exam 2 Flashcards
a style adding one or more voices to an existing chant, a piece in which one voice is drawn from chant
organum
voices move in parallel intervals (octave, fourth, fifth)
parallel organum
organal voice remains on the same note while principal voice moves
oblique organum
the original chant melody
principal voice
voice added below or above chant melody
organal voice
two voice organum
organum purum
encompasses both discant and florid organum
Aquitanian polyphony
both parts move around same rate, 1-3 notes in upper part per long note in lower part
discant
upper voice sings note groups of varying lengths above each note of lower voice that moves more slowly
florid organum
system of six durational patterns LB, BL, LLB, BBL, LL, BBB
rhythmic mode
a note equal to 1-3 breves
longs
compiled by Leoninus, “great book of polyphony” contained two-voice settings of the solo portions of the solo portions of the responsorial chants
Magnus liber organi
a self-contained section of an organum that closes with a cadence , often in discant style and based on repeating tenor pattern. could be mixed/matched
clausula
A serious Medieval song setting a rhymed rhythmic Latin poem
conductus
created by adding newly written Latin words to the upper voices of discant clausulae, composed for educated elite, sung in private residences
motet
An existing melody often based off of gregorian chant music on which a new polyphonic work is based ( a way of setting a melody to slow or long rhythms in contrast to quicker rhythms in the higher voices
cantus firmus
using note shapes to indicate duration
Franconian notation
half or third of a breve
semibreve
2-3 phrases of music heard simultaneously in different voices are sung in turn by each voice, perpetual phrase exchange
rondellus
endlessly circling canon
rota
earlier style, conductus organum, Franconian notation
Ars antiqua
duple, triple division of note values, syncopation, and greater rhythmic flexibility, minim, coloration, mensuration signs
ars nova
half or third of a semibreve
minims
signs that indicate which combination of time and prolation to use
mensuration signs
Repetitions in a voice part (usually tenor) patterns of extended sections of music talea and color
isorhythm
repeating rhythmic unit
talea
recurring segment of melody
color
Political satire supplemented by music written by insiders Fauvel: acronym for worldly things
The Roman de Fauvel
aternating between two voices rapid, resting while other sings
hocket
AbbaA, two musical sections, 5 lines of poetry, love and nature themes Douce dame jolie and Rose
Virelai
AAB (or aabC), serious strophic song, stanzas of 7-8 lines
Ballade
ABaAabAB, two musical sections, eight lines of poetry usually love themes
Rondeau
Centered in Avignon, added rhythmic and notational complexity, polymeters, polyrhythms, elaborate notational devices, symbolic notation
Ars subtilior
Virelai fixed forms, text and music have particular patterns of repetition that include a refrain, a phrase or section that repeats both words and musc
fixed forms
secular songs, polyphonic, french
chansons
flourishing arts of Italy 1300s
Trecento
secular, AAB form, 2-3 voices, ritornelo
Madrigal
closing pair of lines where meter is changed
ritornello
two voices in canon at the unison, free untexted tenor in slower motion below “hunt”
caccia
(AbbaA), accompanies dancing, Italian
Ballata
tenor descends by step, upper voice descends to a lower neighbor then skips upward a third
Landini Cadence
used to create leading-tone cadences, 6th to octave should be major, 3rd to unison should be minor, notes outside of gamut
Musica ficta
Wrote Music Enchiriadis, laying rules for polyphony
Abbot Hoger
compiler of Magnus liber organi, master at Notre Dame, composed organum for major feasts
Leoninus
Master at Notre Dame, altered Magnus liber organi, composed his own organa, constructive material instaed of flowing lines
Perotinus
composed De ma dame vient/Diet comment porroie/Omnes, internal dissonances vs. consonant phrase endings (fifths, octaves), upper voices differ in rhythm and same pattern rarely repeats from one measure to the next
Adam de la Halle
composed Aucun ont trouve/Lonc tans/Annuntiantes, even more rhythmic complexity in triplum
Petrus de Cruce
“only true poet among the French”, credited with ars nova, royal court notary, mathematician, bishop, contributor to Roman de Fauvel
Philippe de Vitry
Poet/composer, French, 140 works survive, among first to complie works and discuss working methods, mass
Guillaume de Machaut
composer and theorist in Avignon, leading figure in ars subtilior, Treatise on Note shapes (Tractatus figurarm) , fractional time signatures
Philippus de Caserta
composer/harpist at courts in Verona/Milan, popularizing music for madrigals,
Jacopo da Bologna
popularized ballata, invented Landini cadence, blind
Francesco Landini
Performers and Scholars have debated various issues related to historical performances, what are some current issues in these debates?
Were all parts sung, or did instrumentalists play some of the parts? Were there different norms for sacred v. secular music? What kind of vocal production was used? Was music one on a part, or many per part? Which instruments were used? How much improvisation occurred? How were chromatic alterations (accidentals) applied to the repertory
How did Italy emerge in the fourteenth century as a center of musical development?
Italy was a collection of city-states in the fourteenth century competing for prestige. Music was important to social life. Florence was especially important as there was municipal support for the arts.
Describe the life and music of Guillaume de Machaut. Why is he significant in music history?
Guillaume de Machaut was a premiere poet/ composer of the 14th century. He was botn in NE France. He was educated in Reims Cathedral and the University of Paris. In 1323, he worked as a clerk and secretary to Duke of Luxembourg traveling widely. In 1340-77, he produced canon at Reims Cathedral. He is one of the first composers to compile works and discuss working methods. Almost his entire outpur (140 works survive) motets, secular works, mass First to do the Cyclic mass (all movements unified by a common musical theme)
Describe the fourteenth-century Formes fixes
The formes fixes “fixed formes. Schemes of poetic and musical repetition, each featuring a refrain. Ballade, Rondeau , and Virelai. A ballade typically consists of three stanzas each ending on the same line of poetry (aabC) Rondeau has only one stanza framed by a refrain that includes both sections of music used for the stanza (ABaAabAB) The Virelai has three stanzas, each preceded and followed by a refrain (AbbaA
Conceptions of Musical rhythm evolved dramatically in the later Medieval era. Describe at least three developments that illustrate changing approaches to rhythm.
One development of musical rhythm is Franconian notation that was the first to use note shapes to show durations, it was based on ternary groups three tempura for a perfection (measure of three beats) The next development in this book is the Ars Nova adds new note value (minim) notes now divide into duple as well as perfect, use of coloration, mensuration signs. Another development is the ars subtilior., adding rhythmic and notational complexity, polyrhythms, poly meters, syncopation, fractional mensuration times, new note shapes to relect proportions, duple triple shifts
What is the ars nova? How is it different from the ars antiqua?
The ars nova translates to “new art. It allowed duple and triple divisions of note values, syncopation, and greater flexibility of rhtyhm than the earlier style. . The ars antiqua was the style of writing preceding the ars nova. It was based on conductus organum and Franconian notation. Only perfect divisions allowed.
Describe several ways in which historical events of the fourteenth century affected the musical style
The fourteenth century saw famine, war, and plague. Conflicts and scandals occured within the church and revolts challenged authorities. In response, there wsas an empasis on structure and pleasure in music. Drastic changes in measurement to give structure, interest in measuring intervals/durations as music gets more complex
Trace three stages in the development of thirteenth-century motet, describing the features of each stage as thoroughly as possible
Motets emerged from the discant clausula, new texts added to upper musical lines, By 1300, motets supplant organum/conductus as preferred sacred genre. Motets in the Early thirteenth Century were polytextual, bottom voice has latin chant, upper voices comment on words of bottom voice. Later 13th century developments, 3 boices standard, french or latin texts, tenors from varied sources, used as cantus firmus, more diverse subject matter, greater stylistic diversity
Trace three stages in the development of organum, describing the features of each stage as thoroughly as possible
The organum was the earliest polyphony, an elaboration of chant, rooted in improvisation, first appearance in Music enchiariadis (890), principal and organal, voices in parallel. Evolution of Organum Micrologus, 1030 allowing for choices between parallel and oblique motion, 1100 original voice placed above chant, contrary motion, voice crossing, note-against-note Aquitanian Polyphony nd Florid Organum (notated pitches, discant style, florid organum
choir of male voices, parallel voices
organa from Musica enchiriadis
solo male beginning then joined by choir, eeee
Leoninus, Viderunt omnes
feee, male choir beginning, quicker than Leoninus
Perotinus, Viderunt omnes
different meters in different voices, voice accents
Adam de la Halle, De ma dame vient/Dieus, comment porroie/Omne
Higher pitch male voices, slowly, accordian
Petrus de Cruce, Aucun onte trouve/Lonc tans/Annuntiantes
sing, round, mining
sumer is icumen in
kee solo, kee choir
Philippe de Vitry, Cum statua/Hugo,Hugo/Magister invidie
Kyrie, gloria
Guillaume de Machaut, La messa de Notre Dame
douce dame jolie, female voice
Machaut, Douce dame jolie
protemps, eeee, female and male voices
Machaut Rose liz, printemps, verdure
stringed instrument and singular female voice, reed instrument
Philippus de Caserta, En remirant vo douce pourtraiture
non, single female voice, followed by a male voice
Jacopo da Bologna, Non al suo amante
cosi, pensoso
Francesco Landini, Cosi pensoso
female choir, no accompaniment at first, soft
Landini, Non avra ma pieta
