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Music History > Exam 1 > Flashcards

Exam 1 Flashcards

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1
Q

Mass

A

Collection of prescribed texts for Christian liturgy (includes Communion)

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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

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3
Q

Proper (most important: Introit, Gradual, Alleluia, Offertory, Communion)

A

The movements of the Mass whose texts change from day to day

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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

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5
Q

Antiphon

A

The melodic section of antiphonal psalmody sung by everyone before and after the psalm

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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

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7
Q

Monophonic

A

Music with a single melodic line

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8
Q

Psalm

A

One of a collection of 150 sacred poems found in the book of Psalms in the Hebrew Bible

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9
Q

Doxology

A

The Christian verbal formula that is attached to the singing of psalms, reinforcing large points of belief

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10
Q

Unheighted Neumes

A

Early notation in which only pitch direction is given, but not relative pitch

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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)

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12
Q

Hexachord

A

A collection of six notes used by Guido to teach singing

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13
Q

Tenor

A

In a psalm tone, the pitch that is repeated for recitation

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14
Q

Final

A

In a mode, the organizing pitch where a given melody in that mode is to end

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15
Q

Guido d’Arezzo

A

11th century monk and music theorist. Wrote Micrologus, which included instructions for teaching singing

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16
Q

Gamut

A

The known musical theoretical universe, as defined by Guido’s hexachordal system

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17
Q

Hymn

A

A sacred poem set to music, each stanza having the same structure and rhythm and set to the same music

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18
Q

Strophic

A

A song or hymn in which all stanzas are set to the same music

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19
Q

Organum

A

Early word for polyphony

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20
Q

Polyphony

A

Music in which there are multiple independent lines

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21
Q

Discant

A

A style of polyphony in which the voices move close to the same rate of speed

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22
Q

Florid Organum

A

A style of polyphony in which the top voice moves much faster than the lower

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23
Q

Intonation

A

The melodic formula that begins a psalm tone, leading to the tenor

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24
Q

Mediant

A

The melodic formula that ends the first half of a psalm verse

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25
Q

Termination

A

The melodic formula of a psalm tone that completes a psalm verse, leading to the next verse or back to the antiphon

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26
Q

Psalm tone

A

The portion of antiphonal psalmody in which the psalm is sung

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27
Q

Responsorial Psalmody

A

A style of singing psalms in the Mass or Office in which a soloist alternates with the full choir

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28
Q

Neumatic

A

One syllable of text is set to 1-6 notes

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29
Q

Syllabic

A

One syllable of text is set to one note

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30
Q

Melismatic

A

One syllable of text is set to many notes

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31
Q

Schola Cantorum

A

The professional choir that sang the liturgy in Rome; traveled to Frankish areas to teach chant

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32
Q

Authentic

A

Those modes whose range is generally above their finals

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33
Q

Plagal

A

Those modes whose range is predominantly around their finals

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34
Q

Chant Dialects

A

The regional chant practices that existed in Western Europe before the standardization of chant in the 8th-9th centuries

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35
Q

St. Benedict

A

Founder of Benedictine monastic order; wrote the Rule of St. Benedict (6th century), which prescribed the organization of a monk’s day

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36
Q

Office Hours (also Monastic Office; Divine Office)

A

The organization of a monk’s day, divided into eight separate prayer services at prescribed times (Matins, Lauds, Prime, Terce, sext, Nones, Vespers, Compline)

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37
Q

Collection of prescribed texts for Christian liturgy (includes Communion)

A

Mass

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38
Q

The movements of the mass whose texts does not change from day to day in the church year

A

Ordinary (most important: Kyrie, Gloria, Credo, Sanctus, Agnus Dei)

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39
Q

The movements of the Mass whose texts change from day to day

A

Proper (most important: Introit, Gradual, Alleluia, Offertory, Communion)

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40
Q

A style of singing psalms in the Mass and the Office in which the psalm itself is sung by alternating choirs

A

Antiphonal Psalmody

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41
Q

The melodic section of antiphonal psalmody sung by everyone before and after the psalm

A

Antiphon

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42
Q

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

A

Neume

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43
Q

Music with a single melodic line

A

Monophonic

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44
Q

One of a collection of 150 sacred poems found in the book of Psalms in the Hebrew Bible

A

Psalm

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45
Q

The Christian verbal formula that is attached to the singing of psalms, reinforcing large points of belief

A

Doxology

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46
Q

Early notation in which only pitch direction is given, but not relative pitch

A

Unheighted Neumes

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47
Q

Early neumatic notation in which relative but not exact pitch is indicated by relative height (prior to 4-line staff)

A

Heighted Neumes

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48
Q

A collection of six notes used by Guido to teach singing

A

Hexachord

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49
Q

In a psalm tone, the pitch that is repeated for recitation

A

Tenor

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50
Q

In a mode, the organizing pitch where a given melody in that mode is to end

A

Final

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51
Q

11th century monk and music theorist. Wrote Micrologus, which included instructions for teaching singing

A

Guido d’Arezzo

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52
Q

The known musical theoretical universe, as defined by Guido’s hexachordal system

A

Gamut

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53
Q

A sacred poem set to music, each stanza having the same structure and rhythm and set to the same music

A

Hymn

54
Q

A song or hymn in which all stanzas are set to the same music

A

Strophic

55
Q

Early word for polyphony

A

Organum

56
Q

Music in which there are multiple independent lines

A

Polyphony

57
Q

A style of polyphony in which the voices move close to the same rate of speed

A

Discant

58
Q

A style of polyphony in which the top voice moves much faster than the lower

A

Florid Organum

59
Q

The melodic formula that begins a psalm tone, leading to the tenor

A

Intonation

60
Q

The melodic formula that ends the first half of a psalm verse

A

Mediant

61
Q

The melodic formula of a psalm tone that completes a psalm verse, leading to the next verse or back to the antiphon

A

Termination

62
Q

The portion of antiphonal psalmody in which the psalm is sung

A

Psalm tone

63
Q

A style of singing psalms in the Mass or Office in which a soloist alternates with the full choir

A

Responsorial Psalmody

64
Q

One syllable of text is set to 1-6 notes

A

Neumatic

65
Q

One syllable of text is set to one note

A

Syllabic

66
Q

One syllable of text is set to many notes

A

Melismatic

67
Q

The professional choir that sang the liturgy in Rome; traveled to Frankish areas to teach chant

A

Schola Cantorum

68
Q

Those modes whose range is generally above their finals

A

Authentic

69
Q

Those modes whose range is predominantly around their finals

A

Plagal

70
Q

The regional chant practices that existed in Western Europe before the standardization of chant in the 8th-9th centuries

A

Chant Dialects

71
Q

Founder of Benedictine monastic order; wrote the Rule of St. Benedict (6th century), which prescribed the organization of a monk’s day

A

St. Benedict

72
Q

The organization of a monk’s day, divided into eight separate prayer services at prescribed times (Matins, Lauds, Prime, Terce, sext, Nones, Vespers, Compline)

A

Office Hours (also Monastic Office; Divine Office)

73
Q

Leonin

A

Major composer of the School of Notre Dame Polyphony (Paris); flourished mid to late 12th century

74
Q

Perotin

A

Second generation of Notre Dame composers; flourished late 12th – early 13th centuries. Composed many substitute clausulas for older Notre Dame repertory.

75
Q

Magnus Liber Organi

A

Book containing organum and clausulae by Notre Dame composers; original is lost

76
Q

Anonymous IV

A

English student at the University of Paris in the 13th century who wrote about Leonin, Perotin, and the Magnus Liber Organi.

77
Q

Organum duplum, (triplum, quadruplum)

A

Respectively two-voice, three-voice, and four-voice organum

78
Q

Clausula

A

A section of discant organum, clearly bounded by obvious changes in texture

79
Q

Substitute clausula

A

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
Q

Rhythmic modes

A

A classification system of six kinds of rhythmic patterns that are used repetitively in Notre Dame polyphony (12th-13th centuries)

81
Q

Motet

A

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
Q

Long

A

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
Q

Breve

A

Originally, the shortest rhythmic value as defined by Notre Dame composers; was superseded by smaller note values in the late 13th century

84
Q

Semi breve

A

A note value introduced in the late 13th century; a division of the breve

85
Q

Minim

A

The shortest note value in the Ars nova notational system introduced in the early 14th centry; a division of the semi-breve.

86
Q

Philippe de Vitry

A

Theorist and composer; major founder of the Ars nova style of composition and notational system

87
Q

Ars nova

A

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
Q

Mood (Modus)

A

The relationship between the long and the breve in Ars nova music theory

89
Q

Time (Tempus)

A

The relationship between the breve and the semi-breve

90
Q

Prolation (Prolatio)

A

The relationship between the semi-breve and the minim

91
Q

Isorhythm

A

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
Q

Talea

A

The series of rhythmic note values that recurs in the tenor voice of an isorhythmic composition

93
Q

Color

A

A series of pitches that repeats, usually in the tenor voice, in an isorhythmic composition; may or may not synchronize with the talea.

94
Q

Isorhythmic motet (or Mass movement)

A

A motet or Mass movement featuring isorhythm in the tenor voice

95
Q

Guillaume de Machaue

A

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
Q

Messe de Nostre Dame

A

The major sacred composition of Machaut; a polyphonic setting of the Mass ordinary, featuring isorhtyhm in the Kyrie, Sanctus and Agnus Dei

97
Q

Tenor

A

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
Q

Counter tenor

A

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
Q

Coloration

A

The use of colored ink in Ars nova compositions to indicate a change in meter

100
Q

Mensuration shift

A

A fancy term for changing meters

101
Q

Mutation

A

In Guidonian solfege, the process of changing from one hexachord to another

102
Q

Hocket

A

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
Q

Major composer of the School of Notre Dame Polyphony (Paris); flourished mid to late 12th century

A

Leonin

104
Q

Second generation of Notre Dame composers; flourished late 12th – early 13th centuries. Composed many substitute clausulas for older Notre Dame repertory.

A

Perotin

105
Q

Book containing organum and clausulae by Notre Dame composers; original is lost

A

Magnus Liber Organi

106
Q

English student at the University of Paris in the 13th century who wrote about Leonin, Perotin, and the Magnus Liber Organi.

A

Anonymous IV

107
Q

Respectively two-voice, three-voice, and four-voice organum

A

Organum duplum, (triplum, quadruplum)

108
Q

A section of discant organum, clearly bounded by obvious changes in texture

A

Clausula

109
Q

A clausula written separately from a larger piece of organum that can be substituted for a discant section in an older work of organum

A

Substitute clausula

110
Q

A classification system of six kinds of rhythmic patterns that are used repetitively in Notre Dame polyphony (12th-13th centuries)

A

Rhythmic modes

111
Q

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.

A

Motet

112
Q

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

A

Long

113
Q

Originally, the shortest rhythmic value as defined by Notre Dame composers; was superseded by smaller note values in the late 13th century

A

Breve

114
Q

A note value introduced in the late 13th century; a division of the breve

A

Semi breve

115
Q

The shortest note value in the Ars nova notational system introduced in the early 14th centry; a division of the semi-breve.

A

Minim

116
Q

Theorist and composer; major founder of the Ars nova style of composition and notational system

A

Philippe de Vitry

117
Q

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.

A

Ars nova

118
Q

The relationship between the long and the breve in Ars nova music theory

A

Mood (Modus)

119
Q

The relationship between the breve and the semi-breve

A

Time (Tempus)

120
Q

The relationship between the semi-breve and the minim

A

Prolation (Prolatio)

121
Q

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

A

Isorhythm

122
Q

The series of rhythmic note values that recurs in the tenor voice of an isorhythmic composition

A

Talea

123
Q

A series of pitches that repeats, usually in the tenor voice, in an isorhythmic composition; may or may not synchronize with the talea.

A

Color

124
Q

A motet or Mass movement featuring isorhythm in the tenor voice

A

Isorhythmic motet (or Mass movement)

125
Q

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

A

Guillaume de Machaue

126
Q

The major sacred composition of Machaut; a polyphonic setting of the Mass ordinary, featuring isorhythm in the Kyrie, Sanctus and Agnus Dei

A

Messe de Nostre Dame

127
Q

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.

A

Tenor

128
Q

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.

A

Counter tenor

129
Q

The use of colored ink in Ars nova compositions to indicate a change in meter

A

Coloration

130
Q

A fancy term for changing meters

A

Mensuration shift

131
Q

In Guidonian solfege, the process of changing from one hexachord to another

A

Mutation

132
Q

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.

A

Hocket

Music History (4 decks)

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