CHAPTER 2 The christian church in the first millennium

Question 1

Why was notation created

Answer 1

for the church! Chanting of scriptures and singing of Psalms- poems of praise

Question 2

Cantillation

Answer 2

chanting of sacred texts based on melodic formulas that reflected the phrase division of the text
Helped carry the text clearly in a large space

Question 3

Church fathers and how they felt about music

Answer 3

st basil, st john chrysostom st augustine st jerome - ETHOS reject music for enjoyment music serves christian teachings and religion NO INSTRUMENTAL MUSIC
Tradition- thousands of years unaccompanied singing

Question 4

what happened in 1054?

Answer 4

official division of the western church being the roman catholic church and the pope on the east side . byzantine church present day orthodox churches
EVOVLED Their own Rite church calendar liturgy body of texts and ritual actions

Question 5

Plainchant or chant

Answer 5

unison song with melodies for the prescribed texts.

Question 6

Chant dialects

Answer 6

different regional repertoire

Question 7

Byzantine chant

Answer 7

melodies were classed into eight modes or echo which served as a model for the eight modes of the western church, hymns sung fully developed melodies written down 10th century

Question 8

Centonization

Answer 8

combining standard formulas to make a new melody.

Question 9

Western Dialects

Answer 9

liturgy Gallican change, celtic in ireland, mozarabic in spain, beneventan in southern italy and ambrosian in milan named after st ambrose bishop of milan from 374-397 survived music helped centralize and consolidate ROME

Question 10

Gregorian Chant

Answer 10

is the central tradition of Western plainchant, a form of monophonic, unaccompanied sacred song in Latin (and occasionally Greek) of the Roman Catholic Church. Gregorian chant developed mainly in western and central Europe during the 9th and 10th centuries, codification of liturgy and music
SCHOLA CANTORUM choir that sang when the pope officiated at observances 7th century- wide spread unified church western europe

Question 11

Old roman Chant

Answer 11

the same texts as gregorian and represent the same liturgical tradition, melodies resemble Gregorian chant but are more ornate.

Question 12

notation 9th century

Answer 12

basically only oral transmission until the 9th century , neumes

Question 13

Neumes

Answer 13

notations signs, placed above the word to indicate the number of notes for each syllable and whether the melody ascended, descended or repeated a pitch. -melodies still had to be learned by ear

Question 14

heighted or diastematic neumes

Answer 14

10th and 11th century heighted or diastematic neumes varying heights above the text to indicate the relative size as well as direction of the intervals.

Question 15

Guido of Arezzo

Answer 15

(991/992 – after 1033) was an Italian music theorist of the Medieval era. He is regarded as the inventor of modern staff notation that replaced neumatic notation. His text, the Micrologus (practical guide for singers- covered notes intervals, scales, modes, melodic composition) line of red ink for f and yellow for c evolved a staff of four lines a third apart. Singers could learn song without hearing it beforehand
STILL did not convey duration of notes

Question 16

Solesmes chant notation- composite and oblique neumes

Answer 16

monks prepared a modern edition of chant 1903 proclaimed the official vatican editions.4 lines F or C pitch is relative.
composite neumes represent two or more pitches read left or right. Bottom note is sung first when 2 at the same time.
Oblique neume indicated three notes can only have flat or natural on B

Question 17

The marriage of mercury and philology

Answer 17

by Martianus capella 7 liberal arts grammar, dialect, rhetoric, geometry arithmetic, astronomy, and harmonics (music)

Question 18

boethius

Answer 18

quadrivium math music was a part by boethius most revered authority on music in the middle ages. Wrote De institutione musica science of numbers, numerical ratios and proportions determine intervals, consonances , scales and tuning. Music is divided into 3 parts

Question 19

3 parts of music according to boethius

Answer 19

Musica mundana music of the universe universe seasons
Musica humana harmonized the body and soul
Musica instrumentalis principles of order

Question 20

Musica enchiriadis

Answer 20

anonymous 9th century Musica enchiriadis introduces a system for notating chant, describes 8 modes, exercise for location semitones in chant and explains the consonances and how they are used to sing in polyphony

Question 21

Church modes

Answer 21

system had 8 modes by number FINAL, Range and tenor
Differentiated by arrangement of whole and half steps in relation to the final - main and usually last note
Authentic odd numbered modes cover a range from a step below the final to the octave above it. Plagal mode has the mea final but moving from a fourth below the final to a 5th or 6th above

Question 22

Tenor or reciting tone

Answer 22

second characteristic note authentic tenor is a 4th above the final and in plagal the tenor is a third below the tenor of the corresponding authentic mode- most prominent note in the chant

Question 23

Solmization

Answer 23

ut re mi fa sol la CDEFGA helped locate semitones in a chant used inthrall syllables in first 6 phrases of ut queant laxis GUIDO of AREZZO

Question 24

Hexachord

Answer 24

six step solmization pattern only 3 semitones in chant e-f b-c and a- b flat hexachord could be found in 3 positions C - natural hexachord G hard F soft

Question 25

mutation

Answer 25

a note share by both hexachords was begun as if left one hexahord and begun another