The idea that melodies, or at least an approximation accurate to within a few cents, can be embedded into a harmonic context. Yet in western art music, it took centuries for this to go from technically achievable but unthinkable to experimental to routine.
Medieval sacred music was a special case in many ways. We have some records (albeit comparatively scant ones) of secular/folk music from pre-Renaissance times, and it was a lot more tonally structured (a more meaningful term than “harmonic”) than that.
I’d believe that; my knowledge of music history isn’t that great and seeing teleology where there isn’t any is an easy mistake.
I guess what I’m saying, speaking very vaguely, is that melodies existing within their own tonal contexts are as old as bone flutes, and their theory goes back at least as far as Pythagoras. And most folk music traditions cooked up their own favorite scale system, which you can just stay in and make music as long as you want to. For that matter, notes in these scale systems can be played as chords and a lot of the combinations make musical sense (often with nicer consonance than is possible with notes that have to respect even temperament).
What western art music and its audience co-evolved into (not necessarily uniquely among music traditions?) was a state where something like the first few bars of the Schubert String Quintetcan function. The first violin plays a note twice, with the harmonic context changing under it, driving the melody forward, driving the harmony forward, etc. I should probably have said a non-static harmonic context to be more clear.
The idea that melodies, or at least an approximation accurate to within a few cents, can be embedded into a harmonic context. Yet in western art music, it took centuries for this to go from technically achievable but unthinkable to experimental to routine.
Medieval sacred music was a special case in many ways. We have some records (albeit comparatively scant ones) of secular/folk music from pre-Renaissance times, and it was a lot more tonally structured (a more meaningful term than “harmonic”) than that.
I’d believe that; my knowledge of music history isn’t that great and seeing teleology where there isn’t any is an easy mistake.
I guess what I’m saying, speaking very vaguely, is that melodies existing within their own tonal contexts are as old as bone flutes, and their theory goes back at least as far as Pythagoras. And most folk music traditions cooked up their own favorite scale system, which you can just stay in and make music as long as you want to. For that matter, notes in these scale systems can be played as chords and a lot of the combinations make musical sense (often with nicer consonance than is possible with notes that have to respect even temperament).
What western art music and its audience co-evolved into (not necessarily uniquely among music traditions?) was a state where something like the first few bars of the Schubert String Quintet can function. The first violin plays a note twice, with the harmonic context changing under it, driving the melody forward, driving the harmony forward, etc. I should probably have said a non-static harmonic context to be more clear.