During the early Middle Ages, monophony (writing music for just a single melody). Polyphony, the intoduction of harmonies and counter melodies, developed because people in Europe derived satisfaction from the rich and sensuous sounds it offered. As with Plainchant, what we know about polyphony and its uses comes from records made and kept by the church.

-Organum consists of a traditional plainchant melody to which another melody in counterpoint has been added. The same words are sung in both melodies.

-Organum began appearing around the year 1000 CE and lasted until 1200 CE. This style of composition flourished at Notre Dame Cathedral in Paris. Here is a look at its development:

1. Originally each note of the chant was accompanied by another single note in the added melody that moved along with the same interval between them.

2. Soon the added melody moved independently.

3. The added melody began to include several notes of counterpoint to one note of chant. The chant notes were lengthened to accommodate these other notes.

4. Two melodies in counterpoint were added. This required more skill since the new counterpoint had to match well with the old counterpoint and the chant.

5. Definite rhythms were added, probably to synchronize the counterpoints and chant with each other.

-Leonin and his student, Perotin, were two of the most influential composers from this period.

-Leonin composed "The Great Book of Organum" in 1170 CE. This was a collection of vocal pieces written to compliment the services throughout the liturgical (church) year.

-Perotin was thought to have composed "Alleluia. Diffusa est Gratia" (circa 1200), a shining example of organum. The example below was performed by Lionheart from “Paris 1200: Chant and Polyphony from 12th Century France”. Listen below!

•The first lyric “Alleluia” is sung twice, and set to melismas (several notes on one syllable).

•The orangum starts on "Diffusa". Notice how long each syllable lasts and how much mellisma is involved.

•Lowest voice sings the rest of the chant, but in a definite rhythm.

•Organum spread all over Europe, and even survived to the 20th Century.

After 1200 CE, music began to distance itself from the church. Its basis was still Gregorian Chant but it was handled in new ways.

1. Only fragments of the original chant was sung.

2. Upper melodies were given their own words, some times in different languages.

-The motet, polyphony in which each line has its own words and rhythms (from the French mot-“word”), becomes a common genre of composition. Originally sung in Latin, motets began to be sung in French. Some of the voices would involve love poems or political satires layered over Latin verses of prayer.

Ars Nova, translated "new art", was a term given to the highly sophisticated polyphony after 1300 CE. It carried great rhythmic complexity. During this time the motet (much like other forms of art) grew increasingly intricate and secular. Most of their advances seems to be in the area of rhythm. Rhythm obsessed these composers and they used highly complex forms of rhythm.

-The two leading composers of the Ars Nova style were Phillipe de Vitry (1291-1361) and Guillaume de Machaut (1300-1377). Both of these men were churchmen, but political churchmen serving the courts of France and Luxemborg.

-Phillipe de Vitry was born in 1291 in Paris. He studied at Sorbonne University Paris and was ordained a deacon. He would eventually become advisor for King Charles IV and his 2 successors, Phillip VI and John II. He became very involved in policy and diplomacy, which brought him to the papal court of Avignon on occasion. Pope Clement VI would eventually make him the bishop of Meaux. In 1320 CE he published “Ars Nova”.

- Guillaume de Machau, born in 1300 CE, was in his early adulthood when the Ars Nova movement emerged. It ened at his passing in 1377. He would become one of leading composers of this movement. One of his famous piece was "Quan en Moi". The version below was performed by the Tenet Singers (Jolle Greenleaf, soprano / Owen McIntosh, tenor / Jason McStoots, tenor).

-This is based on a repeated fragment of plainchant, from the Easter Service.

-Above the chant is two counterpoint melodies set to love poetry. The soprano (upper voice) and alto (lower voice) have two separate French poems that are sung together.

-Notice the extravagant rhythms and nervous pace. Also notice the unique harmonies.

-The melodies in this motet are isorhythmic, meaning they contain long passages with identical rhythms but distinct melodies.

-de Machau also uses the hocket, echoes of melodic material between voices.

Up to this point, we've discussed Middle Ages music and the evolution of chant from the perspective of Western European music. Meanwhile, on other parts of the globe, different cultures were also using chant for worship and prayer as well as other purposes.

Much like Gregorian Recitation, Muslim Cultures chant passages from the Qur’an in Qur’anic Recitation, which is unaccompanied monophonic and nonmetrical. It is meant to present the words of the Qur’an in the most understandable way. Below, is a performance of "Surah al Waqi’ah” by Imam Salim Bahanan. These text are from the 56th Surah (chapter) of the Holy Book of the Qur’an. This translates to “The Inevitable” or “The Event”.

Hawaiian Cultures also used chant in their religious services, to bring life to the idols they worshiped. These prayer songs, or mele pule, are also monophonic, like all traditional Hawaiian song. Below, you will hear "Mele Pule", performed by Emily Kau'i Zuttermeister. Notice that in this tradition emotional expression is in the foreground. You will also hear vocal techniques such as vibrato (quickly wavering tones) as well as a very subtle yodel (allowing the voice to "crack" into a higher register).

Native American tradition also has spiritual chant. Song plays a role in healing, hunting, social rituals and many other parts of life. “K’adnikini’ya’”, performed by Frank Jishie Jr. (vocals) and Sam Yazzie Sr. (drum), is highly structured and accompanied by very specific numbers of drum strokes for every word. This song is about how the white man views the Navajos as seasonal agricultural workers.