Music History Exam 1

Gregorian chant; 8th century music standardizing words & songs in church

Central act; symbolic reenactment of the lass supper

Text does not changed, named for their first word

Text changes day to day, named by function- for holidays

New genre from Notre Dame (13th century), newly written latin to the upper voices of discant clausulae. Different text in each voice title/is/first/words

2 or more voices singing different notes in “agreeable combinations according 2 given rules”, explained in musica enchiriadis

lyric-driven French song

song for 2-3 voices, no instrumental accompaniment, all voices sing the same text

“fixed forms”, 14th century French songs w/ particular rhythmic patterns

madrigal, ballate, caccia, Italian polyphonic styles, not written down

dialogue on sacred subject set to music, performed w/ action in church

a story set to music

Normally sacred, sometimes liturgic, poetry rhymed with a regular pattern of accents

Serious, sacred or secular subject, rhymed, rhythmical text

Sacred Italian monophonic song, strophic, mostly syllabic

Associated w/ wandering students & clerics known as this, topics varied

Medieval monophonic song in Spanish or Portuguese

German lyrical song

“new art”, new style of french polyphony, allowed for duple

tenor voice singing an existing melody in newer motets

Manuscript anthologies, troubadour & trouvere poems survive, some have music, some don’t, pitch is indicated, rhythm is not

Both parts move at about the same rate, w/ 1-3 notes in the upper part for each note in the lower

2 voice organum

Vernacular poem recounting the deeds of heroes

Standard scale/mode

Painted symbols on the left hand pointed by the right, used to teach intervals

“hiccup”, 2 voices alternate in rapid succession

“equal rhythm”, a repeated rhythmic pattern in the tenor voice

the repeated rhythmic unit in isorhythm

recurring segment of the melody in isorhythm

Great book of polyphony (unfound)

German knightly poet-musicians, spoke Middle High German, composed strophically

Long melodic passages on one syllable (kyrie)

Parallel organum a 4th below, altered to avoid tritones which produced parallel motion

all parts sing the same melody

“Feigned music”, altered notes that lay outside the standard gamut (chromatic alterations)

1-6 notes per syllable (sanctus & agnus dei)

Signs placed above words to indicate melodic gesture for each syllable- early notation

5th below the principal voice in parallel motion in parallel organum

Organum style including original voice & principal voice

Original chant melody in parallel organum

Different parts singing different melodies at the same time

multiple texts in one piece

4 part organum

Most frequent or prominent note in chant

Soloist sings/chants followed by a response from the choir or congregation

Notation developed in Notre Dame, first rhythmic notation since ancient Greece to indicate duration, attributed to Johannes de Garlandia

One note per syllable (credo & gloria)

Principal voice

3 part organum

Expansion of an existing chant by adding new words, adding melody, or extending melismas

Southern France performers, spoke Occitan

Northern France performers, spoke Olde French

Baddie, had vision & prophecies, wrote poems & prose and set them to music, composed for the office and sequences for masses, most surviving music is from her

Attributed to creating Notre Dame Polyphony, known for 2 voice organum (organum duplum)

Attributed to creating Notre Dame Polyphony, known for 3-4 voice organum (organum triplum and organum quadruplum)

“most important” composer in 14th century France, compiled his works and discussed them, “mass of our lady” (la messe de nostre dame)

Foremost Italian musician of the Trecento, leading composer of ballate- landini cadence