Chapter 5

Question 1

Organum

Answer 1

Two or more voices singing different notes in agreeable combinations according to given rules

Question 2

Parallel Organum

Answer 2

Organum in which the the voices move in parallel motion, usually in fifths

Question 3

Principal Voice

Answer 3

Original chant melody; usually in the upper voice

Question 4

Organal Voice

Answer 4

The voice added above or below the principal voice

Question 5

Mixed parallel and oblique motion

Answer 5

Organum in which the voices move in parallel and oblique motion in order to avoid tritones (Bb-e and f-b); organal voice stays on note while principal voice moves

Question 6

Note-against-note organum

Answer 6

Organal voice has more freedom and is now above the chant; can move in variety of motions, but must still maintain consonant intervals (unison, fourths, fifths, octaves, and occasional thirds and sixths)

Question 7

Ad organum faciendum

Answer 7

“On Making Organum;” preserves rules for improvising or composing organum

Question 8

Musica enchiriadis

Answer 8

“Music Handbook;” widely read music treatise in the Middle Ages

Question 9

(Listening) “Tu patris sempiternus es filius”

Answer 9

Parallel organum at the fifth below

Question 10

(Listening) “Sit gloria somini”

Answer 10

Parallel organum at the fifth below with octave doublings

Question 11

(Listening) “Rex caeli domine”

Answer 11

Mixed parallel and oblique organum (Hairpin effect)

Question 12

(Listening) Alleluia Justus ut palma

Answer 12

Note-against-note organum; features two soloists, followed by choir; organal voice usually on top

Question 13

Aquitanian polyphony

Answer 13

Style of polyphony from the twelfth century, encompassing both discant and florid organum

Question 14

Discant

Answer 14

Occurs when both parts move at about the same rate, with one to three notes in the upper part for each note in the lower part

Question 15

Florid organum

Answer 15

Florid upper part over a slow moving lower part

Question 16

Tenor

Answer 16

Lower voice; holds principal melody (Aquitanian polyphony)

Question 17

(Listening) “Jubilemus, exultemus”

Answer 17

Examples of florid and discant styles (Aquitanian polyphony)

Question 18

Score notation

Answer 18

Voices written above the text; higher voice written above the tenor

Question 19

Ligatures

Answer 19

Notegroups; used to indicate short rhythmic patterns

Question 20

Longs

Answer 20

Long notes

Question 21

Breves

Answer 21

Short notes

Question 22

Rhythmic modes

Answer 22

Six basic rhythmic patterns; always grouped in three (modern day 3/8 or 6/8); attributed to Johannes de Garlandia

Question 23

Tempus

Answer 23

Basic time unit

Question 24

Anonymous IV

Answer 24

Treatise from about 1285 that talks about Leoninus and Perotinus

Question 25

Leoninus

Answer 25

Organista; credited with compiled “Magnus liber organi” (“great book of polyphony”)

Question 26

Duplum

Answer 26

The upper voice (above the tenor)

Question 27

Perotinus

Answer 27

Attributed as an editor of “Magnus liber” and “made many better clausulae” Created organa for three to four voices

Question 28

Clausula

Answer 28

Self-contained section of an organum, setting a word or syllable from the chant and closing with a cadence

Question 29

Substitute clausulae

Answer 29

A new clausulae designed to replace the original setting of a particular segment of chant; usually in discant style

Question 30

Organum duplum

Answer 30

Two-voice organum, or first voice above tenor

Question 31

Triplum

Answer 31

Three-voice organum, or second voice above tenor

Question 32

Quadruplum

Answer 32

Four-voice organum, or third voice above tenor

Question 33

Voice exchange

Answer 33

Where voices trade places

Question 34

Conductus

Answer 34

Serious Medieval song; monophonic or polyphonic; set to Latin poems

Question 35

Caudae

Answer 35

Melismatic passages at the beginning and end of a conductus

Question 36

Motet

Answer 36

Polyphonic vocal composition; different voices usually have different text

Question 37

Pavane

Answer 37

Sixteenth-century dance in slow duple meter with three repeated sections (AABBCC). Often followed by a Galliard. Slow steps in pairs.

Question 38

Galliard

Answer 38

Sixteenth-century dance in fast triple meter; skipping/hopping in pairs; follows Pavane and is in the same form (AABBCC)

Question 39

Estampie

Answer 39

Medieval instrumental dance that features a series of sections; mentioned in trouvere poetry; sliding steps; faster than a pavane

Question 40

Saltarello

Answer 40

Hopping dance; fast triple meter; followed estampie; lively and merry

Question 41

Cantus firmus

Answer 41

Fixed melody in tenor; often taken from a Gregorian Chant

Question 42

Franconion notation

Answer 42

Codified by Franco of Cologne; first time relative durations were signified by note shapes (long, double long, breve, semibreve); based on ternary groupings

Question 43

Perfection

Answer 43

Consist of three tempora (or three beats in a measure)

Question 44

Rondellus

Answer 44

English polyphony; somewhat of a round; voices pass around

Question 45

Rota

Answer 45

Closely related to rondellus; perpetual canon or round at the unison; two or more voices sing the melody, but enter at different times