Module Seven: Tuning into the Past

Imagine Ancient Greece, a place where, in addition to contemplating life's enigmas, they were jamming to the beats of none other than Pythagoras. Yes, the same Pythagoras renowned for his work on triangles. He wasn't just a mathematician; he had a flair for dropping sick tracks. While Socrates was grappling with unanswerable queries, Aristoxenus was establishing musical principles.

Then along came Rome, crashing the party and putting their spin on all things Greek, spreading musical gossip like senators at a banquet. It was like a remix of the classics for a new era.

Now, let's shift our focus to the Early Christian Era, a time when chants and hymns reigned supreme, with the Psalms taking the spotlight. But it was Constantine's seal of approval that propelled Christian music into the mainstream, marking a divine rebranding.

But wait, there's more. Medieval times brought polyphony and musical notation into the mix. Hildegard von Bingen dropped beats while Guido of Arezzo played DJ, teaching music literacy to all. It's a musical revolution in monk robes.

And how could we overlook the troubadours and trouvères, serenading damsels and engaging in medieval rap battles? Meanwhile, organum and motets were the avant-garde jazz of the Middle Ages, making even the most devout monks tap their feet in appreciation.

Why should we care about this ancient musical gossip in the age of Spotify? It's like stumbling upon an ancestral throwback on your Instagram feed. It reminds us that today's tunes have deep roots, like a musical family tree.

Moreover, it's crucial to recognize the profound lesson in cultural exchange that music teaches us. Civilizations didn't just trade spices and silk; they shared musical ideas like mixtapes at a swap meet, illustrating our deep-rooted connections. Whether we're jamming in Athens or chilling in Constantinople, music unites us all, fostering a sense of empathy and connection.

But let's not get too cozy with our cultural pat on the back. Eurocentrism, I'm looking at you. Focusing solely on Western music is like hitting the buffet and only grabbing breadsticks. There's a whole world of musical flavors out there.

And beware of misinterpretation. History isn't a solo; it's a remix with multiple tracks. If we're not careful, we might be the wrong beats or be stuck on repeat.

So, in short, the pre-1500 CE history of Western civilization and music is an epic mixtape of highs, lows, and everything in between. Crank up the volume, stay open-minded, and remember, the story of music is an ongoing jam session.

THE RUNDOWN

• Ancient Greeks like Pythagoras explored math in music, while Rome spread Greek musical ideas around the Mediterranean.
  
• Early Christians sang hymns and chants, and after the fall of Rome, monks kept music alive in monasteries.
  
• During medieval times, musicians invented new types of music like polyphony and notation systems.
  
• Learning about this history helps us understand where modern music and culture come from.
  
• It also shows how different cultures influenced each other through trade and religion.
  
• But we need to be careful not to ignore or misrepresent the contributions of all peoples.

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​QUESTIONS

• Can you think of examples of how different cultures have influenced each other through music, trade, or religion?
  
• Why is it important to recognize the contributions of all cultures in the history of music?
  
• How can we avoid ignoring or misrepresenting the musical contributions of different peoples?

#7 Historiography is Important and is Never Stagnant

In the intricate tapestry of human chronicles, historiography emerges as the voyeuristic aperture through which we peer into antiquity, albeit clouded by the biases and distortions inherent in subjective interpretation. It resembles deciphering hieroglyphs through the haze of intoxication; while the essence may be discerned, the finer details remain obscured.

Imagine this: Herodotus, the original chronicler, striding through ancient Greece with an air of ownership, weaving narratives of deities, monsters, and drama rivaling the climax of "Keeping Up with the Spartans." Skip ahead a few millennia, and Howard Zinn detonates truth bombs like confetti at a rebellion-themed soirée, unsettling historical narratives akin to a bartender vigorously shaking a cocktail.

Yet, let's delve into revisionism, shall we? It's akin to hitting the "undo" button on history's greatest hits compilation. Consider Native American history: once relegated to footnotes by those viewing Columbus as merely a geographically befuddled Italian, it now basks in the limelight. Thanks to movements like the American Indian Movement and voices like Vine Deloria Jr., a fresh perspective emerges that refuses to gloss over centuries of oppression akin to a poor Tinder profile.

Historiography is not merely about stirring the pot but infusing zest into an otherwise bland concoction. Think of it as a culinary experiment gone deliciously awry, with historians tossing in new ingredients akin to contestants on "Chopped: Ancient Civilizations Edition." Case in point: the Dead Sea Scrolls. Forget Indiana Jones; these artifacts are true treasures, offering a tantalizing glimpse into the lives of ancient Essenes and igniting debates fiercer than a chili-eating contest.

However, let's not deceive ourselves; historiography harbors biases like street vendors peddling counterfeit wares. Recall the Cold War-era scholars who perceived communists lurking behind every corner. It turns out that impartiality wasn't their forte. And the Nazi propaganda machine? It churned out historical narratives akin to Goebbels-approved bedtime tales.

In today's era of misinformation and alternative truths, historiography assumes unprecedented significance. It is the antidote to historical forgetfulness, the shield against cognitive lethargy. By acknowledging our biases and scrutinizing the narratives we ingest, we inch closer to an honest comprehension of the past—one that confronts human existence's messy, intricate reality. So here's to historiography, the unsung hero of the annals. Without it, we'd flounder in a sea of half-truths and falsehoods, destined to replay the errors of yesteryears like a broken record. Here's to reshaping history, one revision at a time.


RUNDOWN

• Historiography, the study of history, helps us understand past mysteries.
• Like history, historiography changes over time, shaping how we see the past.
• Ancient and modern historians offer different perspectives on historical events.
• The internet changed how we research history, making information easier to find.
• "Revisionist" approaches challenge biased views, like rethinking Native American history.
• Historians uncover hidden treasures, like the enlightening Dead Sea Scrolls.

​STATE OF THE WORLD

World Map, 800 BCE

800 BCE stands out as a defining act, a period of flourishing civilizations, each with unique quirks and existential crises. The Neo-Assyrian Empire, a conquering giant, and Babylon, a seeker of cultural prestige, both made significant contributions to the world stage. Egypt's Third Intermediate Period, a political soap opera, and the Indus Valley, transitioning into the Vedic period with cultural blending, marked important shifts in political and cultural landscapes. The Zhou Dynasty in China, a feudal wonderland with philosophical depth, and Greece, emerging from its Dark Ages with renewed vigor, were pivotal in the development of philosophical and political thought. Pre-Roman Italy's Villanovan culture, crafted with DIY flair, the Olmecs in Mesoamerica, combining sport and ritual, and West Africa's Nok culture, creating sophisticated terracotta art, all left lasting cultural legacies. The Iron Revolution connected civilizations through trade and conflict and was a technological marvel. 

HIGHLIGHTS

We've got some fine classroom lectures coming your way, all courtesy of the RPTM podcast. These lectures will take you on a wild ride through history, exploring everything from ancient civilizations and epic battles to scientific breakthroughs and artistic revolutions. The podcast will guide you through each lecture with its no-nonsense, straight-talking style, using various sources to give you the lowdown on each topic. You won't find any fancy-pants jargon or convoluted theories here, just plain and straightforward explanations anyone can understand. So sit back and prepare to soak up some knowledge. 

LECTURES

• UNDER CONSTRUCTION!

Module 7 Lecture Notes

The Reading section—a realm where our aspirations of enlightenment often clash with the harsh realities of procrastination and the desperate reliance on Google. We soldier on through dense texts, promised 'broadening perspectives' but often wrestling with existential dread and academic pressure. With a healthy dose of sarcasm and a strong cup of coffee, I'll be your guide on this wild journey from dusty tomes to the murky depths of postmodernism. In the midst of all the pretentious prose, there's a glimmer of insight: we're all in this together, united in our struggle to survive without losing our sanity. 

READING

• Chapter 7. The Struggle to Bring Order: The Early Middle Ages, ca. 750-1000

​
​This class utilizes the following textbook:
Sherman, Dennis, and Joyce Salisbury. The West in the World. 5th ed. McGraw Hill, 2013.
​
In the whirlwind of academia, where tweed jackets and discussions about the best coffee spot reign, Joyce Salisbury and Dennis Sherman stand out as the rebels of historical scholarship. Armed with Salisbury's Ph.D. in medieval history from Rutgers University and Sherman's academic journey from UC Berkeley to the University of Michigan, they challenge the conventional norms with their scholarly prowess and irreverent wit. Salisbury fearlessly delves into ancient violence with works like "The Blood of Martyrs" and uncovers forgotten tales of resilience in "The Encyclopedia of Women in the Ancient World." Meanwhile, Sherman, akin to an academic Indiana Jones, roams the globe contemplating French history in Parisian cafes and making history accessible with titles like "A Short History of Western Civilization." Together, they disrupt the ivory tower with their unapologetic approach and thirst for asking the tough questions.

As a dynamic duo, Salisbury and Sherman defy the stereotype of the stuffy historian. Their partnership merges Salisbury's pen, mightier than Excalibur itself, with Sherman's knack for weaving accessible narratives. They're not just scholars but cultural provocateurs challenging the status quo. So, here's to raising a glass (or a quill) to these academic renegades, who breathe life into the dusty corridors of historical scholarship with their relentless curiosity and scholarly swagger.

RUNDOWN

• In the 8th century, Germanic tribes established kingdoms in the West after the fall of the Roman Empire and converted to Christianity.
  
• Monasteries played a key role in blending Germanic, Roman, and Christian cultures, creating societies governed by laws.
  
• Charlemagne's coronation as emperor symbolized hopes for a unified empire, inheriting classical knowledge from preserved libraries.
  
• Ninth and tenth-century invasions by Scandinavians, Muslims, and Magyars led to violence and local authority rule.
  
• However, the Northmen's conversion to Christianity paved the way for a new European order, building upon existing structures.
  
• Rulers focused on restoring decentralized systems like the manorial and feudal systems for agricultural production and political organization.
  
• By the late eleventh century, kings, emperors, and popes led western Europe to a high point in medieval culture.

​​Howard Zinn was a historian, writer, and political activist known for his critical analysis of American history. He is particularly well-known for his counter-narrative to traditional American history accounts and highlights marginalized groups' experiences and perspectives. Zinn's work is often associated with social history and is known for his Marxist and socialist views. Larry Schweikart is also a historian, but his work and perspective are often considered more conservative. Schweikart's work is often associated with military history, and he is known for his support of free-market economics and limited government. Overall, Zinn and Schweikart have different perspectives on various historical issues and events and may interpret historical events and phenomena differently. Occasionally, we will also look at Thaddeus Russell, a historian, author, and academic. Russell has written extensively on the history of social and cultural change, and his work focuses on how marginalized and oppressed groups have challenged and transformed mainstream culture. Russell is known for his unconventional and controversial ideas, and his work has been praised for its originality and provocative nature. 

My classes utilize both Howard Zinn's A People's History of the United States and Larry Schweikart's Patriot's History of the United States, mostly in excerpts posted to the modules. 

Zinn, A People's History of the United States
"...The most important thing about dress in the cultural change of the (1960s) was the greater informality. For women it was a continuation of the historic feminist movement's insistence on discarding of 'feminine,' hampering clothes. Many women stopped wearing bras. The restrictive 'girdle'-almost a uniform of the forties and fifties-became rare. Young men and women dressed more nearly alike, in jeans, in discarded army uniforms. Men stopped wearing neckties, women of all ages wore pants more often-unspoken homage to Amelia Bloomer.

There was a new popular music of protest. Pete Seeger had been singing protest songs since the forties, but now he came into his own, his audiences much larger. Bob Dylan and Joan Baez, singing not only protest songs, but songs reflecting the new abandon, the new culture,
became popular idols. A middle-aged woman on the West Coast, Malvina Reynolds, wrote and sang songs that fit her socialist thinking and her libertarian spirit, as well as her critique of the modern commercial culture. Everybody now, she sang, lived in 'little boxes' and they 'all came out just the same.'

Bob Dylan was a phenomenon unto himself: powerful songs of protest, persona] songs of freedom and self-expression. In an angry song, 'Masters of War,' he hopes that one day they will the and he will follow their casket "in the pale afternoon.' 'A Hard Rain's A-Gonna Fall' recounts the terrible stories of the last decades, of starvation and war, and tears, and dead ponies, and poisoned waters, and damp, dirty prisons-'It's a hard rain's a-gonna fall.' Dylan sang a bitter antiwar song, 'With God on Our Side,' and one about the killer of the black activist Medgar Evers, 'Only a Pawn in Their Game.' He offered a challenge to the old, hope to the new, for 'The Times They Are A-Changin'..." ​​

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Larry Schweikart, A Patriot's History of the United States
...Colonial art, architecture, drama, and music also reflected American practicality and democracy spawned in a frontier environment. Artists found their only market for paintings in portraiture and, later, patriot art. Talented painters like John Singleton Copley and Benjamin West made their living painting the likenesses of colonial merchants, planters, and their families; eventually both sailed for Europe to pursue purer artistic endeavors. American architecture never soared to magnificence, though a few public buildings, colleges, churches, and private homes reflected an aesthetic influenced by classical motifs and Georgian styles. Drama, too, struggled. Puritan Massachusetts prohibited theater shows (the “Devil’s Workshop”), whereas thespians in Philadelphia, Williamsburg, and Charleston performed amateurish productions of Shakespeare and contemporary English dramas. Not until Royall Tyler tapped the patriot theme (and the comic potential of the Yankee archetype) in his 1789 production of The Contrast would American playwrights finally discover their niche, somewhere between high and low art.
In eighteenth century Charleston, Boston, and Philadelphia, the upper classes could occasionally hear Bach and Mozart performed by professional orchestras. Most musical endeavor, however, was applied to religion, where church hymns were sung a cappella and, occasionally, to the accompaniment of a church organ. Americans customized and syncopated hymns, greatly aggravating pious English churchmen. Reflecting the most predominant musical influence in colonial America, the folk idiom of Anglo, Celtic, and African emigrants, American music already had coalesced into a base upon which new genres of church and secular music—gospel, field songs, and white folk ballads—would ultimately emerge..."​

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Thaddeus Russell, A Renegade History of the United States​
."... After World War II, Soviet soldiers brought the virus home from the western front. It soon infected large portions of the Soviet population, then spread to other Eastern Bloc countries. Within a few years, the Communist Party leadership feared it would destroy the socialist fatherland from within. But it was not a biological disease that threatened Communism. Soviet Premier Joseph Stalin and his commissars called it an “amoral infection” in the minds of Soviet youth. It was 'American primitivism,' 'capitalist cultural imperialism,' and 'bourgeois cosmopolitanism.' But it was really American renegade culture.

In 1946, soon after Stalin’s chief aide Andrei Zhdanov warned that jazz would 'poison the consciousness of the masses,' the Central Committee of the Communist Party ordered all state orchestras to stop playing the music. Also banned were saxophones, wah-wah trumpet mutes, the plucking of bass strings, the deliberate lowering of tones to create 'blue notes,' and the playing of drums with too much rhythm. Brigades of music patrols monitored theaters and dance halls to ensure that nothing jazzy was being played. Couples caught dancing anything other than the waltz, the polka, or Russian folk dances were subject to arrest. Members of jazz bands were rounded up and sent to Siberian prisons or exiled to remote cities, where they were supposed to undergo 'rehabilitation.'

Soviet authorities were right to fear jazz, but they could not stop it. Bootleg recordings were sold by the millions on the black market. Stiliagi, or 'style hunters,' appeared on the streets of all the major cities in the Soviet bloc, wearing zoot suits and ducktails if they were male or tight dresses—'stretched tightly over their figures to the point of indecency,' according to one state-run Soviet newspaper—and bouffant hairdos if they were female. They refused to work and loved to drink, 'hang out,' read American comic books, and listen to African American music. With little access to American-made products, the stiliagi were forced to re-create them on their own. To make flashy, multicolored ties, they literally painted over their drab, state-issued ties, or affixed to them American cigarette packages. Because there were no hairstylists behind the Iron Curtain who could or would give them the look of their American idols, the style hunters used heated metal rods on one another’s hair. So, many sported not only fashionable ducktails but also burns on their necks. Instead of American chewing gum, many chewed paraffin wax. They smuggled as many of the real sounds of renegade America as they could but were forced to copy them in an ingenious way. A jazz-loving Soviet medical student discovered that he could inscribe sound grooves on the surface of X-ray plates, and invented a machine that allowed him to produce low-quality but sufficient copies of music recordings. From there, the stiliagi used the technique to take over the black market in American music. Swing and boogie-woogie were early favorites, then bebop and rhythm and blues.

Every nation of the Eastern Bloc had its own stiliagi. In Poland, they were the bikiniarze. In Hungary, they were the jampec. And in Czechoslovakia, pásek overran the streets. When the police in these countries didn’t arrest the renegades, they gave them impromptu street haircuts or slashed their clothes..."​

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The wild ride through the wacky world of Western civilization before the 1500s. Imagine ancient Greeks jamming out to tunes, not just for fun, but also as a divine experience and a crash course in education. The Pythagoreans, not satisfied with geometry, decided to delve into the math behind melodies. And let's not forget Plato and Aristotle, waxing philosophical about the emotional rollercoaster of music. It's like they were the original music critics, but with togas and sandals.
Then came the Middle Ages, a time when sacred melodies ruled the roost like an overly controlling choir director, with Gregorian chants echoing through every corner of Europe. It was a musical landscape so pervasive, you could practically hear it in your sleep. Composers like Hildegard von Bingen and Guillaume de Machaut were setting the stage for what would later be a Renaissance rave, their music seeping into the very fabric of society.
Ah, the Renaissance, where art and culture flourished like mold in a damp cellar. Josquin des Prez and Giovanni Pierluigi da Palestrina dropped polyphonic beats like nobody's business. Thanks to the printing press, musical manuscripts were selling like hotcakes.
Then, along came Martin Luther, not with a hammer but with a baton, championing sing-alongs in the common tongue. Johann Sebastian Bach took musical techniques and spun them like a DJ at a party, leaving a legacy that still makes classical fans swoon.
Skip ahead to the swinging 60s, where societal rules were as flexible as a hippie's peace sign. Women ditching their bras faster than you could say "revolution," while rebels like Bob Dylan strummed guitars and sang anthems of defiance.
Colonial America was about as lively as watching paint dry on a Puritan's hat. Artists like John Singleton Copley and Benjamin West churned out portraits like it was their day job, while music was a mix of Anglo, Celtic, and African influences, setting the scene for future jams.
And who could forget the Cold War? The Soviets sweating over jazz like it was a forbidden fruit, while rebellious youth rocked American style and music as a big "no" to communism. Bootleg records and DIY fashion became symbols of sticking it to the system.
So why dive into this whirlwind of yesteryear? Well, it's like unraveling a knotted mess of cultural, social, and political absurdities. Understanding where we've been is not just a history lesson, it's a compass that helps us navigate the chaos of today. It's like having a secret decoder ring for the world.
But let's not sugarcoat it. Studying history is like wrestling with a tangled mess of Christmas lights—frustrating and likely to leave you in knots. Historical tales are often as biased as a politician's speech, frequently sidelining the voices of the oppressed.
In conclusion, buckle up and grab some popcorn because the pre-1500s history of Western civilization and music is one wild ride through the absurdities of human life. It's a mix of triumphs and tragedies, rebellion and repression, and a testament to the lasting influence of music and culture on our world.
THE RUNDOWN

• Learning about Western civilization and music before 1500 CE shows how societies and music changed long ago in Greece, the Middle Ages, and the Renaissance.
  
• In the 1960s, people started dressing more casually and singing protest songs because they wanted society to change, especially concerning women's rights.
  
• Back when America was first being settled, artists mostly made practical art about religion and basic life, not fancy stuff.
  
• After World War II, some countries were scared of American music like jazz and tried to ban it, but young people still wanted to listen, which caused some trouble.
  
• Studying this history helps us understand where our culture comes from and can teach us how to deal with problems today.
  
• But we also need to be careful because history can be told in different ways, and it's not always easy to figure out what really happened.

QUESTIONS​

• How have artists throughout history used their art to comment on or challenge societal norms and issues? Can you think of any examples from the topics we've discussed?
• What are some potential challenges in applying lessons from historical events to modern-day problems? How can we overcome these challenges to ensure that history informs our decisions and actions responsibly?
• How can studying the history of music and art provide insights into the cultural, social, and political contexts of different time periods?

Peasants sharing a simple meal of bread and drink; Livre du roi Modus et de la reine Ratio, 14th century

Prepare to be transported into the captivating realm of historical films and videos. Brace yourselves for a mind-bending odyssey through time as we embark on a cinematic expedition. Within these flickering frames, the past morphs into a vivid tapestry of triumphs, tragedies, and transformative moments that have shaped the very fabric of our existence. We shall immerse ourselves in a whirlwind of visual narratives, dissecting the nuances of artistic interpretations, examining the storytelling techniques, and voraciously devouring historical accuracy with the ferocity of a time-traveling historian. So strap in, hold tight, and prepare to have your perception of history forever shattered by the mesmerizing lens of the camera.

​WATCH

• Rediscovering Ancient Greek Music: A performance reconstructs the past (2019) - 15 min.

THE RUNDOWN
In the ancient halls of Oxford, where whispers of the past linger, and the scent of old books fills the air, a Classics Associate Professor embarks on a five-year quest with fellow scholars, armed not with shovels but with replicas of ancient Greek instruments, to resurrect the lost melodies of antiquity. Picture tweed-clad academics huddled in dimly lit chambers, decoding cryptic notations while the ghosts of Socrates and Plato linger nearby. Their absurd yet ambitious mission culminates in a concert extravaganza that promises to do more than just entertain. It promises to transport audiences back to a time of togas and philosophical party tricks, offering a unique journey through the auditory landscapes of yesteryear. With a twinkle in their eye, the Professor boldly declares that ancient music isn't lost, just waiting to be rediscovered. Through the magic of improvisation and ancient techniques like circular breathing, they breathe life into long-forgotten melodies, reconstructing pieces from ancient manuscripts like musical archaeologists piecing together pottery shards. From hymns to Apollo to choruses from Euripides' "Orestes," the concert celebrates the eternal quest for knowledge and the brave souls daring to dance on the precipice of history.

​Welcome to the mind-bending Key Terms extravaganza of our history class learning module. Brace yourselves; we will unravel the cryptic codes, secret handshakes, and linguistic labyrinths that make up the twisted tapestry of historical knowledge. These key terms are the Rosetta Stones of our academic journey, the skeleton keys to unlocking the enigmatic doors of comprehension. They're like historical Swiss Army knives, equipped with blades of definition and corkscrews of contextual examples, ready to pierce through the fog of confusion and liberate your intellectual curiosity. By harnessing the power of these mighty key terms, you'll possess the superhuman ability to traverse the treacherous terrains of primary sources, surf the tumultuous waves of academic texts, and engage in epic battles of historical debate. The past awaits, and the key terms are keys to unlocking its dazzling secrets. 
​
KEY TERMS​

• 800 BCE - Homeric Hymns
• 600 BCE - Pythagoras’ Music Theory
• 520 BCE - Theatre of Dionysus
• 200 BCE - Roman Music Influenced by Greek Traditions 
• 50 BCE - Hydraulic Organ
• 400 CE - Ambrosian Chant 
• 450 CE - Boethius 
• 800 CE - Gregorian Chant
• 850 CE - Polyphony 
• 1025 CE - Guido of Arezzo
• 1050 CE - Winchester Troper
• 1100 CE - The Troubadour 
• 1170 CE - Magnus Liber Organi
• 1230 CE - Carmina Burana
• 1280 CE - Ars cantus mensurabilis
• 1320 CE - Ars Nova
• 1370 CE - Messe de Nostre Dame
• 1400 CE - Renaissance Music 
• 1490 CE - Josquin des Prez​

​DISCLAIMER: Welcome scholars to the wild and wacky world of history class. This isn't your granddaddy's boring ol' lecture, baby. We will take a trip through time, which will be one wild ride. I know some of you are in a brick-and-mortar setting, while others are in the vast digital wasteland. But fear not; we're all in this together. Online students might miss out on some in-person interaction, but you can still join in on the fun. This little shindig aims to get you all engaged with the course material and understand how past societies have shaped the world we know today. We'll talk about revolutions, wars, and other crazy stuff. So get ready, kids, because it's going to be one heck of a trip. And for all, you online students out there, don't be shy. Please share your thoughts and ideas with the rest of us. The Professor will do his best to give everyone an equal opportunity to learn, so don't hold back. So, let's do this thing!

Activity #1: UNDER CONSTRUCTION
Objective: 

Activity #2: UNDER CONSTRUCTION

​Ladies and gentlemen, gather 'round for the pièce de résistance of this classroom module - the summary section. As we embark on this tantalizing journey, we'll savor the exquisite flavors of knowledge, highlighting the fundamental ingredients and spices that have seasoned our minds throughout these captivating lessons. Prepare to indulge in a savory recap that will leave your intellectual taste buds tingling, serving as a passport to further enlightenment.​

The saga of Western civilization and music pre-1500 CE is an exhilarating adventure, more winding than a labyrinthine path at a thrilling amusement park. Get ready for a journey that will take you deep into the origins of contemporary tunes, where Pythagoras isn't just crunching numbers but also spinning cosmic jams like a true OG DJ.

Picture ancient Greece, a realm where the likes of Pythagoras and Plato were not just philosophers, but also pioneers of the celestial symphony. These intellectual giants were not content with Spotify; they were busy deciphering the mathematical rhythms of the cosmos, laying the foundation for Western music theory. Socrates, even while sipping on his hemlock, had a playlist that would make any modern DJ envious.

Then, enter Alexander the Great, a conqueror who spread Greek culture like wildfire, making it the trendiest thing since gossip in a school cafeteria. The Romans, always quick to adopt the latest cultural trends, took these Greek melodies and made them their own, transforming amphitheaters into the ancient equivalent of Coachella stages.

But wait, because Christianity crashed the party like the Kool-Aid man through a cathedral wall. Suddenly, hymns and chants were all the rage, blending Jewish and Greco-Roman flavors into a musical stew that would make your grandma's cooking book envious. Monks in monasteries became the DJs of the Dark Ages, remixing ancient tunes like they were dropping the hottest mixtape of medieval times.

Fast-forward to the Middle Ages, and polyphony and musical notation strut onto the scene. I am no longer satisfied with a single melody; now, multiple lines harmonize like a family dinner debate. With notation systems finally giving composers a way to jot down their musical genius, it was like the Gutenberg press for music—suddenly, everyone's tunes were spreading faster than you can say "Gregorian chant."

But why should we care about this ancient musical saga in the age of Spotify and TikTok? It's not just about knowing the backstory of your favorite superhero – it's about gaining a profound understanding of the cape's origins. Discovering where our musical roots lie grants us a newfound respect for the diverse mix of genres we enjoy today.

Let's not overlook the bigger picture—studying this musical odyssey is like taking a whirlwind tour through human history. It's not just about the melodies; it's about the trade, conquest, and cultural fusion that shaped our world. Music isn't just about making you move; it's about narrating the tale of humanity itself.

But before you get swept away in all this, keep your critical thinking cap handy. The victors don't always tell history – sometimes, it's penned by the guy with the fanciest quill. So, let's delve deep, question everything, and perhaps, just perhaps, we'll unveil the true story behind the beats.

In summary, the history of Western civilization and music before 1500 CE is like a symphony of human folly, a journey through time that's as loud as it is enlightening. So, crank up the tunes, sharpen your wits, and groove through the annals of history like a big, raucous party.

or, in other words:

• Ancient Greeks like Pythagoras explored math in music, while Rome shared Greek musical ideas.
  
• Early Christians sang hymns, later preserved by monks in monasteries after Rome fell.
  
• Medieval musicians invented new music styles and notation systems.
  
• Historiography helps us understand how history is interpreted over time.
  
• The internet changed how we study history, making information easier to find.
  
• Learning about the past can teach us about today's problems, but we need to be careful about biased narratives.

​ASSIGNMENTS

• Forum Discussion #8​
• Final Thesis Due​

Click Here to Get the Rundown on the Final Thesis

Remember all assignments, tests and quizzes must be submitted official via BLACKBOARD
​
Forum Discussion #08

CMUSE features music videos, articles, and reviews spanning classical, jazz, rock, and pop genres, plus a mix of music fun, tech insights, inspiring stories, lists, and quizzes. Watch the following:

Please answer the following question:
​​​
How did the development of polyphony during the Medieval period influence the music composed during the Renaissance period? Consider how the changes in musical texture and the role of different types of music (sacred vs. secular) might have affected composers' approaches to creating music.
​
Need help? Remember the Discussion Board Rubric.

THE RUNDOWN
Renaissance music diverged from its predecessor with the introduction of modality and the rise of secular music. Imagine the solitary echoes of monophonic chants in cold stone halls, a stark contrast to the bustling energy of a Monday morning commute. The Medieval period, dominated by simplicity and Gregorian chants, gave way to the Renaissance's complex harmonies and secular delights, like the Madrigal. Technological advancements, such as the development of refined instruments like the violin, played a crucial role in this transformation, adding layers of complexity and turning music into a rich tapestry of sound. Despite this evolution, Renaissance music paid homage to its sacred roots while embracing new expressions of human creativity and intellectual fervor. Both periods, pivotal in the history of music, laid the foundation for the continuous evolution of sound, like the turbulent teenage years of experimentation and innovation, their echoes still whispering in the symphony of modern life.

Hey, welcome to the work cited section! Here's where you'll find all the heavy hitters that inspired the content you've just consumed. Some might think citations are as dull as unbuttered toast, but nothing gets my intellectual juices flowing like a good reference list. Don't get me wrong, just because we've cited a source; doesn't mean we're always going to see eye-to-eye. But that's the beauty of it - it's up to you to chew on the material and come to conclusions. Listen, we've gone to great lengths to ensure these citations are accurate, but let's face it, we're all human. So, give us a holler if you notice any mistakes or suggest more sources. We're always looking to up our game. Ultimately, it's all about pursuing knowledge and truth. ​​​

Work Cited:

• ​UNDER CONSTRUCTION​​

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Module 6

HST 101

Module 8