Term
|
Definition
o A manuscript of Italian pieces that were composed in the first two decades of the 14th century o 354 pieces o Three types represented § Madrigal § Caccia § Ballata |
|
|
Term
|
Definition
| The Italian term for the 14th century or the 1300s |
|
|
Term
|
Definition
| A cadence used by Francesco Landini in which the voices cadence out from a major sixth to an octave, but the upper voice goes down a step and leaps a third. |
|
|
Term
|
Definition
(1300-1377) o Most important composer of the 14th century o Unblemished career o Secretary of the king of Bohemia o Traveled great distances (as far as Russia) o Composed a lot of works o Composed many leis § Monophonic secular works o Did the first complete setting of the Mass Ordinary by one composer |
|
|
Term
|
Definition
o A new type of composing § A technique or mannerism § Used in France primarily, a little in Italy o Important term o Means (basically) a hiccup o Two instruments alternate pitches (usually the same pitch) |
|
|
Term
|
Definition
1. Ballade 2. Virelai 3. Rondeau |
|
|
Term
|
Definition
a song always with the form AAB settin ga poem with from one to three stanzas, or strophes; employs a lyrical melody accompanied by one or two voices or instruments. |
|
|
Term
|
Definition
| The highest vocal part in an early polyphonic composition |
|
|
Term
|
Definition
§ ABaAabAB · II A II B II · 1, 4, 7 2,8 · 3 6 · 5 · a means same music different text · A means same music and text § Not to be confused with the Classical Rondo |
|
|
Term
|
Definition
One of the formes fixes. Originated with the troubadours and trouveres as a monophonic dance with choral singing. AbbaA |
|
|
Term
|
Definition
| The vocal line below the tenor. Later to be called the tenor. |
|
|
Term
|
Definition
| The vocal line just above the tenor. Later to be called the alto. |
|
|
Term
|
Definition
(1250-1280) Wrote the first treatise on mensural notation and Franconian Motets are named in his honor. |
|
|
Term
|
Definition
one of the three basic note vales and shapes recognized by Franco of Cologne around 1280 in his classification of musical durations. (The longest of the three note values) (Think double-whole note) |
|
|
Term
|
Definition
one of the three basic note vales and shapes recognized by Franco of Cologne around 1280 in his classification of musical durations. (The second longest of three) (Think three whole notes) |
|
|
Term
|
Definition
one of the three basic note vales and shapes recognized by Franco of Cologne around 1280 in his classification of musical durations. (Four to nine half notes) |
|
|
Term
|
Definition
-Every note/symbol has a specific value -System laid out by Franco of Cologne |
|
|
Term
|
Definition
(1291-1361) a composer who wrote the treatise the Ars Nova. |
|
|
Term
|
Definition
| A newer subdivision. This subdivides the sembreve. |
|
|
Term
|
Definition
the division of the long into two or three breves (what we would think of as measures) |
|
|
Term
|
Definition
the division of the breve into two of three semibreves |
|
|
Term
|
Definition
| the division of the semibreve into two or three minims |
|
|
Term
|
Definition
| A treatise written by Philippe de Vitry. Translates to new art. Introduced the idea that music could be subidivided into two rather than three. |
|
|
Term
|
Definition
| The opposition to the Ars Nova school of thought. Believes in subdivision of three rather than two. |
|
|
Term
| THE BRITISH SYSTEM OF NOTATION |
|
Definition
o Double Whole Note – Breve o Whole Note – Semibreve o Half Note – Minim o Quarter Note – Crotchet o Eighth Note – Quaver o Sixteenth Note – Semiquaver o Thirty-second Note – Demisemiquaver o Sixty-fourth Note - Hemi demisemiquaver |
|
|
Term
|
Definition
-Composed organum and duplum -Wrote a treatise Magnus liber organi -Composed at Notre Dame |
|
|
Term
|
Definition
-A book of polyphony written by Leonin -No longer exists, but Anonymous 4 wrote about it, so now we know -Written to make the mass and canonical hours more splendid |
|
|
Term
|
Definition
In Medieval polyphony the bottom most voice, often a preexisting chant, upon which the composition is built |
|
|
Term
|
Definition
| a style of music in which the voices move at roughly the same rate and are written in clearly defined modal rhythms |
|
|
Term
|
Definition
-section, phrase, pr "musical clause" in a medieval composition -technically a trope |
|
|
Term
|
Definition
o Major step forward o Metered music for the first time o The Modes: § 1. Quarter…Eighth § 2. Eighth…Quarter § 3. Dotted Quarter…Eighth…Quarter § 4. Eighth…Quarter…Dotted Quarter § 5. Dotted Quarter…Dotted Quarter § 6. Eighth…Eighth…Eighth o Used in Discant |
|
|
Term
|
Definition
| In early notation a group of two, three, or four individual notes |
|
|
Term
|
Definition
| One clausula written in discant style intended to replace another |
|
|
Term
|
Definition
Composer from the Notre Dame school. Followed Leonin Composed a lot of triplum and some quadruplum. |
|
|
Term
|
Definition
| The second voice in a two- three- or four-voice organa |
|
|
Term
|
Definition
| Third voice in a pieve of three- or four-voice organum of the Middle Ages |
|
|
Term
|
Definition
| fourth voice in four voice organa |
|
|
Term
|
Definition
| The name given by historians to the composers Leoninus, Pertonius, and their colleagues who created a huge musical repertory of more than a thousand pieces during the period 1160-1260 at and around Notre Dame of Paris |
|
|
Term
|
Definition
| a poet-musician of the courtly art of vernacular sung poetry that developed in the Middle Ages in southern France |
|
|
Term
|
Definition
| A poet-musician of the courtly art of vernacular sung poetry that developed in norther France during the late twelfth and thirteenth centuries |
|
|
Term
|
Definition
| French term for song, monophonic or polyphonic |
|
|
Term
|
Definition
(a song of love in old high German) a song created by a Minnesinger |
|
|
Term
|
Definition
| A medieval Spanish or Portuguese monophonic song; hundreds were created on subjects of love, epic heroism, and everyday life |
|
|
Term
|
Definition
| A special group of four hundred songs that survived from the medieval collection of Cantigas. |
|
|
Term
|
Definition
Dorian Phrygian Lydian Mixolydian |
|
|
Term
|
Definition
Hypodorian Hypophrygian Hypolydian Hypomixolydian |
|
|
Term
|
Definition
| A sign for a single or group of pitches from chant notation |
|
|
Term
|
Definition
Created the Guidonian Hand Wrote a music theory treatise called the Micrologus |
|
|
Term
|
Definition
| A hexachord placed on "C" |
|
|
Term
|
Definition
| A hexachord placed on "F" |
|
|
Term
|
Definition
| A hexachord placed on "G" |
|
|
Term
|
Definition
Start on "G" on thumb End on "E" above middle finger |
|
|
Term
|
Definition
|
|
Term
|
Definition
| Roman name for the trumpet; a long, straight instrument with a cylindrical bore and a bell at the end, which originated with the Etruscans |
|
|
Term
|
Definition
1. Grammar 2. Rhetoric 3. Logic 4. Arithmetic 5. Geometry 6. Astronomy 7. Music |
|
|
Term
|
Definition
1. Grammar 2. Rhetoric 3. Logic |
|
|
Term
|
Definition
4. Arithmetic 5. Geometry 6. Astronomy 7. Music |
|
|
Term
|
Definition
Wrote a treatse on each of the four parts of the quadrivium (which includes music) |
|
|
Term
|
Definition
Written by Boethius A treatise on music which became a music theory text for hundreds of years |
|
|
Term
|
Definition
(Music of the Spheres) Music of the Heavenly bodies Can't be heard by men |
|
|
Term
|
Definition
Music as we know it Can be heard by men |
|
|
Term
|
Definition
| Musicologist who studies and understands music |
|
|
Term
|
Definition
| The practitioner who performs music |
|
|
Term
|
Definition
| the collection of prayers, chants, readings, and ritual acts by which teh etheology of the church, or any organiced religion, is practiced. |
|
|
Term
|
Definition
| The monophonic religious music that is sung in a house of worship. |
|
|
Term
|
Definition
| Chant from Northern Africa |
|
|
Term
|
Definition
|
|
Term
|
Definition
| Chant from the early churches of Rome |
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
in Ancient Greece a medium-sized instrument usually with seven strings of sheep gut and a resonator of turtle shell; plucked with a metal or bone plectrum and used most often to accompany a solo singer (Ch1) |
|
|
Term
|
Definition
the largest of all ancient Greek string instruments (an ecspecially large lyre) usually fitted with seven strings and a resonator of wood (Ch1) |
|
|
Term
|
Definition
an Ancient Greek wind instrument played in pairs that produced a high, clear, penetrating sound. |
|
|
Term
|
Definition
(6th century B.C.E.) Father of theory. Astronomer, mathematician & musician. Music was a Science. |
|
|
Term
|
Definition
part of the ancient Greek world-view of music, which held that when the stars and planets rotated in balanced proportions they made heavenly music (Ch1) |
|
|
Term
|
Definition
A ancient device with a single sting stretched over a wooden block and a monochord at each end; distances were carefully measured on the string for different pitches (Ch1) |
|
|
Term
|
Definition
a sucession of four pitches (Ch1) |
|
|
Term
|
Definition
term used by the ancient Greeks to indicate the lowest sounding pitch in their Greater Perfect System (Ch1) |
|
|
Term
|
Definition
the framework of the Greek two-octave scale formed by 4 tetrachords and the proslambanomenos (Ch1) |
|
|
Term
|
Definition
ancient Greek term for a scale (Ch1) |
|
|
Term
|
Definition
the basic genus within the ancient Greek musical system; reflects the primary tetrachord spanning the intervals S-T-T (Ch1) |
|
|
Term
|
Definition
a tetrachord employed by the ancient Greeks consisting of two semi-tones and a minor third (Ch1) |
|
|
Term
|
Definition
| a tetrachord found in ancient Greek music consisting of a major third and two quarter-tones; used for music demanding more subtle variations of pitch than that of the diatonic or chromatic genera (Ch1) |
|
|
Term
|
Definition
| A code of conduct to regulate daily life in a monastic community created by Benedict of Nursia (c480-c550 C.E.) (Ch3) |
|
|
Term
|
Definition
| the night office of the canonical hours, required much singing, and on high feasts such as Xmas or Easter, might be up to 4 hours (Ch3) |
|
|
Term
|
Definition
| the late afternoon service, and most important of the eight canonical hours for the history of music; psalms hyms and the Magnificant were sung (Ch3) |
|
|
Term
Gregorian Chant (Plainsong) |
|
Definition
| a vast body of monophonic religious music setting Latin texts and intended for use in the R.C.C.; the music sung daily at the eight canonical hours of prayer and at Mass (Ch3) |
|
|
Term
|
Definition
(742-814 C.E.) Became the first Holy Roman Emporer. Crowned by Pope Leo III. Tried to ressurect the western half of the Roman Rmpire but have it Christian. MANDATED CHANT AND LITURGICAL TRADITIONS OF THE CHURCH OF ROME BE IMPOSED (Ch3) |
|
|
Term
|
Definition
| Book of 150 Psalms from the Old Testement used for chant in the monestary |
|
|
Term
|
Definition
| The act of singing a Psalm (Ch3) |
|
|
Term
|
Definition
| the practitioner who performs music, as distinguished from the musicus; in a medieval monestary or nunery the person specially trained to lead the music of the community (Ch3) |
|
|
Term
|
Definition
| a method of musical performance in which a divided choir sings back and forth (Ch3) |
|
|
Term
|
Definition
| a standard formula of praise to the Holy Trinity; "Gloria Patri" (Ch3) |
|
|
Term
|
Definition
| in antiphonal singing the short chant sung before and after a psalm and its doxology (Ch3) |
|
|
Term
|
Definition
eight simple recitation formulas (simple repeating patterns) which psalms were chanted (Ch3) Intonation, Recitation, Mediation, Recitation, Termination |
|
|
Term
|
Definition
| a relatively short chant with a small number of phrases (usually 4) and a narrow vocal range (Ch3) |
|
|
Term
|
Definition
| the culmination of the service (Ch3) |
|
|
Term
|
Definition
| lyrical and memorable passage of scripture usually drawn from the New Testament (Ch3) |
|
|
Term
|
Definition
| the central part of the Roman Catholic Church. Consists of communion and such |
|
|
Term
|
Definition
Part of the mass that changes daily. Includes: Introit Gradual (reflective chant) Alleluia or Tract (thanksgiving or penance) Sequence Offertory Communion |
|
|
Term
|
Definition
stays same every day. Includes: Kyrie (petition for mercy) Gloria (hymn-praise) Credo (profession of faith) Sanctus (acclamation to the Lord) Agnus dei (petition for mercy and internal peace) Ite, missa est (Short dismissal) |
|
|
Term
|
Definition
| Part of the Proper Mass, an introductory chant for the entrance of the celebrating clergy. (Ch3) |
|
|
Term
|
Definition
| chant where there is one syllable per note (Ch3) |
|
|
Term
|
Definition
| multiple notes to a single syllable (ch3) |
|
|
Term
Melismatic Chant (Melisma) |
|
Definition
| a lengthy phrase set to one syllable (Ch3) |
|
|
Term
|
Definition
| a petition, IN GREEK, for mercy (ch3) |
|
|
Term
|
Definition
| hymn of praise to the lord (Ordinary Mass) |
|
|
Term
|
Definition
| Ordinary Mass, a profession of faith |
|
|
Term
|
Definition
| Choral responce, solo verse, choral response (Ch3) |
|
|
Term
|
Definition
| (Ordinary) a petition for mercy and eternal peace (Ch3) |
|
|
Term
|
Definition
| an addition of music and/or text to a pre-existing chant (Ch5) |
|
|
Term
|
Definition
| additional music and/or text that FOLLOWED an existing chant (Ch5) |
|
|
Term
|
Definition
(c840-912) compiled a book of sequences Liber Hymnorum. Uses DOUBLE VERSE STRUCTURE (same music; different verse) (Ch5) |
|
|
Term
|
Definition
| Day of Wrath. written during 13th century for the Requiem Mass. Speaks of the hellfire that threatens the soul on the Day of Judgement (Ch5) |
|
|
Term
|
Definition
|
|
Term
|
Definition
|
|
Term
|
Definition
(1098-1179) Composed 77 chants and a liturgical drama. Saw spirits, all her music arranged in Symphonia (Ch5) |
|
|
Term
|
Definition
|
|
Term
|
Definition
| Hildegard of Bingen's liturgical drama, consist of approx. 80 chants. (Play of Virtues) (Ch5) |
|
|
Term
|
Definition
| a religious play with music intended to be inserted into the liturgy, usually before Mass (Ch5) |
|
|
Term
|
Definition
| Music Handbook, a music theory treatsie that dates from the 890's and is ascribed to Abbot Hoger, it describes a type of polyphonic singing called organum and aimed to teach church singers how to improvise (Ch7) |
|
|
Term
|
Definition
| Another term for polyphony. "Sounds like an organ" (Ch7) |
|
|
Term
|
Definition
| Voices move in parallel motion, interval kept the same (Ch7) |
|
|
Term
|
Definition
| "Principle Voice" pre-existing chant (Ch7) |
|
|
Term
|
Definition
| "Organal Voice" Newly added voice line added to a chant (Ch7) |
|
|
Term
|
Definition
| One voice repeating/sustaining a note while other voices move away or toward it (Ch7) |
|
|
Term
|
Definition
| a troper-chant manuscript dating back from c1000 C.E. from a Benedictine Monastery at Winchester England; 150 2voice organa |
|
|
Term
Sustained-tone/note organum |
|
Definition
| bottom voice holds a note while the faster-moving top voice embellishes it in a florid motion (Ch7) |
|
|
Term
|
Definition
| An independent urban enclave situatied next to a medieval church (Ch9) |
|
|
Term
|
Definition
| Area in Paris where the university scholars lived across the river (Ch9) |
|
|
Term
|
Definition
| sung as the clergy moved from place to place or engaged in some kinetic activity (Ch9) |
|
|
Term
|
Definition
| Circumcision (January 1) the youngest of the adult clerics took charge of the church. A satire of the church service. Led the processional with a donkey (Ch9) |
|
|
Term
|
Definition
| a discant clausula with sacred words added. later to mean any sacred choral composition (Ch9) |
|
|
Term
|
Definition
| in a Motet, the term for the second voice that would elaborate on a word sung by the tenor (Ch9) |
|
|
Term
|
Definition
Tale of Fauvel Satire of the Frech King, where his #2 man is portrayed as an Ass. Which is a Horse? Right? (Ch11) |
|
|
Term
|
Definition
| Italian poet. Renaisance man. |
|
|
Term
|
Definition
| Rhythmic pattern constantly repeated in usually the tenor voice (Ch11) |
|
|
Term
|
Definition
Medeival french for a rhythmic pattern (Ch11) |
|
|
Term
|
Definition
| the melodic unit in an isorhythmic motet (Ch11) |
|
|
Term
|
Definition
| "stomp" dances sung, usually about love (Ch11) |
|
|
Term
|
Definition
| a large five stringed fiddled capable of playing the entire Guidonian scale, usually accompanied the estampie (Ch11) |
|
|
Term
|
Definition
| ancestor to the modern oboe. double reed with a loud penetrating tone; by late 14th came in 2 sizes, treble and tenor (tuned a 5th below) (Ch11) |
|
|
Term
|
Definition
| Small portable organ played by pumping the bellows in one hand and sliding wooden slots with the other (Ch11) |
|
|
Term
|
Definition
| Mid-size organ with slave-boy that pumped the bellows (Ch11) |
|
|
Term
|
Definition
| "key string" when a key was pushed a metal tangent "T" hit a metal chord (Ch11) |
|
|
Term
|
Definition
| Frenchh Royal Court, earliest surviving collection of keyboard music. 3 estampues and arrangments of 3 motets. (Ch11) |
|
|
Term
|
Definition
| Italian Poet 1355. [Moved the papcy to Avignon] (Ch13) |
|
|
Term
|
Definition
| 1417. 2 elected popes, an Italian and Frenchmen. Split the Papacy (Ch13) |
|
|
Term
|
Definition
| musician, marked his music with unusual rhythmic sophistication. shaped pieces (literally took shape of title; heart, circle) (Ch13) |
|
|
