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The modern state of Italy did not come into being until 1861, though the roots of music on the Italian Peninsula can be traced back to the music of Ancient Rome. However, the underpinnings of much modern Italian music come from the Middle Ages. == Before 1500 == Italy was the site of several key musical developments in the development of the Christian liturgies in the West. Around 230, well before Christianity was legalized, the ''Apostolic Tradition'' of Hippolytus attested the singing of Psalms with refrains of Alleluia in Rome. In 386, in imitation of Eastern models, St. Ambrose wrote hymns, some of whose texts still survive, and introduced antiphonal psalmody to the West. Around 425, Pope Celestine I contributed to the development of the Roman Rite by introducing the responsorial singing of a Gradual, and Cassian, Bishop of Brescia, contributed to the development of the monastic Office by adapting Egyptian monastic psalmody to Western usage. Later, around 530, St. Benedict would arrange the weekly order of monastic psalmody in his ''Rule''. Later, in the 6th century, Venantius Fortunatus created some of Christianity's most enduring hymns, including "''Vexilla regis prodeunt''," which would later become the most popular hymn of the Crusades.〔McKinnon, pp. 318-320〕 The earliest extant music in the West is ''plainsong'',〔Ulrich and Pisk, p. 27.〕 a kind of monophonic, unaccompanied, early Christian singing performed by Roman Catholic monks, which was largely developed roughly between the 7th and 12th centuries. Although Gregorian chant has its roots in Roman chant and is popularly associated with Rome, it is not indigenous to Italy, nor was it the earliest nor the only Western plainchant tradition. Ireland, Spain, and France each developed a local plainchant tradition, but only in Italy did several chant traditions thrive simultaneously: Ambrosian chant in Milan, Old Roman chant in Rome, and Beneventan chant in Benevento and Montecassino. Gregorian chant, which supplanted the indigenous Old Roman and Beneventan traditions, derived from a synthesis of Roman and Gallican chant in Carolingian France. Gregorian chant later came to be strongly identified with Rome, especially as musical elements from the north were added to the Roman Rite, such as the Credo in 1014. This was part of a general trend wherein the manuscript tradition in Italy weakened and Rome began to follow northern plainchant traditions. Gregorian chant supplanted all the other Western plainchant traditions, Italian and non-Italian, except for Ambrosian chant, which survives to this day. The native Italian plainchant traditions are notable for a systematic use of ornate, stepwise melodic motion within a generally narrower range, giving the Italian chant traditions a smoother, more undulating feel than the Gregorian.〔Hiley, p. 546.〕 Crucial in the transmission of chant were the innovations of Guido d'Arezzo, whose ''Micrologus'', written around 1020, described the musical staff, solmization, and the Guidonian hand (image, right). This early form of do-re-mi created a technical revolution in the speed at which chants could be learned, memorized, and recorded. Much of the European classical musical tradition, including opera and symphonic and chamber music can be traced back to these Italian medieval developments in musical notation,〔Ulrich and Pisk, p. 33.〕 formal music education and construction techniques for musical instruments. Even as the northern chant traditions were displacing indigenous Italian chant, displaced musicians from the north contributed to a new thriving musical culture in 12th-century Italy. The Albigensian Crusade, supposedly to attack Cathar heretics, brought southern France under northern French control and crushed Occitan culture and language. Most troubadours fled, especially to Spain and Italy. Italy developed its own counterparts to troubadours, called ''trovatori'', including Sordello of Mantua. Frederick II, the last great Hohenstaufen Holy Roman Emperor and King of Sicily, encouraged music at the Sicilian court, which became a refuge for these displaced troubadours, where they contributed to a melting pot of Christian, Jewish, and Muslim musical styles. Italian secular music was largely the province of these jongleurs, troubadors, and mimes.〔(Gallo 1995)〕 One important consequence of the troubadour influence during this period, in Italy and across Europe, was the gradual shift from writing strictly in Latin to the local language, as championed by Dante in his treatise ''De vulgari eloquentia''; this development extended to the lyrics of popular songs and forms such as the madrigal,〔Ulrich and Pisk, p. 185.〕 meaning "in the mother tongue." Also around this time, Italian flagellants developed the Italian folk hymns known as spiritual laude. Between 1317 and 1319, Marchettus of Padua wrote the ''Lucidarium in artae musicae planae'' and the ''Pomerium artis musicae mensuratae'', major treatises on plainchant and polyphony, expounding a theory of rhythmic notation that paved the way for Trecento music (Italian ''ars nova''). Around 1335, the ''Rossi Codex'', the earliest extant collection of Italian secular polyphony, included examples of indigenous Italian genres of the Trecento including early ''madrigals'', ''cacce'', and ''ballate''. The early madrigal was simpler than the more well-known later madrigals, usually consisting of tercets arranged polyphonically for two voices, with a refrain called a ''ritornello''. The caccia was often in three-part harmony, with the top two lines set to words in musical canon. The early ballata was often a poem in the form of a virelai set to a monophonic melody.〔Hoppin, p. 438.〕 The Rossi Codex included music by Jacopo da Bologna, the first famous Trecento composer. The ''Ivrea Codex'', dated around 1360, and the ''Squarcialupi Codex'', dated around 1410, were major sources of late Trecento music, including the music of Francesco Landini, the famous blind composer. Landini's name was attached to his characteristic "Landini cadence," in which the final note of the melody dips down two notes before returning, such as C-B-A-C. Trecento music influenced northern musicians such as Johannes Ciconia, whose synthesis of the French and Italian styles presaged the "international" music typical of the Renaissance. During the 15th century, Italy entered a slow period in native composition, with the exception of a few bright lights such as the performer and anthologist Leonardo Giustinian. As the powerful northern families such as the d'Este and Medici built up powerful political dynasties, they brought northern composers of the Franco-Flemish school such as Josquin and Compère to their courts. Starting in the last decades of the century, Italian composers such as Marchetto Cara and Bartolomeo Tromboncino wrote light, courtly songs called ''frottole'' for the Mantuan court of Isabella d'Este. With the support of the Medici, the Florentine Mardi Gras season led to the creation of witty, earthy carnival songs called ''canti carnascialeschi''. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Music history of Italy」の詳細全文を読む スポンサード リンク
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