Who Performed Secular Music In The Middle Ages

The vibrant soundscape of the Middle Ages wasn't solely filled with Gregorian chants and sacred hymns echoing from the hallowed halls of churches. Secular music, brimming with tales of love, chivalry, and everyday life, also thrived. Understanding who performed this music reveals a fascinating glimpse into the social fabric of the era. It was a world where wandering minstrels, aristocratic troubadours, and even common folk contributed to a rich tapestry of musical expression.

The Performers of Secular Music in the Middle Ages

Secular music during the Middle Ages encompassed a wide range of genres and styles, each performed by distinct groups of individuals. These performers, coming from various social strata, played a crucial role in disseminating music and shaping the cultural landscape of the time. From the itinerant minstrels entertaining crowds in town squares to the noble troubadours composing elaborate love songs, the performers of secular music left an indelible mark on the history of music.

Minstrels: The Versatile Entertainers

Minstrels were arguably the most ubiquitous performers of secular music in the Middle Ages. These itinerant musicians traveled from town to town, village to village, providing entertainment for the masses. Unlike modern-day rockstars, medieval minstrels were multi-talented individuals who juggled singing, playing instruments, juggling, acrobatics, and storytelling.

• Who Were They? Minstrels came from diverse backgrounds. Some were former clerics who had left the church, others were vagrants seeking a livelihood, and some were even trained musicians who chose a more free-spirited lifestyle than that offered by the structured environment of the court or church. They were often considered to be on the fringes of society, both admired for their skills and looked down upon for their wandering lifestyle.

• What Did They Perform? Their repertoire was incredibly varied. It included:

  • Ballads: Narrative songs telling stories of historical events, legendary heroes, or tragic love affairs.
  • Lays: Shorter narrative poems, often focusing on romantic themes.
  • Dances: Lively instrumental pieces accompanying dancing.
  • Jongleur Songs: Humorous and satirical songs often mocking societal figures or events.
  • Animal Songs: Songs about animals, real or mythical.
  • Epic Poems: While usually recited, minstrels often played background music for epic poems such as Beowulf.

• Where Did They Perform? Minstrels performed wherever they could find an audience and earn a living. This included:

  • Town Squares: Public spaces where they could gather crowds.
  • Taverns: Providing entertainment for drinking patrons.
  • Marketplaces: Performing during market days when people gathered to trade and socialize.
  • Castles and Courts: While often employed by nobles, they would also perform for the lower staff.
  • Festivals and Fairs: Contributing to the festive atmosphere of these events.

• Instruments: Minstrels used a wide range of instruments, often carrying several with them. Common instruments included the vielle (a medieval fiddle), the lute, the harp, the shawm (a precursor to the oboe), the recorder, bagpipes, and various percussion instruments.

Troubadours and Trouvères: The Aristocratic Composers

In contrast to the wandering minstrels, troubadours and trouvères were aristocratic poet-musicians who flourished in the high medieval period. They were primarily associated with the courts of Southern France (troubadours) and Northern France (trouvères). They were not merely performers but also composers, crafting original songs and poems that reflected the ideals of courtly love and chivalry.

• Who Were They? Troubadours and trouvères were typically members of the nobility, often knights or lords with a refined education and appreciation for the arts. They saw themselves as artists, crafting sophisticated works for a discerning audience. Famous examples include William IX, Duke of Aquitaine (considered the first troubadour), Jaufre Rudel, and Bernart de Ventadorn.

• What Did They Perform? Their compositions primarily focused on:

  • Courtly Love Songs: These songs explored the idealized and often unattainable love between a knight and a noble lady. The knight would often portray himself as a devoted servant, yearning for the lady's affection.
  • Sirventes: Political or satirical songs commenting on current events or criticizing their enemies.
  • Pastourelles: Songs that depict encounters between a knight and a shepherdess, often involving romantic pursuits.
  • Albas: Dawn songs lamenting the end of a night spent with a lover.

• Where Did They Perform? Troubadours and trouvères primarily performed in the courts of their patrons, entertaining the nobility with their sophisticated compositions. They might also perform at special events such as weddings, tournaments, or celebrations.

• Language and Style: The troubadours wrote in langue d'oc (Occitan), while the trouvères wrote in langue d'oïl (Old French). Their music was characterized by its melodic beauty, lyrical poetry, and refined style. They often employed complex rhyme schemes and sophisticated musical forms.

Jongleurs: The All-Around Entertainers

The term jongleur is often used interchangeably with "minstrel," but there are some subtle distinctions. While both were itinerant entertainers, jongleurs were often considered to be less skilled musicians than minstrels and more focused on other forms of entertainment.

• Who Were They? Jongleurs were typically lower-class performers who relied on their wit, agility, and diverse skills to earn a living. They were often associated with the margins of society and were not always held in high regard.

• What Did They Perform? Jongleurs were jacks-of-all-trades, offering a variety of entertainment options:

  • Acrobatics: Performing feats of agility and balance.
  • Juggling: Manipulating objects with skill and dexterity.
  • Animal Training: Presenting trained animals such as monkeys or bears.
  • Storytelling: Reciting tales and legends.
  • Simple Songs and Instrumental Music: While not as accomplished as minstrels, they still provided basic musical entertainment.

• Where Did They Perform? Like minstrels, jongleurs performed wherever they could find an audience:

  • Town Squares
  • Marketplaces
  • Fairs and Festivals
  • Even in private homes for a fee.

Goliards: The Wandering Scholars

Goliards were wandering students and clerics who wrote satirical and often irreverent poetry and songs in Latin. While their music wasn't strictly secular in the sense of love songs or heroic ballads, it often poked fun at the Church, society, and authority figures.

• Who Were They? Goliards were typically young men who had either left the Church or were studying at universities. They were known for their rebellious spirit, their love of wine, women, and song, and their satirical wit.

• What Did They Perform? Their compositions often included:

  • Satirical Poems: Mocking the clergy, the wealthy, and societal norms.
  • Drinking Songs: Celebrating the pleasures of wine and revelry.
  • Love Songs: Expressing romantic desires in a less courtly and more explicit manner than the troubadours.

• Language and Style: Goliards wrote in Latin, but their Latin was often colloquial and humorous, filled with puns and wordplay. Their music was often simple and catchy, designed to be easily sung and remembered. Carmina Burana is the most famous surviving collection of Goliard songs.

Town Musicians and Guilds

As towns grew in size and importance during the later Middle Ages, some musicians began to settle down and form guilds. These town musicians provided music for civic events, religious processions, and other public occasions.

• Who Were They? Town musicians were typically skilled instrumentalists who were employed by the town council or belonged to a musicians' guild. They were often required to pass an examination to demonstrate their competence.

• What Did They Perform? They performed a variety of music, including:

  • Processional Music: For religious or civic processions.
  • Fanfares: Announcing important events or dignitaries.
  • Dance Music: For public celebrations and festivals.
  • Background Music: For banquets and other social gatherings.

• Organization and Regulation: Town musicians' guilds regulated the profession, setting standards for training, wages, and performance. They also provided mutual support for their members.

The Common Folk: Music in Everyday Life

While the professional musicians played a crucial role in shaping the musical landscape of the Middle Ages, it's important to remember that ordinary people also made music in their daily lives. This music was often informal and spontaneous, passed down through oral tradition.

• Who Were They? The common folk included peasants, artisans, merchants, and other ordinary people who were not professional musicians.

• What Did They Perform? Their music included:

  • Work Songs: Sung to coordinate labor and ease the burden of repetitive tasks.
  • Lullabies: Sung to soothe babies to sleep.
  • Dance Music: Played at village festivals and celebrations.
  • Folk Songs: Telling stories of local events, legends, or personal experiences.

• Instruments: Common instruments included the recorder, the bagpipe, the hurdy-gurdy, and various percussion instruments. However, much of their music was vocal, sung a cappella or accompanied by simple instruments.

The Church's Influence on Secular Music

While we focus on secular music, it is important to understand how the church had a major influence on music of the era, both sacred and secular.

• Musical Notation: The development of musical notation, largely driven by the needs of the Church to standardize chant, had a profound impact on all music. It allowed for the preservation and dissemination of complex melodies and harmonies, facilitating the creation of more sophisticated secular compositions.

• Musical Forms and Structures: Many musical forms and structures used in secular music, such as the formes fixes (ballade, rondeau, virelai), evolved from liturgical music. Composers adapted these forms to create secular songs with intricate melodies and poetic structures.

• Training and Education: The Church was the primary center of musical training and education during the Middle Ages. Many musicians, even those who later specialized in secular music, received their initial training in church schools or monasteries.

Notable Examples of Secular Music

While pinpointing precise "hits" from the Middle Ages is challenging due to the limitations of record keeping, we can identify some well-known examples of secular music that have survived to this day:

• "Kalenda Maya": A song by the troubadour Raimbaut de Vaqueiras, known for its lively melody and dance-like rhythm.
• "A Chantar M'er de So Qu'ieu Non Voudria": A powerful and emotive song by the trobairitz (female troubadour) Comtessa de Dia, expressing the pain of unrequited love.
• "O Fortuna" (from Carmina Burana): A dramatic and evocative song from the Goliard song collection Carmina Burana, celebrating the fickle nature of fortune.
• "Sumer Is Icumen In": An English rota (round) celebrating the arrival of summer, showcasing a simple but beautiful melody and harmonic structure.
• "Douce Dame Jolie": A virelai by Guillaume de Machaut, one of the most important composers of the 14th century, demonstrating the sophistication of late medieval secular music.

Conclusion: A Vibrant and Diverse Musical Landscape

The performers of secular music in the Middle Ages were a diverse group, ranging from wandering minstrels and aristocratic troubadours to town musicians and the common folk. Each group contributed to a rich and vibrant musical landscape that reflected the social, cultural, and artistic values of the era. Their music, filled with tales of love, chivalry, satire, and everyday life, provides a fascinating glimpse into the medieval world. By understanding who performed this music, we can gain a deeper appreciation for the richness and complexity of medieval culture. The legacy of these performers continues to resonate today, inspiring musicians and scholars alike to explore the enduring power of music.