melos

Cleonides noted that in the diatonic genus (tetrachord class) the three main consonances of perfect 4th, 5th and octave were subdivided into tone and semitones in only a limited number of ways which he called species. He identified three species of fourth, the first ascending S-T-T as in (d

b-c-d-e), the second T-T-S as in c-d-e-f) and the third T-S-T as in (d-e-f-g). There are 4 species of the fifths and seven species of the octave.

The most revered authority on music in the Middle Ages. Born in the third century. Wrote thesis De institutione musica (The fundamentals of Music). To him, music is a science of numbers and numberical ratios and proportions determined intervals, consonances, scales and tuning.

He devided music into three parts: musica mundana (music of the universe) which controlled the planets, seasons and the elements, musica humana (human music) which harmonizes and unifies the body, soul and their parts, and musica instrumentalis (instrumental music) audible music produced by instruments or voices, which exemplifies the same principles of order, especially in the numerical ratiof musical intervals.

Consists of a final, range and tenor.  The final is the primary note and usually is the note which the melody ends.

Each one is paired with one that has the same final. There are four finals each with a unique combination of tones and semitones surrounding it.

Two categories:

Authentic and Plagal.

Authentic range is one note above or one note below final.

Plagal has the same final but a much deeper range, from a fourth below to a fifth or sixth above the final.

Names are given;

Dorian with final on D

Hypodorian (plagal) range from A to A but final is still D

Phrygian final on E

Hypophrygian

Lydian final on F

hypolydian

Mixolydian final on G

hypomixolydian

The most important service in the Roman Church. Evolved from commemorations of the Last Supper of Jesus with his desciples. Consists of the Proper and Ordinary.

The proper varied from day to day.

Mass ordinary did not change.

The proper chants are called by their function.

The Ordinary chants by their intitial words.

The main musical items of the Ordinary are:

Kyrie, Gloria, Credo, Sanctus, and Agnus Dei.

One of three manners of performance for chant in a Mass. The other two are antiphonal and direct.

This is when a soloistalterntes with the choir or congregation.

One of three manners of performance in a Mass. The other two are responsoral and direct.

This is when the choir is devided into two groups and the choirs alternate.

One of three manners of performance during Mass. The other two are responsoral and antiphonal.

This is when there is no alternation of voices contrary to antiphonal or responsorial.

Formula for singing psalms in the Office. These are designed so they can be adapted to fit any psalm. There is one tone fore each of the eight modes, using the moe's tenor as a recitation note; a ninth, very ancient formula has two reciting notes, earning it the name Tonus Peregrinus (wondering tone). These psalm tones are still used today.

Consists of four parts.

The intonation = the rising motive used only for the first vierse: recitation on the tenor

The mediant = a cadence for the middle of each verse

The termination = the final cadence for each verse

The Lesser Doxology = Follows the last verse. A formula of praise to the Trinity sung in the same tone.

An Office psalm or canticle is not complete in itself but is preceded and followed by an antiphon resulting in the musical form ABB . . . BBA.

While the antiphon varies with each day in the church calendar, each psalm is framed by many different antiphons during the year.

Expanded an existing chant in one of three ways:

By adding new words and music before the chant and

1) often between phrases

2) melody only, extending melismas or adding new

 ones

3) text only set to existing melismas.

Typically sung by soloists and set neumatically to fit with the chant to which they were attached.

Flourished especially in monasteries during the tenth and eleventh centuries. Were eventually banned by the Council of Trent (1545-63).

Vernacular lyric tradition cultivated by courts and cities under aristocratic sponsorship beginning in the twelfth century.

The first listed were poet-composers of Southern France (Occitan) and the second listed were from Northern France whose language was Old French.

Occitan language was called langue d' oc.

Old French was langue d' oil.

The central theme is fin'amors (Occitan) or fin amour (French) meaning courtly love.

The castles and courts throughout France supported them.

While many of these performed their own songs, but often the perfomrace was entrused to jongleur or menstrels.

Early in the 12th century, singers and composers in France developed a new more ornate type of polyphony.  Named because the main sources are three manuscripts once held in the Abby of St. Martial at Limoges in the duchy of Aqauitaine (Southwestern France) and copied to Aquitanian notation. Incluseds settings of chant, such as swquences, Benedicamus Domino melodies, and solo portions of seponsorial chants. But most of the repertory comprises seettings of versus, rhymig, scanning, accentual Latin poems, which were also set monophonically. These versus are the earliest known polyphony not based on chant.

Theorists of the time described two main polyphonic styles: Discant and florid organum.

Garlandia discribed six basic rhythmic patterns in his treatise concerning Notre Dame Polyphony. These were identified by number.

1. Long (L) Short (B)

1. B L

3. LBB  (where L is a dotted quarter B is eighth and B is a quarter. The long is the dotted quarter)

4. B (8th) B (quarter) L (dotted)

5. L (dotted) L (dotted)

6. BBB (8ths)

New sections within Leonins organum by composers such as Perotin in discant style. Relfect a growing performance for discant. Hundreds appear in the same manuscripts  (Magnus Liber) as the organa themselves; all are unattributed, so we cannot know which are by Perotin.

They exibit a common trait of discant in Perotin's generation. The tenor isnot just a series of longs as in Leonin's settings, but repeats a rhythmic motive based on a rhythmic mode. Some clausulae tenors also repeat the melody.

Anonymous IV's opinion that such clausulae are better than Leonins my reflect the value he placed on this attention to structure. These became very sugnificant in the motet of the thirteenth centuries.

Written by Notre Dame composers and others in Freance, England and elsewhere. These were settings for two to four voices of the same typpes of text used in the closely related genres of monphonic conductus and Aquitanian versus.

It differs form other Notre Dame polyphony in musical features as well as text. the tenor was newly composed rather than taken from chant. Second all voices sing the text together in essentially the same rhythm. The Words are set syllablically for the most part.

Genre created by Notre Dame composers in the early 13h century by adding newly written Latin words to the upper voices of discant clausulae like texts added to chant melismas.

Over the course of the century, poets and comosers developed three or more voices, or thythmic patterns increasingly free of the rhythmic modes. As conductus and orgnum gradually fell out of fashion in the middle of the century, these became the leading polyphonic genre for both sacred and secular music, evolving from a textual trope of a clausula to a newly-composed piece valued for its complex patterns and multiple layers of meaning.

By 1275 three voice motets became the norm.

Term given by historians to the repertory of composers of Ars Nova facinated with technique and their willingness to take a given procedure to new extremes.

The refined and elevated style of these songs (chansons: polyphonic ballades, rondeauxs and virelais) is matched by their sumptuous appearance, including fanciful decorations, intermingled red and black notes, ingenious notation and occaional caprices that include a love song written in the shape of a heart.

Leading Italian composer of Ballate. Hof his 140 ballate, 89 are for two voices and 42 are for three voices. Nine survived in both tow and three part versions.

Organist at the monastery of Santa Trinita.