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| a male poet-musician of the courtly art of vernacular sung poetry that developed in the Middle Ages in southern France |
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| a female poet-musician of the courtly art of vernacular sung poetry that developed in the Middle Ages in southern France |
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| a poet-musician of the courtly art of vernacular sung poetry that developed in northern France during the late twelfth and thirteenth centuries |
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| the French word for song, monophonic or polyphonic |
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| a book of songs, as created by musicians in the Middle Ages and Renaissance; a collected anthology of chansons |
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| the theme of ideal love, an important value in chivalric society, as expressed in the poetry of the troubadours |
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| in the high Middle Ages the name for a German poet-musician writing love songs |
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| in the high Middle Ageas a song of love in old high German |
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| a medieval Spanish or Portuguese monophonic song; hundreds were created on subjects of love, epic heroism, and everyday life |
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| a devotional song dating from the Middle Ages associated with Spain and Latin America consisting of several stanzas and a refrain |
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| wandering clerics or vagabond students in the 12th and 13th centuries who wrote latin secular and often satirical song texts |
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| a type of polyphonic religious music of the Middle Ages; the term came to be used generally to connote all early polyphony of the church |
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| organum in which all voices move in lockstep, up or down, with the intervals between voices remaining the same |
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| one of the two voice parts in an early organum; it is a preexisting chant that served as a foundation for another newly created line |
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| one of the two voice parts in an early organum; it is a newly created line added to the preexisting chant |
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| motion occurring when one voice repeats or sustains a pitch while another moves away or toward it; used in medieval organum to avoid tritones |
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| a running together, Guido of Arezzo's term for cadence |
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| a repertory of about sixty-five pieces of two-voice organum surviving today from various monasteries in southwestern France |
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| organum in which the bottom voice holds a note while the faster-moving top voice embellishes it in a florid fashion |
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| first manuscript to ascribe composers' names to particular pieces (ca. 1150); contains twenty polyphonic pieces |
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| a music theory treatise (ca. 890s); describes a type of polyphonic singing called organum; teaches church singers how to improvise polyphonic music |
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| a building style that emerged around Paris in the 12th century; characterized by greater height, greater light, and repeating geometrical patterns |
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| the western end of a cathedral or large church; public area; used as town hall and civic auditorium as well as for religious processions and votive prayers |
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| the eastern end of a cathedral or large church; contained the high altar and was the area in which most music was made |
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| 12th-century Notre Dame composer/singer who compiled "Magnus liber organi" containing 100 two-voice organa; uses modal rhythmic notation |
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| in early medieval polyphony the bottom most voice, often a preexisting chant, upon which the composition is built; holds or draws out the notes |
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| florid two-voice organum of medieval (12th century) Paris continuing the tradition of earlier Aquitanian polyphony in sustained-tone style |
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| a style of music in which the voices move at roughly the same rate and are written in clearly defined modal rhythms (as compared to organum purum) |
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| a section or phrase in a medieval composition written in discant style |
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| (12th c.) system where rhythm is determined by context as opposed to modern notation in which each sign (note) indicates a specific duration |
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| simple patterns of repeating rhythms employed in the polyphony of Paris during the 12th and 13th centuries; evolved into a system of six patterns |
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| in early notation a group of two, three, or four individual notes |
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| a section or phrase in a medieval composition written in discant style and intended to replace another similar section or phrase |
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| Notre Dame composer of three and four-voice organa during the high Middle Ages; modular musical design in many of his works |
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| second voice in two- three- or four-voice organa |
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| third voice in a piece of three- or four-voice organum of the Middle Ages |
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| fourth voice in four-voice organa |
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| name given to the composers Leoninus, Perotinus, and their colleagues in Paris; created a repertory of more than a 1000 pieces (1160-1260) |
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| an independent urban conclave or gated community located next to the cathedral for those employed in the cathedral as clergy, servants or choirboys |
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| the university area of Paris located across the Seine River from Notre Dame cathedral on the left bank |
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| Middle Ages extra-liturgical piece for 1-4 voices with metrical Latin poems texts in stanzas; serious and moralistic; used for movement of the clergy |
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| the Middle Ages name for the New Year's Day festival on which the youngest of church clerics took charge of the church |
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| in the vocabulary of the medieval musical theorist, a long melisma on a single syllable; used in a conductus to set off key words |
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| (13th c.) each upper voices has its own poetic text that comments on the Latin chant text in the tenor; (later) a sacred choral composition in Latin |
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| the second voice (immediately above the tenor) in the thirteenth-century motet |
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| (late 13th c.) wrote musical treatise defining systematic classification of consonance and disonance; defined three basic note shapes and values |
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| the longest of the three basic note values and shapes recognized by Franco of Cologne around 1280 in his classification of musical durations |
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| the middle of the three basic note values and shapes recognized by Franco of Cologne around 1280 in his classification of musical durations |
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| the shortest of the three basic note values and shapes recognized by Franco of Cologne around 1280 in his classification of musical durations |
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| symbol specific notation developed in the late thirteenth century; the direct ancestor of the system of notation used today |
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| 14th-century Parisian mathematician, musician (and murderer) whose musical treatise the "Art of New Music" helped define the avant-garde Ars nova |
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| 14th-century Parisian composer whose musical treatise the "New Art" helped define the avant-garde Ars nova; often used isorhythmic techniques |
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| musical avant garde of the early fourteenth century characterized by duple as well as triple relationships and a wide variety of note values |
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| a new short note value recognized by the fourteenth-century theorists of the Ars nova; a subdivision of the semibreve |
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| (modus) the division of the long into two or three breves in 14th-century mensural notation |
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| (tempus) the division of the breve into two or three semibreves in 14th-century mensural notation |
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| (prolatio) the division of the semibreve into two or three minims in 14th-centruy mensural notation |
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| the music of the 13th century characterized by a uniform pace and clear ternary units (as contrasted with the "new art" of the early 14th century) |
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