Wednesday, 16 May 2012

Introduction


A comparison between Guillaume de Machaut’s La Messe De Notre Dame, and Mutthuswamy Dikshitar’s Mahaganapathim – Naattai.



The medieval movement, or medieval music, originated from the west, and was written during the Middle Ages. This happened during the decline of the Roman Empire and ended in the early 15th century. There were both sacred and secular music in this period. Monophony was widely used, as seen in Gregorian chants, but was slowly developed into more polyphonic styles as seen in the late medieval movement known as the Ars Nova. The Ars Nova movement flourished in France in the 14th Century, and it encompassed developments in rhythm, meter, harmony, and counterpoint that transformed the art of composing music, as composers turned increasingly from religious to secular themes. (Wulff)


        Guillaume de Machaut was born in Champagne, France around the year 1300, and died in 1377. He held numerous high positions in Europe, such as the secretary of John of Luxembourg in 1323, as well as serving two kings of France during the wars and plagues in the 14th century. (McComb) Machaut was a well-known medieval poet and composer, whose musical works were part of the late medieval movement known as the Ars Nova. Polyphony was used. Machaut was one of the earliest known users of syncopated rhythm and isorhythm, and was at the forefront of rhythmic experimentation in both his religious and his secular music. (Wulff) Machaut was notorious for his most famous work, La Messe De Notre Dame, which was composed before 1365. This work broke boundaries, as it was written in a polyphonic structure instead of a typical monophonic way that most masses were written in. It is also one of the first few masses to be written wholly by a single composer, as most masses were usually assembled by different composers. Together with inventive rhythmic structural techinques, this mass is a “milestone in the evolution of the Mass as a musical form in its own right”. (Wulff)


Similarities

One may be adamant in looking for any differences between these two pieces, but there are a few similarities that both pieces have. Both Machaut’s La Messe De Notre Dame and Dikshitar’s Mahaganapathim – Naattai both have evident use of context/text, form, isorhythm and chromaticism and vocal styling.

a. Context / Text
            Machaut’s La Messe De Notre Dame is a mass, which is a sacred music piece that is primarily used in Eucharistic liturgy. A mass consists of six sections – Kyrie, Gloria, Credo, Sanctus, Benedictus (continuation of Sanctus) and Agnus Dei. Each section’s text basically speaks about the Lord and God almighty, and the Holy Trinity, and is filled with praises and thanksgiving in Latin.
           
Example: In the Gloria section of La Messe De Notre Dame:
“ Gloria in excelsis Deo et in terra pax hominibus bonae voluntatis. Laudamus te, benedicimus te, adoramus te, glorificamus te, gratias agimus tibi” 

Which means - Glory to God in the highest, and on earth peace to men of good will. We praise You, we bless You, we adore You, we glorify You, and we give thanks.



Similarly, Dikshitar’s Mahaganpathim – Nattai talks about Mahaganapathy, the son of the Lord Shiva. Likewise, it speaks of how wonderful Mahaganapathy is, and is full of praise.

Example:
“mahaa dEva sutam guruguha nutam, maara kOTi prakaasham shaantam, mahaa kaavya naaTakaadi priyam, mooshika vaahanaa mOdhaka priyam”


Which means - You are always adored by 'Guruguha', (Lord Skanda). You have a beauty and shine with the brilliance of a thousand cupids. You are the embodiment of peace and tranquility. You love great poetry and drama. You have as the vehicle, as a mount, a small mouse. (Vishy)

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 b. Form and Sections
            In La Messe De Notre Dame, Machaut uses a repeat in the first half of Kyrie such that it’s form becomes
 ||: A :|| ||: B :||, and each section repeats three times as annotated at the bottom of the score:


 

In Mahaganapathim – Naattai, each phrase can be repeated once or twice. The performer however, determines and chooses when to do this. Moreover, it is not written in the score. Usually, a phrase would be repeated at a maximum of two times before carrying on with the rest of the text.

The example below is an annotation of how this piece sounds like based on a performance (discography: Kamakotisankara):


Both pieces also have structured sections, with La Messe De Notre Dame having six sections: Kyrie, Gloria, Credo, Sanctus (and Benedictus), Agnus Dei, and an addition section – Ite missa est. Mahaganapathim – Naattai is a Krithi and has three sections: Pallavi, Anupallavi and Charanam.

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c. Rhythm
             The use of rhythm is largely seen in both works. Isorhythm refers to the use of recurrent patterns or taleae, often quite long and cunningly constructed, that do not rely on traditional modal ordines. The extension of the rhythmic texture – otherwise known as talea, of an initial section to the entire composition, despite the variation of corresponding melodic features – also known as colour. (Taruskin) An isorhythmic motet would thus be a form of motet that is based on a repeating rhythmic pattern found in one or more of the voices. Usually, the tenor part is the one with the repeating rhythmic structure (Cole, and Schwartz)

The idea of these patterned repetitions are seen in most of the tenor parts of Machaut’s La Messe De Notre Dame. Machaut was one of the first few composers that used isorhythm in his works.

Example: In Kyrie, the motif:
 
is repeated 7 times in the first section as seen in the score below:
 
The rhythmic motif stays the same even though the pitches change. 



The concept of repeated rhythmic patterns is also apparent in Indian music, so it is no surprise that it is seen in carnatic music too. In carnatic music, this is idea is referred to as tala. There is an evident similarity between the two words talea and tala, as they represent almost same thing. A tala is basically a rhythmic cycle that is repeated throughout the piece, and is played by a percussive instrument. However, this idea is not just seen in the tala, but also in the raga, the main melodic line. In Dikshitar’s Mahaganapathim – Naattai, this is seen in Charanam section:



Differences

Of course, because the two works come from different parts of the world, there are bound to be differences. In this case, there is a difference seen in both works, with regards to instrumentation, texture and harmony and the use of meter.

a. Instrumentation
            Albeit both pieces incorporate the use of voice as the main feature, Machaut wrote this piece for 4 part vocals, triplum (third voice of a medieval polyphonic piece counting upward from tenor), motetus (middle voice of a medieval polyphonic piece, one above tenor), tenor and countertenor. Dikshitar’s piece however, was written for vocals, which in addition, is accompanied by a tabla (playing the tala), sitar (playing the raga) and a tambura (drone instrument). These instruments however are just a general ensemble, and can be subjected to change. For example, a violin or a guitar can be used in the ensemble as well, and this has been done in modern times.


b. Texture and Harmony
            La Messe De Notre Dame evidently has polyphonic texture present. Polyphony is where two or more melodic lines are present, and this is evidently seen in Machaut’s work. Counterpoint is also used extensively in this piece, as well as syncopated rhythms, which add life and colour to the piece. With polyphony comes a pleasant harmony, giving the piece a nice contour and shape.

Example of polyphony (Kyrie):
 

Example of syncopation (Kyrie):



Mahaganapathim – Naattai however, is a monophonic piece, as it is a vocal piece with instrumental accompaniment. Despite this, the improvisation aspect helps in providing its own unique presentation of the piece, and it varies through different performances by different ensembles. (Discography: umagvs, isaipayanam)

Conclusion

Through this investigation, it can be concluded that both Guillaume de Machaut’s La Messe De Notre Dame, and Mutthuswamy Dikshitar’s Mahaganapathim – Naattai share multiple similar musical aspects, even though they are evidently from two complete different cultures. Initially, one may not notice the similarities at all when these pieces are played as both pieces seem to strongly oppose each other, but after a close comparison, analyzing the various musical aspects and linking them both together, these common musical traits somewhat are more noticeable and obvious in both works. For that reason, it is safe to say that despite music constantly undergoing change and transformation across time, space and culture, there are and will be certain fundamental features that will remain common throughout, making music a universal language.  

Bibliography


Breyer, Barbara (1972). "Composers and Tradition in Karnatik Music". Asian Music (University of Texas Press) 3 (2): 42–51. Web. 16 Jan 2012.

 Britannica. "Isorhythm." Encyclopædia Britannica. Encyclopædia Britannica, Web. 16 Jan 2012. <http://www.britannica.com/EBchecked/topic/296522/isorhythm> 

"Indian Music: Carnatic Music: The Trinity." About Indian Music. N.p., n.d. Web. 21 Jan 2012. <http://aboutindianmusic.blogspot.com/p/carnatic-music-trinity.html>. 

McComb, Todd M., ed. "Guillaume de Machaut." Machaut: Discography, Biography, Lyrics. N.p., 2011. Web. 15 Jan 2012. <http://www.medieval.org/emfaq/composers/machaut.html>.

Ravikiran, Chitravina N.. "Muthuswami Dikshitar - A Creative Genius." Sri Thiyagaraja Temple. N.p., 2006. Web. 21 Jan 2012. <http://www.srithiyagarajatemple.org>

Vishy, . "MahaGanapathim Manasa : Dikshithar Krithi Raaga : Nattai ." Krithis, Their Meanings and the Stories They Tell. N.p., 18 Dec 2010. Web. 16 May 2012. <http://krithis-theirmeanings-thestories.blogspot.com/2010/12/mahaganapathim-manasa-dikshithar-krithi.html>.

Wulff, John C.. "Guillaume de Machaut." Early Music and Style. N.p., 21 April 2000. Web. 15 Jan 2012. <http://www.nvcc.edu/home/jwulff/machaut/machaut.htm>.

Wulff, John C.. "Guillaume de Machaut." Early Music and Style. N.p., 21 April 2000. Web. 15 Jan 2012. < http://loudoun.nvcc.edu/home/jwulff/machaut/terms.htm#5>.

Discography


Flammesombres. “Machaut: Messe de Nostre Dame [w/score – part 1 of 4]”. Youtube. 23 July 2010. Web. 16 Jan 2012.
< http://www.youtube.com/watch?v=1Y1O-BcZQwY&feature=related>

Flammesombres. “Machaut: Messe de Nostre Dame [w/score – 4/4]”. Youtube. 24 July 2010. Web. 16 Jan 2012.
< http://www.youtube.com/watch?v=JcGQ4vgl0g8>

isaipayanam. “Mahaganapathim – Nattai – Charulatha Mani”. Youtube. 19 Nov 2009. Web. 25 Feb 2012. <http://www.youtube.com/watch?v=fn2vCE1alPQ&feature=plcp>

Kamakotisankara. “Maharajapuram Santhanam Mahaganapathim Raga Nattai Muthuswami Dikshitar”. Youtube. 24 March 2009. Web. 16 Jan 2012. <http://www.youtube.com/watch?v=Z0yAQZ8kxJI&feature=plcp>

umavs. “Maha Ganapathim – Uma Sankar”. Youtube. 21 April 2009. Web. 25 Feb 2012. <http://www.youtube.com/watch?v=hQYKQvES9js&feature=plcp>