Chants and secular songs in the middle ages

Question 1

middle ages

Answer 1

between 800-1450)

Question 2

Sacred music

Answer 2

plainchant or Gregorian chant

created for ceremonial and communal liturgy

Question 3

NON sacred

Answer 3

Secular monody

type:
elite or courtly

created for entertainment, feelings

Question 4

types of music

Answer 4

monophonic: one melody, single line

homophonic: melody supported by chords

Polyphonic: two or more melodic lines at the same time

Question 5

Troubadours

Answer 5

poet composers during the 12th and 13th century
among the most artful and refined

wrote their own lyrics in either of the two french dialects at the time

Question 6

Liturgy

Answer 6

worship service
made up of texts and rites
yearly cycle of readings from the bible and weekly of the psalms

purpose: glorify god and saints, teach the gospel,

Question 7

two readings that make up the liturgy

Answer 7

the office and the mass

Question 8

the mass

Answer 8

Also known as the Eucharist

readings and prayers
focal point of religious life
proper and ordinary

Question 9

explain proper and ordinary

Answer 9

proper: change week to week
introit, gradual, sequence, alleluia, offertory, communion

Ordinary: do not change, always present
kyrie, Sanctus, credo, Agnus Dei, Gloria,

Question 10

explain the office

Answer 10

series of eight prayer services

group of monks and nuns praying

liturgy includes psalms each with
an antiphon: sung before and after a psalm

Question 11

rule of Saint Benedict

Answer 11

Saint Benedict giving the rule to a group of monks,
it contains the office

Question 12

the structure of the mass

Answer 12

intro prayers
liturgy of the word
the liturgy of the Eucharist

Question 13

notation of chant

Answer 13

Invented to standardize (uniform) the performance of chant melodies

This helped the Frankish empires:
mission to promote a uniform liturgy and music in order to influence more worshippers across their lands

Question 14

Alcuin of York

Answer 14

English monk during 8th and 9th

helped emperor Charlemagne in his mission to revive education in the Frankish empire

RESULT: development of musical centers, including saint gall switzrlnd

Question 15

Frankish empire influence on plainchant

Answer 15

more leaps
in thirds
new melodies
new forms of chant such as tropes, sequences, liturgical drama

Question 16

musical style

Answer 16

syllabic
(one note per syllable)

melismatic:
many notes per syllable

Question 17

manner of performance:

Answer 17

Antiphonal (alternating choir)

Responsorial (choir responding to soloist)

Direct: (sung by one choir)

Question 18

neumatic (chant)

Answer 18

prolonged melodic gestures of two to seven notes each.

Question 19

Antiphone (office )

Answer 19

a melody with its own text before and after a psalm

early times: the whole antiphone song before the psalms

eventually: only the opening verses sung, entire thing after the psalm.

originated to be sung by a group

Question 20

psalm tones (office)

Answer 20

formulas for chanting the psalms,
designed to fit the words of any psalms

A Psalm tone consists of five melodic elements:

1 intonation
2 reciting tone
3 bends at midpoint
4 reciting tone
5 descending to a final cadence or termination

the final verse usually leads into the lesser doxology (praise to the Trinity)

Question 21

proper mass antiphonal

Answer 21

introit and communion

introit: originally a psalm with antiphone
(shortened today, only the antiphone)

the communion: near the end of the mass
short chant, one scriptural verse

Question 22

church modes

Answer 22

1 dorian
2 hypodorian

3 phrygian
4 hypophyrigian

5 lydian
6 hypolydian

7 mixolydian
8 hypomixolydian

Question 23

about church modes

Answer 23

are defined by the sequence of whole tones and semitones in a diatonic octave built on a fnalis

authentic modes rose above the final

plagal modes: circled around or went farther below the final

Question 24

Guido arrezzo

Answer 24

his followers developed a pedagogical visual aid
proposed a set of syllables to help singers remember the notes

Question 25

early musical notation

Answer 25

notes were places above texts eventually: idea of scratching a horizontal line in the parchment corresponding to a particular note this was not for the sound but for telling the difference between notes

Question 26

three forms of chant repertory

Answer 26

two balanced phrases strophic: several stanzas sung to a melody free form: original in its content

Question 27

gradual and alleluia

Answer 27

the most developed chants of the mass responsorial chants, intended for choir and soloist in alternation. came to the frankish (france) churches from rome melodies are florid and structured. melismatic formulas occur such as intonation, internal cadance, terminations

Question 28

a trope

Answer 28

can add: *new words and music before the chant and often between phrases *extending melisma or adding new ones *text set to existing melismas the first meothd is commin and used with introits. flurished around the 10-11th

Question 29

sequence (10-13th)

Answer 29

notker babulus : frankish monk as saint gall imitated and adapted for secular songs. banned by the council of trent. text syllables under long melismas

Question 30

liturgical drama

Answer 30

a type of play that grew out of ritual and was performed on imp holiday days originated in troping

Question 31

hildegard (1098-1179, germany)

Answer 31

wrote a nun liturgical yet sacred music drama a play called ordo virtutum that has 82 songs allegorical characters, the devil does not speak as he is distant with the go said her music is divinely inspired having a connection with god meant being heard

Question 32

solmanization

Answer 32

doing the syllables of music in 6 steps cdefga solfage

Question 33

chansons the geste

Answer 33

praise song that celebrated the deeps of warriors and rulers secular songs

Question 34

jongleurs

Answer 34

people who sang secular songs traveled in small groups

Question 35

troubadours

Answer 35

male of female poet composers who flourished in 12th in france political, moral, love songs strophic and sung to the same melody bernart de ventadorn who wrote can vei la lauzeta nawm