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Music History / Orch. > 13th century - Organum and secular music > Flashcards

13th century - Organum and secular music Flashcards

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1
Q

Conductus

A

Newly-composed settings of non-liturgical texts in Latin in one to four parts. Regular poetry = regular phrase length - strophic music

(Perotin, Beata Viscera)
(flourished c. 1200)

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2
Q

Conductus performance

A

isosyllabic (each syllable is approximately equal)

modal (rhythmic modes from clausulae are imposed)

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3
Q

Notre Dame Cathedral authorized

A

1160

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4
Q

Johannes de Garlandia

A

De musica mensurabilii, 1240 - explained rhythmic modes

first to define musica ficta - used to avoid “the error of the third sound”

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5
Q

Leonin

A

1135 - 1201 - credited with the Magnus Liber Organi

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6
Q

Clausula

A
  • a polyphonic section of chant in which all voices move at the same rate (even the tenor)
  • normally in a melismatic section of the solo chant
  • could be substituted
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7
Q

Rondellus / Stimmtausch

A

the exchange of motives or phrases between voices (think of the pes in “Sumer is icumen in”)

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8
Q

Perotin

A

(fl. 1190 - 1225)
- updated and improved many clausulae in the MLO
- three surviving organa quadrupla: Viderunt Omnes, Sederunt Principes, Mors - Christus Resurgens

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9
Q

Viderunt Omnes / Sederunt Principes

A

1198 - Gradual for 1 January
/
1199 - Gradual for St. Stephen’s Day

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10
Q

Rhythmic modes

A 
I - Long short
II - Short long
III - Loong short long
IV - Short long loong
V - Loong loong loong
VI - Short short short
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11
Q

Franco of Cologne

A

Ars cantus mensurabilis (c.1260) - created different note shapes - the double long, long, breve, and semibreve

(no binary time division)

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12
Q

Motet origin

A

created when a literary trope (add. words) was added to the duplum of a clausula

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13
Q

Motet after 1250

A

three-voice polytextual motet, came to replace conductus

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14
Q

Choirbook notation

A

Duplum and triplum side to side, tenor on bottom of page

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15
Q

Franconian motet

A

Very text-y, rhythmically active triplum - each melodic line in a different rhythmic mode

(Pucelete - je languis - Domino)

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16
Q

Petrus de Cruce

A

(fl. c. 1270 - 1300)

Introduced more breve divisions - (four to seven semibreves per breve) - used dots of division to group semibreves - “Petronian” motets with very rapid triplum

17
Q

Sumer is icumen in

A
  • Manuscript Harley 978
  • Rota superimposed over a rondellus pes
  • c.1250
18
Q

Hildegard von Bingen

A

(1098 - 1179) - Abbes of Rupertsberg

19
Q

Goliards

A

Rejects of religious life, responsible for the “Carmina Burana”

20
Q

Troubadors / Trouvéres

A

Southern France / northern France

21
Q

Formes fixes

A

Late thirteenth-century literary forms: Ballade, rondeau, virelai

22
Q

Kalenda Maya

A

Raimbaut de Vaquieras - a troubador dansa, dance song

23
Q

Rondeaux

A

ABaAabAB

- Prendes i garde

24
Q

Ballade

A
  • A l’entrada del tens clar

- aabC

25
Q

Adam de la Halle

A

(Born c.1245) - greatest of the trouvéres - wrote Le jeu de Robin et de Marion and Dieus soit, a ballade

26
Q

Squarcalupi Codex

A

Manuscript source of 14th century Italian polyphony

27
Q

(Medieval) madrigal

A

From matricalis-mother tongue
Italian polyphonic musical form

Jacobo da Bologna - Non al suo amante, Fenice fu

28
Q

Caccia

A

Italian polyphonic form - two-voice unison canon

Tosto che l’alba - from Squarcalupi codex

29
Q

Francesco Landini

A

Italian poet-composer, famous for his ballate

Si dolce non sono
Landini cadence

30
Q

English “carol”

A

Strophic dance song with a ‘burden’ at the beginning and end of each stanza

Salva, sancta parens

31
Q

Laude spirituali

A

Songs of wandering penitents - strophic, with refrains

Nonliturgical sacred monophony

Gloria ‘n Cielo

32
Q

Golden age of Minnesänger

A

1180 - 1230

Tannhäuser and Wolfram von Eschenbach - song contest at Wartburg in 1207

33
Q

St. Godric

A

(D. 1170) Saxon hermit, responsible for the earliest surviving vernacular English songs

Crist and Sainte Marie

34
Q

Palästinlied

A

Walther von der Vogelweide

Early example of bar form

35
Q

Cantigas de Santa Maria

A

Prepared c. 1250-80

Galician-Portuguese medieval music

36
Q

Magna Carta

A

1215 - Runnymede, London

63 demands for King John
Origins of “Habeas corpus”, fair trial, private property

Music History / Orch. (12 decks)

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