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| One of several styles of early polyphony from the 9th through 13th centuries, involving the addition of one or more voices to an existing chant |
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| Type of polyphony in which an added voices moves in exact parallel to a chant, normally a perfect fifth below it. Either voice may be doubled at the octave |
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| Organum where the two voices begin together. The upper voice moves up until the interval of a 4th is reached, whereupon, they move in parallel motion until a cadence is reached. At the cadence, the voices move back together again |
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| Style of organum in which the organal voice moves in a free mixture of contrary, oblique, parallel and similar motion against the chant (and usually above it) |
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| Style of polyphony from the 12C emcompassing both discant and florid organum. The chant was sun in the lower voice in long sustained notes. The upper voice sang a long melisma on each of the sustained notes |
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| 12C style of polyphony in which the upper voice or voices have about one to three notes for each note of the lower voice |
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| Style of polyphony from the late 12/13C, associated with the Cathedral of Notre Dame in Paris. |
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| System of six durational patterns used in polyphony of the late 12/13C, used as the basis of the rhythmic notation of the Notre Dame composers |
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| In Notre Dame polyphony, a self-contained section of an organum that closes with a cadence |
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| In polyphony of the late 12-14C, second voice from the bottom in a four-voice texture, above the tenor |
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| In polyphony of the late 12-14C, third voice from the bottom in a three- or four-voice texture, added to a tenor and duplum |
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| Fourth voice from the bottom in a four-voice texture, added to a tenor, duplum and trplum |
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| Latin stropic songs of the 12/13C. Usually a metrical Latin text. Upper parts could be either a sacred or secular text. Homo-rhythmic, and melismatic passages were found at the beginning and end of important cadences |
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From mot, meaning word. 1200s-1300s Polyphonic piece with one or more upper voices, each with sacred or secular text in Latin or French, above tenor from chant or other source
1310-1450 Isorhythmic motet: tenor structure by isorhythm |
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An existing melody, often taken from a Gregorian chant, on which a new polyphonic work is based; used especially for melodies presented in long notes.
Replaces the tenor and becomes the lowest voice in a composition |
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| System of notation described by Franco of Cologne around 1280 using noteshapes to indicate durations |
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Technique in medieval English polyphony in which two or three phrases of music, first heard simultaneously in different voices, are each sung in turn by each of the voices.
A polyphonic form in which the voices trade segments of the melody |
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Form of medieval English polyphony in which two or more voices sing the same melody, entering at different time and repeating the melody until all stop together.
A round at the unison |
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| The major work of Leonin. A collection of 2-voiced organum for the entire church year. Music for soloists used with free organum or measured organum |
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| Style of polyphony from 14C France, distinguished from earlier styles of a new system of rhythmic notation that allowed duple or triple division of note values, syncopation and great rhythm and notation |
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| Older style of music, still used when writing music for the Church |
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| Repetition in a voice part (usually the tenor) of an extended pattern of durations throughout a section or an entire composition |
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| In an isorhythmic composition, a repeated melodic pattern, as opposed to the repeating rhythmic patter (the talea) |
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| In an isorhythmic composition, an extended rhythmic pattern repeated one or more times, usually in the tenor |
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| In 13/14C polyphony, the device of alternating rapidly between 2 voices, each resting while the other sings, as if a single melody is between them, or a composition based on this device |
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| Schemes of poetic and musical repetition, each featuring a refrain, used in late medieval and 15C French chansons; in particular, the ballade, rondeau and virelai |
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| Allegorical poem written be Gervaise du Buis. Satire of the corruption of the church, nobles, etc. Contains some 169 compositions including motets in isorhythmic style |
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| Major sacred work of Machaut. First to view the 5 parts of the Ordinary of the Mass as a unified composition. Kyrie, Sanctus and Agnus Dei are based on Gregorian tenors. Gloria and Credo are set in a conductus-like setting |
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| Largest collection of Italian music from the Ars Nova. Contains madrigals, caccias and ballata. The works of Francesco Landini are preserved in it. |
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Continental style of polyphony in the early Renaissance, in which two voices are written, moving mostly in parallels 6th and ending each phrase on an octave, while a third unwritten vocal in sung in parallel perfect fourths below the upper voices.
Movement of 6/3 chord-like structures |
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| Polyphonic mass in which the movements are linked primarily by sharing the same opening motive or phrase |
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| Polyphonic mass in which the same cantus firmus is used in each movement, normally in the tenor |
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| English song, usually on a religious subject, with several stanzas and a burden (refrain) |
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| In medieval systems of notation, the basic time unit |
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| First spoke of "new art" (Ars Nova). |
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| One of two major composers of Notre Dame School. His major work is the Magnus Liber Organi. |
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| Second major composer of the Notre Dame School. Enlarged on Leonin's music, often adding a 3rd or 4th voice. New sections of discant were substitute clausulae |
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| Most important composer of the French Ars Nova. Major work was the Messa de Notre Dame |
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| Where the cantus firmus moves from one voice to another |
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| Gilles de Bins (Binchois) |
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| Most important composer at the Burgundian School. Melodies were said to be "graceful and sweet" due to the use of the 3rd. Used the hemiola. |
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| Leading French composer of his day. Worked at the Burgundian court, was not a regular. Works are considered international in style |
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