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| the relative position, high or low of a musical sound |
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| a series of notes arranged in order to form a distinctive musical unit; most often placed in the treble |
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| a short, distinctive melodc figure that stands by itself |
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| two or more notes played at the same time |
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| an even pulse in music that divides the passing of time into equal segments |
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| a group of beats, or musical pulses; usually, the number of beats is fixed and constant so that the measure serves as a continual unit of measurement in music |
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| emphasis or stress placed on a tone or chord |
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| the gathering of beats into regular groups |
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| the organization of time in music |
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| the speed at which beats occur in music |
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| a gradual slowing down of the tempo |
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| a rhythmic device in which the natural accent falling on the strong beat is placed on a different, normally weaker beat |
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| the various levels of volume, loud and soft at which sounds are produced in a musical composition. |
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| a gradual increase in the volume of sound |
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| a gradual decrease in volume |
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| the process by which an instrumentalist plucks strings rather than bowing |
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| pitches sounding agreeable and stable |
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| individual vocal lines in a composition |
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| a slight and continual wobbling of the pitch producesd on a string instrument or by human voice |
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| a rapid alternation of two neighboring pitches |
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| any device that muffles the sound of a musical instrument; on the trumpet, for example, it is a cup that is placed inside the bell of the instrument |
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| a musical texture involving only a single line of music with no accompaniment |
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| a musical texture involving multiple lines sounding simultaneously--often are independent and create counterpoint |
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| multiple lines moving at the same rhythm |
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| the harmonious opposition of two or more melodic lines |
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| a contrapuntal form in which the individual voices enter in turn and duplicate what the previous voices sang |
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| musical form often used in setting a strophic, or stanzaic, text, such as a hymn or carol |
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| a musical form in which a theme continually returns but is varied by changing the notes of the melody, the harmony, the rhythm, or some other feature of the music. |
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| an ancient musical form in which a refrain alternates with contrasting material |
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| the general surface sound produced by the interaction of the elements of music: melody, rhythm, harmony, color, texture and form |
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| the system of subsidization employed by artists of the renaissance and earlier--a wealthy individual would bestow financial support upon an artist |
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| the sections of mass that vary with each feast day |
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| the five sung portions of the Mass for which the texts are unvariable |
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| divisions of time between daily prayers |
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| Gregorian chant/ plainsong |
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| a large body of unaccompanied monophonic vocal music, set to Latin texts, composed for the Western Church over the course of fifteen centuries, from the time of the earliest fathers to the Council of Trent |
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| each syllable gets a note |
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| when one vowel spreads luxuriously over many notes |
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| a segment of the mass that contains theatrical elements regarding biblical topics (precursor to opera) |
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| the name given to the early polyphony of the Western Church from the 9th to the 13th centuries |
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| the cathedral in Paris where music flourished and Leoninus and Perotinus developed polyphony. |
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| wrote Magnus liber organi-- developed polyphonic music |
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| Perotinus (fl. 1198-1236) |
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| Leoninus' partner in crime. composed in the same cathedral during the same time period, in similar styles |
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| newly composed polyphonic section sung in discant style |
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| a composition for a choir or larger chorus setting a religious, devotional or solemn text; often sung a cappella |
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| period from Roman de Fauvel until death of Machaut |
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| Guillaume de Machaut (c. 1300-1377) |
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| wrote mass of our lady--an almost entirely polyphonic mass |
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| Machaut's famous mass that is almost entirely polyphonic |
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| when a single note sounds while the other rests |
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| common poetic forms of the 14th and 15th centuries (ballad, rondeau, virelai) |
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| Philipp de Vitry (1291-1361) |
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| French composer and music theorist--wrote ars nova |
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| ars nova form--allegorical criticism of church and state |
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| a piece of music with repeated rhythms (talea) but varying colors |
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| an order of durations or rhythms |
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| a type of secular poet-musician that flourished in northern France during the thirteenth and early fourteenth centuries |
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| southern france version of trouvere |
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| German version of Troubadour |
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| Guillaume Dufay (c. 1397-1474) |
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| Franco-Flemish composer of the early renaissance--most famous of mid-1400s (composed Nuper Rosarum flores) |
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| piece by Guillaume Dufay. combined older isorhythmic styles with the new contrapuntal styling that was being developed--was written for the opening of a new Florence cathedral |
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| a war that lasted a hundred years. |
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| english composer of polyphonic music of late medieval and early renaissance era |
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| English manner-refers to the english style of polyphony employed by John Dunstable and others |
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| a mass in which each movement (kyrie, gloria, credo, sanctus, Agnus Dei) shared a common theme. first multi-movement piece to be unified by a theme |
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| music theorist with 8 rules of composition |
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| book by C.H. Kitson detailing contrapuntal method |
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| Franco-Flemish composer of the renaissance. first master of high renaissance style of polyphony |
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| music "of the chapel" sung w/o accompaniment |
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| a form of musical repitition in which a musical gesture is repeated later in a different form. |
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