Medieval Music At the beginning of the Middle Ages (Moyenage in France; Mittelalter in Germany; medioevo in Italy), the political and social structure of the Western world collapsed, life was difficult, and there was a period of depression. What followed was a long and slow recovery. However, the cultural and artistic achievements of this period cannot be ignored. Musical heritage is also important; although its ways of thinking and cognitive characteristics are far removed from those of today, contemporary music inherits a great deal from medieval music in other important respects. 1 The origin of the word Medieval and the era it includes. The adjective "Medieval" and its English noun, like its counterparts in other languages, are derived from Latin (such as mediumaevum, mediaaetas, mediatempestas), literature and art Renaissance humanist scholars considered the entire thousand years between the decline of ancient civilization and the "resurrection" of culture, literature, and art in the fifteenth century to be merely a dark episode of the unworthy "Goths." Although historians have long refuted this prejudice (but this view is partly preserved by the term "Dark Ages"), it is still customary to regard this long period as an independent historical stage. It is generally accepted that 476 (the fall of the Western Roman Empire) and 1453 (the fall of Constantinople to the Turks) are the upper and lower limits of this stage. However, there are also historical stages that are divided based on other historical events; therefore, the determination of the upper limit is very different, ranging from 250 years (barbarian peoples began to invade) or around 675 years (Mediterranean maritime trade came to a standstill due to the conquest of the Arabs, The rise of the Carolingian dynasty). The same is true for the determination of its lower limit, some as early as the beginning of the fourteenth century and the emergence of humanism in Italy, and as late as the widespread spread of Luther's religious reform movement in the 1620s, and this does not include Trevi Trevelyan's interesting point is that he actually believed that the Middle Ages continued until the end of the eighteenth century. When music historians refer to music "of" the Middle Ages or music "in" the Middle Ages in the titles of their works, they seem to follow widely accepted views and usually avoid giving precise definitions. However, the scope involved under these topics. We can go back to the beginning of the Christian era to speculate what musical elements the new religion may have inherited from the synagogue, what musical elements it may have reformed to suit new needs, or what musical elements it may have incorporated into its spread. Directly absorbed from the foreign environment. It should be noted that all of this is at best the prehistory (preparatory stage) of medieval music. It was not until the ninth century that music had an entity for discussion, and theoretical writings were no longer just copies of ancient music documents. The above two points are the result of the establishment of a highly unified liturgy in the Western Church in the eighth century, and this development process is closely related to historical trends: that is, the Holy See no longer relies on the distant Eastern Empire, but seeks the support of the Carolingian Dynasty. support. Therefore, it seems most appropriate to use the latest date proposed by general historians, that is, around 675 AD, as the upper limit of what can be called the "Latin Medieval Period" in the history of music. The term "Latin Middle Ages" was coined with Byzantium and its associated liturgy in mind, in order to be compared with the roughly parallel "Greek Middle Ages". If the boundary between the classical period and the Middle Ages is regarded as a blank, the problem in determining the lower limit is that the musical literature is very complicated, and the new elements are difficult to distinguish from the old elements. It would have been easier to set the lower limit at the beginning of the fourteenth century, that is, at the beginning of the "New Art" (ArsNova) (for example, Liman and Abbiati held this view), but even so, new things are still Too attached to medieval ideas. No particular event marked a symbolic watershed in music, yet music underwent gradual changes in both ideas and practices throughout almost the entire fifteenth century.