Exam 1 Flashcards
(132 cards)
1
Q
Mass
A
Collection of prescribed texts for Christian liturgy (includes Communion)
2
Q
Ordinary (most important: Kyrie, Gloria, Credo, Sanctus, Agnus Dei)
A
The movements of the mass whose texts does not change from day to day in the church year
3
Q
Proper (most important: Introit, Gradual, Alleluia, Offertory, Communion)
A
The movements of the Mass whose texts change from day to day
4
Q
Antiphonal Psalmody
A
A style of singing psalms in the Mass and the Office in which the psalm itself is sung by alternating choirs
5
Q
Antiphon
A
The melodic section of antiphonal psalmody sung by everyone before and after the psalm
6
Q
Neume
A
The notation symbols that originated in the 9th century and became the square notation used for chant. One neume can mean anywhere from 1 to 6 pitches
7
Q
Monophonic
A
Music with a single melodic line
8
Q
Psalm
A
One of a collection of 150 sacred poems found in the book of Psalms in the Hebrew Bible
9
Q
Doxology
A
The Christian verbal formula that is attached to the singing of psalms, reinforcing large points of belief
10
Q
Unheighted Neumes
A
Early notation in which only pitch direction is given, but not relative pitch
11
Q
Heighted Neumes
A
Early neumatic notation in which relative but not exact pitch is indicated by relative height (prior to 4-line staff)
12
Q
Hexachord
A
A collection of six notes used by Guido to teach singing
13
Q
Tenor
A
In a psalm tone, the pitch that is repeated for recitation
14
Q
Final
A
In a mode, the organizing pitch where a given melody in that mode is to end
15
Q
Guido d’Arezzo
A
11th century monk and music theorist. Wrote Micrologus, which included instructions for teaching singing
16
Q
Gamut
A
The known musical theoretical universe, as defined by Guido’s hexachordal system
17
Q
Hymn
A
A sacred poem set to music, each stanza having the same structure and rhythm and set to the same music
18
Q
Strophic
A
A song or hymn in which all stanzas are set to the same music
19
Q
Organum
A
Early word for polyphony
20
Q
Polyphony
A
Music in which there are multiple independent lines
21
Q
Discant
A
A style of polyphony in which the voices move close to the same rate of speed
22
Q
Florid Organum
A
A style of polyphony in which the top voice moves much faster than the lower
23
Q
Intonation
A
The melodic formula that begins a psalm tone, leading to the tenor
24
Q
Mediant
A
The melodic formula that ends the first half of a psalm verse
25
Termination
The melodic formula of a psalm tone that completes a psalm verse, leading to the next verse or back to the antiphon
26
Psalm tone
The portion of antiphonal psalmody in which the psalm is sung
27
Responsorial Psalmody
A style of singing psalms in the Mass or Office in which a soloist alternates with the full choir
28
Neumatic
One syllable of text is set to 1-6 notes
29
Syllabic
One syllable of text is set to one note
30
Melismatic
One syllable of text is set to many notes
31
Schola Cantorum
The professional choir that sang the liturgy in Rome; traveled to Frankish areas to teach chant
32
Authentic
Those modes whose range is generally above their finals
33
Plagal
Those modes whose range is predominantly around their finals
34
Chant Dialects
The regional chant practices that existed in Western Europe before the standardization of chant in the 8th-9th centuries
35
St. Benedict
Founder of Benedictine monastic order; wrote the Rule of St. Benedict (6th century), which prescribed the organization of a monk's day
36
Office Hours (also Monastic Office; Divine Office)
The organization of a monk's day, divided into eight separate prayer services at prescribed times (Matins, Lauds, Prime, Terce, sext, Nones, Vespers, Compline)
37
Collection of prescribed texts for Christian liturgy (includes Communion)
Mass
38
The movements of the mass whose texts does not change from day to day in the church year
Ordinary (most important: Kyrie, Gloria, Credo, Sanctus, Agnus Dei)
39
The movements of the Mass whose texts change from day to day
Proper (most important: Introit, Gradual, Alleluia, Offertory, Communion)
40
A style of singing psalms in the Mass and the Office in which the psalm itself is sung by alternating choirs
Antiphonal Psalmody
41
The melodic section of antiphonal psalmody sung by everyone before and after the psalm
Antiphon
42
The notation symbols that originated in the 9th century and became the square notation used for chant. One neume can mean anywhere from 1 to 6 pitches
Neume
43
Music with a single melodic line
Monophonic
44
One of a collection of 150 sacred poems found in the book of Psalms in the Hebrew Bible
Psalm
45
The Christian verbal formula that is attached to the singing of psalms, reinforcing large points of belief
Doxology
46
Early notation in which only pitch direction is given, but not relative pitch
Unheighted Neumes
47
Early neumatic notation in which relative but not exact pitch is indicated by relative height (prior to 4-line staff)
Heighted Neumes
48
A collection of six notes used by Guido to teach singing
Hexachord
49
In a psalm tone, the pitch that is repeated for recitation
Tenor
50
In a mode, the organizing pitch where a given melody in that mode is to end
Final
51
11th century monk and music theorist. Wrote Micrologus, which included instructions for teaching singing
Guido d'Arezzo
52
The known musical theoretical universe, as defined by Guido's hexachordal system
Gamut
53
A sacred poem set to music, each stanza having the same structure and rhythm and set to the same music
Hymn
54
A song or hymn in which all stanzas are set to the same music
Strophic
55
Early word for polyphony
Organum
56
Music in which there are multiple independent lines
Polyphony
57
A style of polyphony in which the voices move close to the same rate of speed
Discant
58
A style of polyphony in which the top voice moves much faster than the lower
Florid Organum
59
The melodic formula that begins a psalm tone, leading to the tenor
Intonation
60
The melodic formula that ends the first half of a psalm verse
Mediant
61
The melodic formula of a psalm tone that completes a psalm verse, leading to the next verse or back to the antiphon
Termination
62
The portion of antiphonal psalmody in which the psalm is sung
Psalm tone
63
A style of singing psalms in the Mass or Office in which a soloist alternates with the full choir
Responsorial Psalmody
64
One syllable of text is set to 1-6 notes
Neumatic
65
One syllable of text is set to one note
Syllabic
66
One syllable of text is set to many notes
Melismatic
67
The professional choir that sang the liturgy in Rome; traveled to Frankish areas to teach chant
Schola Cantorum
68
Those modes whose range is generally above their finals
Authentic
69
Those modes whose range is predominantly around their finals
Plagal
70
The regional chant practices that existed in Western Europe before the standardization of chant in the 8th-9th centuries
Chant Dialects
71
Founder of Benedictine monastic order; wrote the Rule of St. Benedict (6th century), which prescribed the organization of a monk's day
St. Benedict
72
The organization of a monk's day, divided into eight separate prayer services at prescribed times (Matins, Lauds, Prime, Terce, sext, Nones, Vespers, Compline)
Office Hours (also Monastic Office; Divine Office)
73
Leonin
Major composer of the School of Notre Dame Polyphony (Paris); flourished mid to late 12th century
74
Perotin
Second generation of Notre Dame composers; flourished late 12th -- early 13th centuries. Composed many substitute clausulas for older Notre Dame repertory.
75
*Magnus Liber Organi*
Book containing organum and clausulae by Notre Dame composers; original is lost
76
Anonymous IV
English student at the University of Paris in the 13th century who wrote about Leonin, Perotin, and the Magnus Liber Organi.
77
Organum duplum, (triplum, quadruplum)
Respectively two-voice, three-voice, and four-voice organum
78
Clausula
A section of discant organum, clearly bounded by obvious changes in texture
79
Substitute clausula
A clausula written separately from a larger piece of organum that can be substituted for a discant section in an older work of organum
80
Rhythmic modes
A classification system of six kinds of rhythmic patterns that are used repetitively in Notre Dame polyphony (12th-13th centuries)
81
Motet
Originally a substitute clausula with added words in the upper part(s). Quickly became a free-standing composition; usually had sacred themes (sometimes combined with secular texts) and multiple texts, sometimes combining Latin and French.
82
Long
The longer of the two standard rhythmic note values of the later Middle Ages; introduced in the context of rhythmic modes used by the school of Notre Dame polyphony
83
Breve
Originally, the shortest rhythmic value as defined by Notre Dame composers; was superseded by smaller note values in the late 13th century
84
Semi breve
A note value introduced in the late 13th century; a division of the breve
85
Minim
The shortest note value in the Ars nova notational system introduced in the early 14th centry; a division of the semi-breve.
86
Philippe de Vitry
Theorist and composer; major founder of the Ars nova style of composition and notational system
87
Ars nova
Translation: "new art." A school of polyphonic composition of 14th - century France, founded by de Vitry and marked by rhythmic and metrical variety and a slow-moving isorhythmic tenor.
88
Mood (Modus)
The relationship between the long and the breve in Ars nova music theory
89
Time (Tempus)
The relationship between the breve and the semi-breve
90
Prolation (Prolatio)
The relationship between the semi-breve and the minim
91
Isorhythm
Translation: "same rhythm;" a compositional technique featuring a series of note values that repeats, usually in the tenor, creating the formal structure of the composition
92
Talea
The series of rhythmic note values that recurs in the tenor voice of an isorhythmic composition
93
Color
A series of pitches that repeats, usually in the tenor voice, in an isorhythmic composition; may or may not synchronize with the talea.
94
Isorhythmic motet (or Mass movement)
A motet or Mass movement featuring isorhythm in the tenor voice
95
Guillaume de Machaue
Composer of the later Ars nove (mid 14th century); worked as a canon at the Cathedral at Reims and in the court of John of Bohemia; professional composer
96
Messe de Nostre Dame
The major sacred composition of Machaut; a polyphonic setting of the Mass ordinary, featuring isorhtyhm in the Kyrie, Sanctus and Agnus Dei
97
Tenor
Beginning in the 12th century, the slower-moving voice in a polyphonic composition that contains the original chant or chant excerpt; later on (15th century) tenors also contain other pre-existent works.
98
Counter tenor
A newly-composed voice written in the same style as the tenor (i.e., slower-moving) to complement the tenor. Machaut uses a counter tenor in his Messe de Nostre Dame.
99
Coloration
The use of colored ink in Ars nova compositions to indicate a change in meter
100
Mensuration shift
A fancy term for changing meters
101
Mutation
In Guidonian solfege, the process of changing from one hexachord to another
102
Hocket
Meaning "hiccup" and taken from the French word "hocquet", this is a technique of intensification in which the upper voice alternate between singing and resting, producing a choppy melodic line.
103
Major composer of the School of Notre Dame Polyphony (Paris); flourished mid to late 12th century
Leonin
104
Second generation of Notre Dame composers; flourished late 12th -- early 13th centuries. Composed many substitute clausulas for older Notre Dame repertory.
Perotin
105
Book containing organum and clausulae by Notre Dame composers; original is lost
*Magnus Liber Organi*
106
English student at the University of Paris in the 13th century who wrote about Leonin, Perotin, and the Magnus Liber Organi.
Anonymous IV
107
Respectively two-voice, three-voice, and four-voice organum
Organum duplum, (triplum, quadruplum)
108
A section of discant organum, clearly bounded by obvious changes in texture
Clausula
109
A clausula written separately from a larger piece of organum that can be substituted for a discant section in an older work of organum
Substitute clausula
110
A classification system of six kinds of rhythmic patterns that are used repetitively in Notre Dame polyphony (12th-13th centuries)
Rhythmic modes
111
Originally a substitute clausula with added words in the upper part(s). Quickly became a free-standing composition; usually had sacred themes (sometimes combined with secular texts) and multiple texts, sometimes combining Latin and French.
Motet
112
The longer of the two standard rhythmic note values of the later Middle Ages; introduced in the context of rhythmic modes used by the school of Notre Dame polyphony
Long
113
Originally, the shortest rhythmic value as defined by Notre Dame composers; was superseded by smaller note values in the late 13th century
Breve
114
A note value introduced in the late 13th century; a division of the breve
Semi breve
115
The shortest note value in the Ars nova notational system introduced in the early 14th centry; a division of the semi-breve.
Minim
116
Theorist and composer; major founder of the Ars nova style of composition and notational system
Philippe de Vitry
117
Translation: "new art." A school of polyphonic composition of 14th - century France, founded by de Vitry and marked by rhythmic and metrical variety and a slow-moving isorhythmic tenor.
Ars nova
118
The relationship between the long and the breve in Ars nova music theory
Mood (Modus)
119
The relationship between the breve and the semi-breve
Time (Tempus)
120
The relationship between the semi-breve and the minim
Prolation (Prolatio)
121
Translation: "same rhythm;" a compositional technique featuring a series of note values that repeats, usually in the tenor, creating the formal structure of the composition
Isorhythm
122
The series of rhythmic note values that recurs in the tenor voice of an isorhythmic composition
Talea
123
A series of pitches that repeats, usually in the tenor voice, in an isorhythmic composition; may or may not synchronize with the talea.
Color
124
A motet or Mass movement featuring isorhythm in the tenor voice
Isorhythmic motet (or Mass movement)
125
Composer of the later Ars nove (mid 14th century); worked as a canon at the Cathedral at Reims and in the court of John of Bohemia; professional composer
Guillaume de Machaue
126
The major sacred composition of Machaut; a polyphonic setting of the Mass ordinary, featuring isorhythm in the Kyrie, Sanctus and Agnus Dei
Messe de Nostre Dame
127
Beginning in the 12th century, the slower-moving voice in a polyphonic composition that contains the original chant or chant excerpt; later on (15th century) tenors also contain other pre-existent works.
Tenor
128
A newly-composed voice written in the same style as the tenor (i.e., slower-moving) to complement the tenor. Machaut uses a counter tenor in his Messe de Nostre Dame.
Counter tenor
129
The use of colored ink in Ars nova compositions to indicate a change in meter
Coloration
130
A fancy term for changing meters
Mensuration shift
131
In Guidonian solfege, the process of changing from one hexachord to another
Mutation
132
Meaning "hiccup" and taken from the French word "hocquet", this is a technique of intensification in which the upper voice alternate between singing and resting, producing a choppy melodic line.
Hocket
