With such massively popular hits as ‘Douce Dame Jolie” and “Cantiga 322”, is it a wonder the Medieval Music in the Modern Ages course at Pennsic XXXVII was standing room only?

Seriously, having a class attendance of more than twenty, each toting their own musical instrument and willing to play it in the heat of the amphitheater on Wednesday of week two, does speak to the inquisitiveness of many Pennsic participants.

Although I always outline at least five times as many classes to attend as I usually actually get to, this year I am truly thankful I made an extra effort (usually the choice between the class and another activity or chance to see old friends) to attend this 2 hour class.

My first reaction to the many two hour classes in the schedule this year was not completely positive. This particular class however was well suited to that length as you will note.

The class was conducted by Galeran Chanterel (mka Brian Sidlauskas). Galeran not only lectured for about an hour, but he had his musical group, The Lion and the Lily, perform a medieval piece which the group then critiqued following the elements of his lecture. I say lecture, but Galeran’s unique combination of mildness, inclusiveness and hospitality made this portion of the course hardly seem like a lecture. Medieval music in the SCA, myths, frustrations, solutions, musical selections, adaptations for modern performance, arrangement, improvisation and performance venues were all addressed by Galeran while in roundtable format.

Not only did Galeran provide an exceptional handout, but he compiled a booklet of several medieval pieces in the public domain for all those attending. “Trotto”, a fourteenth century Italian piece, is a typical example. The arrangement Galeran included has handy notation with particular chords to use for droning instruments - which I learned are those not providing a melody line.

The last part of the class was delightful as Galeran, using his harp, led the various recorders, dumbeks, tablas, bodhrans, guitars, a lute, a mandolin and a hurdy-gurdy in not one - but four different, full medieval pieces - demonstrating most of the points discussed previously.

This course could not have included the lovely performance by The Lion and the Lily nor the, in my opinion, wildly successful impromptu “concert” in the traditional one hour format. The impromptu part was charming because it was so very period with at least 15 complete strangers playing happily together.

Needless to say, I highly recommend this course and Galeran’s group even if you simply come to listen……which is what many of those in period would also have been doing….unless they were dancing!

By Mairghread ni Stilbheard uu Coinn