Course content

The course looks at a intriguing period of European history: from the Carolingian Middle Ages to the end of the Renaissance (800-1600). The most important music during that period was created for the church. It was performed during ecclesiastical ritual and articulated religious values, which, at the same time, formed a considerable part of society's political identity. This becomes manifest in church rituals which united both the ecclesiastical and the political spheres, as coronations, victory celebrations, or the liturgy for holy rulers like St. Olaf of Norway or St. Louis of France, for example.

In addition, ecclesiastical music assumed significance as a most valuable and effective public status symbol. It was used in lavish political communication of power, like architecture, painting and sculpture. Many European rulers invested considerable economic resources in order to maintain an expensive apparatus of composers, singers and instrumentalists at their courts and in their chapels. As patrons of famous music masters these rulers used the power of music in order to promote their political image. The production and performance of music, especially ecclesiastical music, had in these contexts the function to signalize the cultural potential of these magnates - and this usually in sharp rivalry to other courts.

The course addresses the following topics, among others: 1. Gregorian chant as an element of Carolingian politics of power around 800. - 2. The role of music in the representation of political hierarchy and the king’s office during 11th-century coronations. - 3. The representation of ideal political government in the ecclesiastical music written for sainted rulers: the offices in honour of Olaf of Norway, Louis IX of France, and emperor Henry II of the Holy Roman Empire. - 4. Music as medium of political satire (Le Roman de Fauvel). - 5. Magnificent music for the representation of power: Guillaume Dufays’s motet for the inauguration of the cathedral of Florence in 1436. - 6. «Patronage»: Church and rulers as supporters of music-production and performance in Paris, Rome, and Northern Italy during the 16th century.

Learning outcome

A candidate who has passed the exam is expected to have the following learning outcome according to the course description, defined as knowledge and skills:

Knowledge

The candidate has knowledge

• about the interaction between musical and political history in European communities from 800-1600
• about the relation between musical forms and their function in political communication and hierarchical structure
• about methods which can be used in order to interpret medieval musical, liturgical and literary texts from a trans-disciplinary perspective.

Skills

The candidate

• is able to critically analyze selected historical, liturgical and musical data in order to approach scholarly conclusions under an trans-disciplinary perspective.
• can present a scientific content in the context of a seminary.
• can show critical attitude and reflection about the course’s content.

Learning methods and activities

The course combines seminary-activities with introductory lectures. Regular participation in class is regarded as an academic matter of course.

A short oral presentation (10-15 minutes) about a selected topic is a requirement for permission to participate in the final exam.

Compulsory assignments

• Oral presentation

Recommended previous knowledge

For the participation in this seminary basic knowledge about music history and notation is useful, but not mandatory. It is expected, however, to acquire necessary music-theoretical skills during the semester.

Course materials

The syllabus consists of selected scientific literature which will be made available digitally on Blackboard.