Most of the early music that we have today still in print is primarily sacred music. This music, for the most part, is in the form of sections of the Mass, such as the Gloria, Kyrie and Agnus Dei. Most people of the Middle Ages were poor peasants who worked all day for meager wages and had no idle time lounging the way the upper classes did.
Therefore, there are few extant secular compositions of music from this era. The rise of a new middle class, however, gave financial freedom for some people to spend time and money on entertainment in the form of music and dance. Thus, the rise of the middle classes also gave way to the rise in composition and performance of secular music, which became the music of choice for composers of that day.
Many of the songs we have today of the Middle Ages were in Latin, and are by anonymous composers.
Many were written by wandering people, many of them men and churchmen without permanent residences of their own. Men who could not obtain a position in the Church and had to drop out were called goliards. These goliards wandered around the land, composing and performing for people. Their music was mostly comprised of the “eat, drink, and be merry type, appropriate to the wanton kind of life the goliards lived” (Stolba, 99).
Carl Orff, the composer of the Carmina Burana, used the poems found in the largest surviving records of Latin secular music that we have today. The Codex latinus 4660 was held in the Benedictine monastery at Benediktbeurn. Many of the songs speak of love, many of them lascivious. Others speak of drinking, satires of the religious life and even liturgical plays.
A few of them are even written in the vernacular of the region in that time (Stolba, 99).
Following the history of the era in literature, many authors were fascinated by the courtly tradition, chivalry and a higher love. Therefore, we have today musical compositions that speak of many of the same ideas. French composers wrote songs in the vernacular called chansons de geste .
These songs spoke of the heroic acts performed by knights for their ladies in the name of love. The French have a national epic called the Chanson de Roland which related the life and death of Charlemagnes nephew and his endeavor to rid France of the Basques. Many of these chansons were performed by other wondering entertainers called jongleurs and mnestrals , or minstrels. On one hand society named them outcasts, not worthy to live a productive life in service of the community, yet on the other hand, they were accepted as the perfomers of the day.
They did not compose the music, but were one of the main reasons why we still have records of the secular music. By keeping the oral tradition, they kept secular music alive in the hearts and minds of the people (Stolba, 100).
In France there were also other wondering musicians and entertainers known as troubadours and trouvres. Many of these musicians were of the upper aristocratic classes (Annenburg).
These musicians, unlike most of the minstrels, often composed their own music and performed it as well, writing and singing in the vernacular which became the modern day French language. The troubadours and trouvres also wrote their own poetry, which later became used in written and oral songs (Daum). Although many of the French songbooks contain some compositions, there are more records of the poetry. Most of the songs in the book are in one of three musical forms: ballades, rondeaus and virelais.
Many of these songs were strophic and had refrains or choruses, (Stolba, 102).
The musical instruments in use by the performers consisted mainly of stringed and woodwind instruments, augmented by the use of the early trumpet and several types of drums and cymbals.
Medieval art is perhaps the best example of illustrating the uses and types of instruments. The cittern and citole consisted of four or five metal strings and were the primary stringed instruments.
They are described as “an instrument fit for rustics, such as cobblers and tailors” (Annenburg). The recorder and shawm were