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| double-reed instrument of ancient Greece |
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| chanting of Jewish sacred texts based on melodic formulas |
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| a song in honor of Dionysus |
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| "soft"; hexachord that includes b-flat |
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| box lyre used by professional musicians |
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| double-reed instrument of ancient Rome |
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| note symbols of the same duration in plainchant |
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| early Roman water-powered organ |
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| "hard"; hexachord that includes the b-natural |
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| the most numerous category of plainchant |
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| assembling melodies by rearranging echoes in Byzantine chant |
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| Cleonide's term for melodic types based on melodic formulas |
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| small note symbol at end of line of chant indicating note to follow |
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| the public service of the Catholic Church |
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| a vocal ornament in ascending figures in plainchant notation |
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| a song from scripture other than the psalms |
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| embellished monophonic texture |
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| circular horns used for military functions in ancient Rome |
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| the pitch-syllable system developed by Guido d'Arezzo |
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| straight trumpet of ancient Rome |
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| graduated reed pipe instrument of ancient rome |
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-educational system he came up withe was the 7 liberal arts; quadrivium (the mathematical arts) & trivium (the rhetorical arts)
-the mathematical arts (arithmetic, music, geometry, and astronomy)
-the rhetorical arts (grammar, logic, and rhetoric) |
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| a system that Guido d'Arezzo came up with that taught singers how to read music. He came up with syllables from the Latin text to go with notes [ut, re, mi, fa, sol, la, (ti, do)]; it was later changed to (ti, do) and "ut" became "do" |
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-In ancient Greek music, the tetrachord spanned the interval of a perfect fourth and was the smallest system commonly used
-three different types of tetrachords in the Greek system (diatonic, chromatic, and enharmonic)
-The Greater Perfect System used four tetrachords |
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| "the fundamentals of music" written by Boethius that was comprised of three main musical classes he had developed. it was comprised of musica mandana, musica humana, and musica instrumentalis |
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-instructions on how to run a monestary
-included liturgy of the Divine office
-showed the monks what to do |
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| training centers for the choir that sang for observances officiated by the pope |
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| Hexachord scales in the Guidonian system begin on |
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| The parts of the mass that remain constant regardless of the liturgical calendar |
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| denoted the inaudible harmonious numerical relations observable in the movement of the planets, in the change of seasons and within the elements |
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| the eight melodic formulas to which Psalms and other texts were sung |
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| originated as a synthesis of Roman and Frankish chant styles |
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| the last vowels in the Lesser Doxology |
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| The Greater Perfect System |
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-a series of tetrachords linked to form a two-octave range of usable pitches
1. Hyperbolaion
2. Diezeugmenon
3. Mese
4. Meson
5. Hypaton
6. Proslambanomenos |
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| followers of Guido d'Arezzo used it for locating the pitches of the diatonic scale |
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| stated that music had the power to alter the moods/emotions of the hearer |
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| began a perfect fourth below its final |
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| the independent, texted melodies that included long, melismatic extensions of the Alleluia of the Mass |
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| the lirturgical book containing the texts of the Divine Office |
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| adding texts to long melismas to make them more memorizable |
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| determining the plagal dominant of a church mode |
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| the third scale degree below the dominant of its authentic partner |
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| Diatonic, chromatic, enharmonic |
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| three genera of tetrachords in the Greek system of music theory |
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| Jewish music in the first century C.E. |
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| was performed by a choir of levites at the Temple of Jerusalem |
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| Greek names for church modes |
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| the use of greek names for church modes comes from a misreading of Greek modal theory |
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| prescribed texts and rites that collectively consitiute the religious services of the Church |
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| range, final and dominant |
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| how the eight church modes are primarily defined |
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| Ancient Greek music theory included concepts of |
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| intervals, scales, and tetrachords |
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| early church leaders believed it could evoke pagan practices, and therefore should be suppressed |
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| the name Guido used to refer to his system of modulation |
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| Greater Hours of the Divine Office |
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1. Matins
2. Laudes
3. Vespers
4. Compline |
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| Five regional chant liturgies & their area of origin |
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1. Gallican (France)
2. Old Roman (Rome)
3. Celtic (British Isles & Ireland)
4. Mozarabic (Spain)
5. Ambrosian (Milan) |
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| Classifications of ecclesiastical (church) chant |
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a. source origins
i. Biblical
ii. non-Biblical
b. literary forms
i. prose
ii. poetry
c. performance practice
i. direct
ii. responsorial
iii. antiphonal
d. text setting
i. neumatic
ii. syllabic
iii. melismatic |
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Agnus Dei
(from the Ordinary) |
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| "Lamb of God, who takes away the sins of the world" |
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Kyrie
(from the Ordinary) |
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| "Lord, have mercy on us. christ, have mercy on us. Lord, have mercy on us." |
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Credo
(from the Ordinary) |
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| "I believe in one God, the Father Almighty, maker of heaven and earth." |
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Sanctus
(from the Ordinary) |
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| "Holy, holy, holy is the Lord God Almighty." |
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Gloria
(from the Ordinary) |
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| "Glory to God in the Highest and on earth peace goodwill towards men." |
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