Chapter 2

Question 1

Cantillation

Answer 1

Chanting of a sacred text by a solo singer, particularly in the Jewish synagogue.

Question 2

Rite

Answer 2

The set of practices that defines a particular Christian tradition, including a CHURCH CALENDAR, a LITURGY, and a repertory of CHANT.

Question 3

Church Calendar

Answer 3

In a Christian RITE, the schedule of days commemorating special events, individuals, or times of year. Catholic church celebrates events before, during, and after life of Christ (Advent, Christmas, Easter, Pentecost)

Question 4

Liturgy

Answer 4

The prescribed body of texts to be spoken or sung and ritual actions to be performed in a religious service.

Question 5

Ambrosian chant

Answer 5

A repertory of ecclesiastical CHANT used in Milan.

Question 6

Gregorian chant

Answer 6

The repertory of ecclesiastical CHANT used in the Roman Catholic Church. Unison unaccompanied song, particularly that of the Latin liturgy

Question 7

Old Roman chant

Answer 7

A repertory of ecclesiastical CHANT preserved in eleventh- and twelfth-century manuscripts from Rome representing a local tradition; a near relative of GREGORIAN CHANT.

Question 8

Notation

Answer 8

A system for writing down musical sounds, or the process of writing down music. The principal notation systems of European music use a staff of lines and signs that define the pitch, duration, and other qualities of sound.

Question 9

Neume

Answer 9

Earliest notation indicating the melodic gesture for each syllable. Includes the number of notes and pitch direction. Was a reminder of the melodic shape, could not teach the melody.

Question 10

Diastematic

Answer 10

Having to do with INTERVALS. In diastematic motion, the voice moves between sustained pitches separated by discrete intervals; in diastematic NOTATION, the approximate intervals are indicated by relative height (see HEIGHTED NEUMES).

Question 11

Centonization

Answer 11

(from Latin cento or patchwork) Process of creating a melody using material from a body of common phrases. Found in Byzantine chant.

Question 12

Musica Mundana

Answer 12

Latin, ‘music of the universe

Three kinds of music identified by Boethius (ca. 480-ca. 524), respectively the ‘music’ or numerical relationships governing the movement of stars, planets, and the seasons; the ‘music’ that harmonizes the human body and soul and their parts; and audible music produced by voices or instruments.

Question 13

Musica Humana

Answer 13

Latin, ‘human music’

Three kinds of music identified by Boethius (ca. 480-ca. 524), respectively the ‘music’ or numerical relationships governing the movement of stars, planets, and the seasons; the ‘music’ that harmonizes the human body and soul and their parts; and audible music produced by voices or instruments.

Question 14

Musica Intrumentalis

Answer 14

Lantin, ‘instrumental music’

Three kinds of music identified by Boethius (ca. 480-ca. 524), respectively the ‘music’ or numerical relationships governing the movement of stars, planets, and the seasons; the ‘music’ that harmonizes the human body and soul and their parts; and audible music produced by voices or instruments.

Question 15

Final

Answer 15

The main NOTE in the MODE; the normal closing note of a CHANT in that mode.

Question 16

Tenor

Answer 16

From Latin tenere, ‘to hold’

In a MODE or CHANT, the RECITING TONE

POLYPHONY of the twelfth and thirteenth centuries, the voice part that has the chant or other borrowed MELODY, often in long-held NOTES.

Male voice of a relatively high range.

Question 17

Reciting Tone

Answer 17

Also called Tenor

The second most important NOTE in a MODE (after the final), often emphasized in CHANT and used for reciting text in a PSALM TONE

Question 18

Hexachord

Answer 18

From Greek, ‘six strings’

(1) A set of six pitches.
(2) In medieval and RENAISSANCE SOLMIZATION, the six NOTES represented by the syllables ut, re, mi, fa, sol, la, which could be transposed to three positions: the ‘natural’ hexachord, C-D-E-F-G-A; the “hard” hexachord, G-A-B-C-D-E; and the ‘soft’ hexachord, F-G-A-B-C-D.
(3) In TWELVE-TONE theory, the first six or last six notes in the ROW.

Question 19

Solmization

Answer 19

A method of assigning syllables to STEPS in a SCALE, used to make it easier to identify and sing the WHOLE TONES and SEMITONES in a melody.

Question 20

Mutation

Answer 20

In SOLMIZATION, the process of changing from one HEXACHORD to another

Question 21

Martianus Capella

Answer 21

In the early 5th century, wrote treaties “The Marriage of Mercury and Philology”

Question 22

Boethius

Answer 22

(ca. 480-524) Wrote most revered authority on music in the Middle Ages, “De institutione musica” (The Fundamentals of Music). Related music to math, believed music had the power to educate the young and influence character, held rational philosophy of music superior to practical skills of musicians, wrote in Latin, read Greek

Question 23

Schola Cantorum

Answer 23

(School of Singers) Choir founded in late 7th century, played a role in standardizing Gregorian chant, sang when the pope officiated

Question 24

Early Systems of Notation

Answer 24

First referenced around 850.

(1) Neumes;
(2) Heighted/diastematic neumes
(3) Line labled with the pitch F or C; (4) Guido of Arezzo used 4 lines with red for F and yellow for C

Question 25

Liber Usualis

Answer 25

Collection of Gegorian chants, assigned to specific days; compiled by the monks of the Abbey of Solemes

Question 26

Medieval Church Modes

Answer 26

Learning the mode and classifying the chants by the mode made it easier to learn and memorize

Question 27

Guido d’ Arezzo

Answer 27

Wrote “Micrologus” (1025-1028), the second most important music treaties in the Middle Ages. It was a practical guide for singers about notes, intervals, scales, modes, melodic composition, improvised polyphony, plainchant, and polyphony. Used notation with lines. Developed solomization and hexachord system.

Question 28

Guidonian hand

Answer 28

Pedagogical aid developed by the followers of Guido, used to locate pitches of the system of hexachords. Syllables counterclockwise spiral on left hand starting with the thumb. Teachers would point to a part of their hand while students sang the intervals.

Question 29

Anonymous IV

Answer 29

Treaties from late 13th century by an Englishman who studied at the University of Paris. Named Leonin and Perotin as fathers of polyphony.