 13th century. One was the philologist and grammarian, discussed here, and the other was a musicologist. Both were living in France at one time, but the second seems to have been born around the time of the first's death. They are sometimes distinguished by calling the latter Garlandia.

From Parisian records, this John seems to have been a keeper of a bookshop, and referred to as Jehan de Garlandia. His name is attached to two treatises, one of which, De Mensurabili Musica ("On measured music"), is considered the most important treatise on the early history of notation. Here is a summary of what makes it so significant:

Specifically, it describes a practice already in use, known as modal rhythm, which used the rhythmic modes. In this system, notes on the page are assigned to groups of long and short values based on their context. De mensurabili musica describes six rhythmic modes, corresponding to poetic feet: long-short (trochee), short-long (iamb), long-short-short (dactyl), short-short-long (anapest), long-long (spondee), and short-short (pyrrhic). Notation had not yet evolved to the point where the appearance of each note gave its duration; that had still to be understood from the position of a note in a phrase, which of the six rhythmic modes was being employed, and a number of other factors.

Modal rhythm is the defining rhythmic characteristic of the music of the Notre Dame school, giving it an utterly distinct sound, one which was to prevail throughout the thirteenth century.[New World Encyclopedia]

Did a bookshop opener write this work? Evidence suggests that it was written in 1240, before John was born (he lived until 1320, so writing in 1240 was not possible), but his name is attached to it, leading to the assumption that he edited the work, or at least wrote later chapters of it. Some of the records of the time refer to John as magister, however, suggesting that he was a teacher at the University of Paris and not just a seller of books. How much he had to do with this work is unknown, but the connection made to it historically is accepted in the absence of other evidence.

For more on the history of musical notation, see here and here.

For information on bookshops in the Middle Ages, well, you'll just have to come back tomorrow.

Edward Caernarvon

Edward Caernarvon (princes were named for the location of their birth) was born 25 April 1284 to Edward I and Eleanor, Countess of Ponthieu. Although their fourth son, his older brothers John and Henry died prior to Edward's birth, and Alfonso died a few months later. Edward senior had conquered Wales in the previous year, and there is speculation that he chose Caernarvon Castle for the birth to symbolically link Wales to the English royal family, making the younger Edward "their prince." He was given the title "Prince of Wales" in 1301, the first non-Welsh ruler to be called so.

His tutor was Sir Guy Ferre, who gave him a keen interest in horses, both riding and breeding. He also enjoyed hunting, and one of the first books on hunting, The Art of Venerye, was written by Edward's royal huntsman.

Edward's household had books in French and Latin, but we can't be certain he read and wrote those languages. He would have been raised speaking French, and for his coronation he chose to take the oath in French, although a Latin version was available.

He also took a great interest in music, and was a patron of musicians and entertainers during his reign. He enjoyed the Welsh crwth, a proto-violin, and as king sent one of his people, Richard the Rhymer, to learn how to play it. Contemporary authorities did not approve of his love of buffoonery, and Edward's later appointment of Walter Reynolds as an archbishop is said to be due to Reynolds' skill as an actor.

His youth, like that of his father, made some observers question whether he would make a good king. Also, like his father, he went through a period when he took sides in a problem, causing the king to refuse to speak to his son and heir. That dispute, and why King Edward was "forced" to start speaking to his son again, will be explained tomorrow.

Cluny Abbey

William I, Duke of Aquitaine, founded Cluny Abbey in 910. Built in the Romanesque style, it had a basilica that was the largest in the world until the 16th century and St. Peter's in Rome.

More important than its size, however, was its strict adherence to the Rule of St. Benedict. Abbeys and monasteries had become lax for many reasons, and Duke William—whose nickname was "the Pious"—desired to restore a measure of piety and devoutness. He appointed Berno of Baume as its first abbot. Berno had established Baume Abbey on Benedictine principles of prayer, silence, and solitude. Baume later became a priory of the more significant Cluny, rather than an independent abbey.

Cluny had many supporters as its reputation as the leader of western monasticism grew. One was Pope Urban II of First Crusade fame, seen here consecrating the third Cluny church. Cluniac Reforms also promoted pilgrimages to the Holy Lands (which dovetailed with Urban's desire for a Crusade).

Interestingly, "poverty" had an odd relationship with the new brand of monasticism. Cluniac abbeys and churches elevated the trappings of the liturgy and increased the use of gold altar vessels, fine Bible-themed artwork like tapestries and stained glass, and polyphonic choral music.

Another practice or movement supported by the Cluniacs was the "Peace and Truce of God," an attempt to limit violence that was part and parcel of politics in Western Europe. What it was and whether it worked I'll discuss tomorrow.

Al-Kindi

Abu Yūsuf Yaʻqūb ibn ʼIsḥāq aṣ-Ṣabbāḥ al-Kindī (801-873CE) is called the Father of Arab philosophy. Born in Kufa and educated in Baghdad, he was instrumental in the translation of many Greek scholarly texts into Arabic. (Remember that a lot of classical scholarly knowledge came to Western Europe via Arabic translations.) He is also credited with introducing Indian numerals (what we mistakenly think of as Arabic numerals) into the Arab and western world.

He was a polymath who contributed to many fields, although he did not always find the scientific truth.

In astronomy he followed Ptolemy's geocentric theory of the solar system, and he was certain the planets followed circular orbits in obedience to God.

He was a chemist who debunked the idea of alchemy turning base metals into gold or silver. He was the first to distill pure ethanol, with which he created several perfumes. He also created cosmetics and pharmaceuticals, and wrote a book on the chemistry of perfume.

A recently discovered book of his in Istanbul, entitled (in English) A Manuscript on Deciphering Cryptographic Messages shows that he was a pioneer in cryptography with the first known explanation of how to decipher encrypted messages by analyzing the frequency of letters.

He wrote on pollution, environmentalism, and meteorology, and explained tides as a result of heating and cooling.

He published 15 treatise on music theory—five of which have survived—including the first known written use of the term "music" (musiqia); he urged the use of music in therapy.

In optics, he explained that both the eye and the object seen must be linked by a transparent medium (air) filled with light. He criticizes Anthemius of Trailes for reporting that sunlight could be focused in war to cause opposing warships to burst into flame. Anthemius did not witness it himself. Al-Kindi performed experiments to be certain this would actually work.

His theory that time, space, motion, and bodies were not absolutes but relative to other objects and the observer puts him closer to Einstein than to Galileo and Newton.

Although his belief that philosophy could support theology was contested by many Arabic scholars who followed him, his writings laid the groundwork much of Arabic philosophy to come.

He also applied mathematics to pharmacology, which I'll talk about tomorrow.

Eustache Deschamps

Somehow, in 770 posts on this blog, I never talked about Eustache Deschamps before. He was an extremely prolific poet who lived from 1346 until 1406/7. Born in northeast France, he studied under Guillaume de Machaut (about whom I have posted). Then, after studying law at Orleans University, he became a diplomatic messenger for King Charles V. He was granted other significant titles and duties during his life, including governor of the the commune Fisme.

Fisme suffered during the Hundred Years War between the English and French, and for this and other reasons Deschamps hated the English, using his poetry to express his feelings.

Deschamps wrote over 1100 ballades. To be fair, ballades were fairly short. The medieval ballade consisted of three eight-line stanzas with a repeating refrain. Most of them are satirical attacks on the English. He had praise for one Englishman though: he wrote one ballade praising Geoffrey Chaucer as a philosopher and poet. Chaucer, in turn, was inspired by Deschamp's one long poem, over 12,000 lines o the subject of women.

He also wrote a treatise on French poetry, in which he outlined the "rules" for different kinds of verse. He also shares his theory about music versus poetry. Music he considers "artificial" because anyone can learn it (it was a major course of study in universities), whereas poetry was "natural" because without being born with the talent for poetry, you would not be any good at it.

At least one line of his you might have heard. He wrote "Friends are relatives you make for yourself."

Next, I want to tell you a little about his university.

The Gittern

The 14th century French poet Eustache Deschamps said “at royal courts everyone wants to play the trumpet, gittern, and rebebe.” You know what a trumpet is. The rebebe was a bowed instrument. The gittern has been called:

"one of the most important plucked fingerboard instruments of the late medieval period. Loved by all levels of society, it was played by royal appointment, in religious service, in taverns, for singing, for dancing, and in duets with the lute." [link]

The naming of medieval musical instruments was very confusing, with different names for the same instrument and multiple instruments being called by the same name. It didn't help that the same instrument could be of varied construction.

The gittern could have anywhere from two to five gut strings, played with a plectrum made from a quill. It was shaped like a smaller lute with a pear-shaped body. The body and the neck were a single piece of wood, unlike many other stringed instruments.

The popularity of the gittern may have led to its scarcity now. When something is extremely common, it is not always valued properly. In consequence, despite its popularity, we have very few extant gitterns today. You can see one in the Metropolitan Museum of Art, there's one in the Wartburg Castle Museum in Eisenach, Germany. These were the only two known, until one was recognized in a medieval outhouse in Poland.

The image above is of a modern recreation from a maker of musical instruments. If you would like to hear a gittern being played, click here.

But who was Eustache Deschamps, who made such a bold statement about the gittern? I'll gladly talk about him tomorrow.

A Musician Beheaded

The Peasants Revolt of 1381 was an uprising against...let's say "government overreach." It was not a simple protest, however. The rebel crowds over the course of months murdered officials and damaged buildings, even burning some down, including the most magnificent house in London, the Savoy Palace, residence of the king's uncle, John of Gaunt.

Of course, there would be repercussions. Hundreds and hundreds were involved, but they could not all be identified and incarcerated. Principle actors, however, paid a heavy price. The chief name linked to the Revolt was that of Wat Tyler, who was struck down early on by the Mayor of London, Simon of Sudbury.

One of the few names on a list of those whose involvement was so egregious that they were to be beheaded was John Stakpull, or Stakepoll. Other than this, we really have no clues to the identity of this man; rather, we have some circumstantial clues.

An escheator record (an escheator is in charge of confiscating property on behalf of the Crown) lists the possessions of Stakpull that had been taken after his beheading. Here's the list, and the value of the items in shillings and pence:

1 red gown (3s.6d.)
1 cloak of red and green cloth (8s.)
3 hoods, 1 pair worn-out stockings (2s.6d.)
1 pair worn-out thigh-high boots (8d.)

1 overslop (covering for a chainmail headpiece) (18d.)
1 worn-out earthenware pot (6d.)
1 harp, 1 gittern (12d.)

The overslop is interesting, because it suggests that he had been a soldier. But then, lots of people had been soldiers. No, the curious items are the harp and gittern. These musical instruments, along with the very colorful garments, suggest that he was a minstrel. Could he have been the first protest singer, playing music to rally the rebels? We'll never know.

But let's go in a different direction. You might be assuming that the "gittern" is an old word for a guitar. Not quite. Let us talk about the gittern when next we meet.

Wulfstan the Cantor

Of the countless people who lived in the Middle Ages and accomplished things—writing, building, etc.—a very few are remembered by name. One of them is Wulfstan, known as Wulfstan of Winchester or Wulfstan the Cantor.

A cantor sings liturgical music. The monk Wulfstan was a cantor of the Old Minster in Winchester, who became a precentor. A precentor is responsible for composing liturgical music himself, training the choir, and leading the choir or congregation in the music, singing solo lines to which they respond. He was a poet as well as a musician, and wrote a biography of St. Æthelwold, who was probably his mentor. He wrote several works, making him one of the most prolific Latin authors pre-Norman Conquest.

A 15th century commentary refers four times to a "Wulstan" and his work on musical theory, De tonorum harmonia ("On the harmony of tones"). It is likely that this reference is to Wulfstan; unfortunately, this work of Wulfstan's no longer exists. It would be the only known work on music written by an Anglo-Saxon. He is also responsible for the longest (3386 lines) Anglo-Latin poem extant, the Narratio metrica de S. Swithuno (A metrical narrative of St. Swithin).

The work for which he is best know, however, is the Vita S. Æthelwoldi (The life of St. Æthelwold), the principal source of information on St. Æthelwold, about whom I think we should talk next.

The Winchester Troper

When priests and monks prayed the Canonical Hours, praising God through hymns was considered an important part of the experience. We are fortunate to have a thousand-year-old manuscript that holds many examples of the music used at such times.

A trope is a theme or motif, and the Winchester Troper was named that because it includes different musical styles or motifs. The Winchester Trooper actually refers to two manuscripts of liturgical plainchant and polyphony, although the two manuscripts are not exactly connected; that is, they are not two parts of the same collection, just two manuscripts of the same type of music.

The music is in two forms: liturgical plainchant and two-voice polyphony. Plainchant (or plainsong) is simply a collection of chants used in the Western European Catholic Church, in which all singers follow the same tune. It was the primary type of Christian liturgical music until the development of polyphony in the 9th century, when two or more singers would harmonize. The Winchester Troper's examples of polyphony are for two voices.

As usual with many early manuscripts, authorship is unknown. A person once connected with scribing the Troper, but now determined to have been dead by the time the Troper was put together, was a character called Wulfstan the Cantor. I'll tell you more about him tomorrow.

If you would like to hear a sample of music from the Winchester Troper, click here.

Anonymous IV at Notre Dame

[Mindful of the tragedy at Notre Dame of Paris on 15 April, 2015, I re-present this post from 2012.]

In the post on the Las Huelgas Codex I mentioned that many of the pieces in the codex were new to scholars, but some were familiar. Where else had they been seen?

Notre Dame Cathedral

The collection of recorded polyphonic music produced by composers working at Notre Dame Cathedral from c.1160-c.1250 is referred to as the Notre Dame School of Polyphony. A majority of medieval polyphonic music up to this time was committed to parchment by the Notre Dame School.

This does not man, sadly, that we can set a manuscript in front of a modern musician and have the notes played as they were intended to be heard. Differences in musical notation and rhythm make it close to impossible to know precisely how these pieces were performed centuries ago. For us to make an attempt is only feasible because of analyses of music written by a handful of people. Franco of Cologne was one, John of Garland another (best estimates are that he was keeper of a bookshop in Paris who edited two treatises on music), and the later writing of the industrious student known only as Anonymous IV.*

The "Alleluia nativitatis" by Pérotin

Thanks to Anonymous IV, we have contemporary definitions of what is meant by organum (a plainchant melody with one voice added to enhance harmony), discantus ("singing apart"; a liturgical style of organum with a tenor plainchant and a second voice that moves in "contrary motion"), the rules for consonance and dissonance, and other terms and rules of polyphony.

One "ironic" result of the writing of Anonymous IV is that. through him, we know the names of two composers who would otherwise have been lost to obscurity. He writes about Léonin and Pérotin with such detail and feeling that, although Anonymous would have lived several decades after they lived and composed, they were presumably so famous that their reputations lived on in the school. Léonin and Pérotin are some of the earliest names of artists that we can actually link to their works.

As much as we have been given by the treatise of Anonymous IV, his own identity and details of his life are unknown. Two partial copies of his work survive at Bury St. Edmunds in Suffolk, England; one is from the 13th century, and one from the 14th. Clearly, his work was considered important enough to copy and preserve—but not his name. He was likely an English student who was at Notre Dame for a time in the late 13th century. Thanks to his interests, we understand more about the development of medieval polyphonic music than we otherwise would have.

*His name is the inspiration for a modern female a capella group.

Why a Boar's Head?

From a feast at the University of Rochester

Most readers of this blog will be familiar with the Boar's Head Carol.

The version we use most often today (there are slight variations, including a version for serving poultry) was recorded in a book of Christmas carols printed in 1521. It has been a popular carol—and a Yuletide event—ever since.

At least one scholar links it to a Norse tradition brought to England with the Anglo-Saxons. Sacrificing a boar to Freyr, a Norse god amenable to mortals, was supposed to bring peace and prosperity in the new year.

There's another origin for the choice of a boar, which has a slight hint in a line in the carol itself. In a book about Christmas carols printed in 1868, we can read the following:

Where an amusing tradition formerly current in Oxford concerning the boar's head custom, which represented that usage as a commemoration of an act of valour performed by a student of the college, who, while walking in the neighbouring forest of Shotover and reading Aristotle, was suddenly attacked by a wild boar. The furious beast came open-mouthed upon the youth, who, however, very courageously, and with a happy presence of mind, thrust the volume he was reading down the boar's throat, crying, "Græcum est," [Latin: "compliments of the Greeks"] and fairly choked the savage with the sage.  [Husk, William Henry. Songs of the Nativity Being Christmas Carols, Ancient and Modern]

I have included translations of the Latin lines below. The final one refers to Queen's College in Oxford. Husk was the librarian at Queen's College.

The boar's head in hand bear I,
Bedeck'd with bays and rosemary.
And I pray you, my masters, be merry
Quot estis in convivio [You who all feast in harmony]

CHORUS
Caput apri defero [The boar's head bear I]
Reddens laudes Domino [Singing praise to God]

The boar's head, as I understand,
Is the rarest dish in all this land,
Which thus bedeck'd with a gay garland
Let us servire cantico. [serve with a song]

CHORUS

Our steward hath provided this
In honour of the King of Bliss;
Which on this day to be servèd is
In Reginensi atrio. [in the Queen's hall]

The Philosophy of Music

Much of the medieval attitude about music and its forms came from Boethius (c.480-524 CE). In his de institution music [Latin: "On the laws of music"] he distinguished three types of music:

Instrumental music
Human music
Mundane music

Detail from copy of De musica [source]

Although today we use the word "mundane" to refer to something ordinary, it comes from Latin and refers to the world; Boethius uses it to refer to the music made by the world, that is, the so-called "music of the spheres": that sound, inaudible to human ears, that was made by the friction of the spheres surrounding the Earth in which the planets and other heavenly bodies traveled.

Instrumental music referred to music made by one of several different agents. It could come from something under tension (such as with stringed instruments), by wind, by water, or by percussion. It should be noted that Boethius was not referring to "musical instruments" as much as he used the term to mean that some physical agency was causing the sound. That could be a rushing stream, the wind in the trees, and falling rocks as much as manufactured devices in the hands of a musician. Later writers included singing as part of this category.

Human music was therefore not referring to singing by humans. For the Middle Ages, "music" was all about harmony, and the "harmony" between the physical body and the spiritual side was a serious topic. For example, you must nourish the physical body, but you must not eat so much that you fall into the sin of gluttony. Proper proportion was everything.

In fact, music (as opposed to mere noise) was all about harmony and proportion. That is why Music was studied in the medieval university only after mastering Arithmetic. A contemporary of Boethius, Cassiodorus (485-c.585 CE), compared the two by explaining that

Arithmetic is the discipline of absolute numerable quantity. Music is the discipline which treats of numbers in their relation to those things which are found in sound.

Ars Nova: Jean de Muris

Treatise on Musical Intervals, by Jean de Muris

Jean de Muris was mentioned in the post on Ars Nova as the author of Ars novæ musicæ [New technique of music]. He did more than that, however: he was also a mathematician and philosopher, an astronomer, a colleague of Philippe de Vitry, a lecturer at the Sorbonne.

Born near Lisieux about 1300 (he died c. 1351), he studied at the University of Paris and spent a lot of his time there as well as at Evreux, Fontevrault and Mezières-en-Brenne. He wrote a few books—perhaps as many as five (we are not sure whether some were written by him, but similar style is a reason for ascribing some works to him).

There are over 150 manuscripts of copies of works attributed to Muris. At one point, a work that criticized the Ars Nova was considered to have been written by him, but later it was determined that someone else wrote it. Muris certainly approved of the new style in his works. One of these, the Quæstiones super partes musicæ ["Questions on the parts of music"], can be read (in Latin) here.

Here's a section in English:

What is music? Music is the mistress art of the arts, containing in herself the beginnings of all methods [...], confirmed in the nature of all things, remarkably internalized proportionally, delightful to the intellect, loved by the ear. Music gladdens the downcast, rewards the eager, thwarts the envious, comforts the weak, keeps awake the vigilant, awakens the sleepers, nourishes love, honors its possessor, if music, which was established at last for the praise of God, has pursued its just goal. [link, p.239]

This embodies the Ars nova, which brought formal music out of the Church and made it complex, expressive, and secular. 

Ars nova

from Italian manuscript J. IV.115,
an example of Ars Nova notation

Beginning in the early 1300s there was a change in musical style, an evolution from monophony (a single melody) to polyphony, in which two or more lines of melody intermingled. The result was to give music a richer, more expressive sound.

The Church didn't like it.

Pope John XXII rejected it (as he tried to reject elections of which he did not approve). The sacred monophonic chant of the Church was being mixed with secular tunes. Music was becoming "fancy" and "frivolous" in ways that did not suit the pope.

The new style caught on, however, and there was no turning back. Two books describing the new technique helped to spread the new ideas. They were Ars novæ musicæ [New technique of music] by Jean de Muris c. 1320, and Ars nova notandi [New technique of musical notation] by Philippe de Vitry in about 1322. Because of these titles, 20th century historians refer to this style and period of time in music (the 14th century) as the Ars Nova. This new style developed at the same time in France and Italy. In France, one of its greatest exemplars was the poet Guillaume de Machaut. A sample of his musical composition is found in this post.

Among the new forms of non-sacred music given to us by the Ars Nova are the Madrigal, usually a song of love for two voices, and the Ballad, a story with a non-religious theme which was meant to be sung in public. The music in the manuscript of the Roman de Fauvel is an example of Ars nova.

The Story of Fauvel

Fauvel holds forth.  

A 14th century manuscript is an amazing example of a "multi-media" piece of fiction.

The story? It's about a horse ... a horse that becomes a politician.

The Roman de Fauvel ["Story of Fauvel"] is dated to as early as 1310, although the author is unknown. It is an allegory, in which a fawn-colored (French fauve) horse decides he is unhappy with the stable and moves himself into the largest room in the nearby house, altering it to suit his needs (like adding a crib for fresh hay). Fortuna (Fate) makes him the head of the house, and leaders both secular and religious come to listen to him, increasing his fame. Ultimately, Fauvel marries Lady Vainglory and begins a life of begetting corrupt leaders that will usher in the end times.

The original story was expanded by Chaillous de Pesstain*, who added musical notations to it—in fact, 169 snippets of musical notation to accompany the story. This particular copy is found in the Bibliotheque Nationale in France as manuscript BN fr. 146 (which you can see online here).

The Roman de Fauvel gave birth to a modern idiom. To "curry" is to groom a horse, and the leaders in the story would curry Fauvel in order to ingratiate themselves to him. "To curry Fauvel" became a saying to indicate trying to please someone so that they look kindly upon you. After the 17th century, this was misunderstood in English as "to curry favor," to try to get a favor from someone by flattery.

*And that's about the sum total of all we know about him. He may have been just the scribe of that particular manuscript.