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)

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c. Meter

            In La Messe De Notre Dame, there is an evident use of meter change, especially seen in the Gloria and Credo sections of the mass.

Example: In Gloria, the meter changes from 4/2 to 3/2 to 4/2 to 2/2 to 3/2. This gives the piece a sense of direction and there is syncopation heard as well.

However, in Mahaganapathim – Naattai does not have any meter change present, it is written in 4/4 time. Nonetheless, there is the use of complex rhythmic patterns as well as push rhythms that stress on different beats, hiding the downbeat of the bar and somewhat creating tension in each phrase.


Example:

Sections start in 4/4 time:

 

Complex rhythmic patterns:

 

Push Rhythms: