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exam 2 Flashcards

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1
Q

a style adding one or more voices to an existing chant, a piece in which one voice is drawn from chant

A

organum

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2
Q

voices move in parallel intervals (octave, fourth, fifth)

A

parallel organum

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3
Q

organal voice remains on the same note while principal voice moves

A

oblique organum

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4
Q

the original chant melody

A

principal voice

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5
Q

voice added below or above chant melody

A

organal voice

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6
Q

two voice organum

A

organum purum

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7
Q

encompasses both discant and florid organum

A

Aquitanian polyphony

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8
Q

both parts move around same rate, 1-3 notes in upper part per long note in lower part

A

discant

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9
Q

upper voice sings note groups of varying lengths above each note of lower voice that moves more slowly

A

florid organum

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10
Q

system of six durational patterns LB, BL, LLB, BBL, LL, BBB

A

rhythmic mode

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11
Q

a note equal to 1-3 breves

A

longs

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12
Q

compiled by Leoninus, “great book of polyphony” contained two-voice settings of the solo portions of the solo portions of the responsorial chants

A

Magnus liber organi

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13
Q

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

A

clausula

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14
Q

A serious Medieval song setting a rhymed rhythmic Latin poem

A

conductus

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15
Q

created by adding newly written Latin words to the upper voices of discant clausulae, composed for educated elite, sung in private residences

A

motet

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16
Q

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

A

cantus firmus

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17
Q

using note shapes to indicate duration

A

Franconian notation

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18
Q

half or third of a breve

A

semibreve

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19
Q

2-3 phrases of music heard simultaneously in different voices are sung in turn by each voice, perpetual phrase exchange

A

rondellus

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20
Q

endlessly circling canon

A

rota

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21
Q

earlier style, conductus organum, Franconian notation

A

Ars antiqua

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22
Q

duple, triple division of note values, syncopation, and greater rhythmic flexibility, minim, coloration, mensuration signs

A

ars nova

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23
Q

half or third of a semibreve

A

minims

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24
Q

signs that indicate which combination of time and prolation to use

A

mensuration signs

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25
Q

Repetitions in a voice part (usually tenor) patterns of extended sections of music talea and color

A

isorhythm

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26
Q

repeating rhythmic unit

A

talea

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27
Q

recurring segment of melody

A

color

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28
Q

Political satire supplemented by music written by insiders Fauvel: acronym for worldly things

A

The Roman de Fauvel

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29
Q

aternating between two voices rapid, resting while other sings

A

hocket

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30
Q

AbbaA, two musical sections, 5 lines of poetry, love and nature themes Douce dame jolie and Rose

A

Virelai

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31
Q

AAB (or aabC), serious strophic song, stanzas of 7-8 lines

A

Ballade

32
Q

ABaAabAB, two musical sections, eight lines of poetry usually love themes

A

Rondeau

33
Q

Centered in Avignon, added rhythmic and notational complexity, polymeters, polyrhythms, elaborate notational devices, symbolic notation

A

Ars subtilior

34
Q

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

A

fixed forms

35
Q

secular songs, polyphonic, french

A

chansons

36
Q

flourishing arts of Italy 1300s

A

Trecento

37
Q

secular, AAB form, 2-3 voices, ritornelo

A

Madrigal

38
Q

closing pair of lines where meter is changed

A

ritornello

39
Q

two voices in canon at the unison, free untexted tenor in slower motion below “hunt”

A

caccia

40
Q

(AbbaA), accompanies dancing, Italian

A

Ballata

41
Q

tenor descends by step, upper voice descends to a lower neighbor then skips upward a third

A

Landini Cadence

42
Q

used to create leading-tone cadences, 6th to octave should be major, 3rd to unison should be minor, notes outside of gamut

A

Musica ficta

43
Q

Wrote Music Enchiriadis, laying rules for polyphony

A

Abbot Hoger

44
Q

compiler of Magnus liber organi, master at Notre Dame, composed organum for major feasts

A

Leoninus

45
Q

Master at Notre Dame, altered Magnus liber organi, composed his own organa, constructive material instaed of flowing lines

A

Perotinus

46
Q

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

A

Adam de la Halle

47
Q

composed Aucun ont trouve/Lonc tans/Annuntiantes, even more rhythmic complexity in triplum

A

Petrus de Cruce

48
Q

“only true poet among the French”, credited with ars nova, royal court notary, mathematician, bishop, contributor to Roman de Fauvel

A

Philippe de Vitry

49
Q

Poet/composer, French, 140 works survive, among first to complie works and discuss working methods, mass

A

Guillaume de Machaut

50
Q

composer and theorist in Avignon, leading figure in ars subtilior, Treatise on Note shapes (Tractatus figurarm) , fractional time signatures

A

Philippus de Caserta

51
Q

composer/harpist at courts in Verona/Milan, popularizing music for madrigals,

A

Jacopo da Bologna

52
Q

popularized ballata, invented Landini cadence, blind

A

Francesco Landini

53
Q

Performers and Scholars have debated various issues related to historical performances, what are some current issues in these debates?

A

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

54
Q

How did Italy emerge in the fourteenth century as a center of musical development?

A

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.

55
Q

Describe the life and music of Guillaume de Machaut. Why is he significant in music history?

A

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)

56
Q

Describe the fourteenth-century Formes fixes

A

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

57
Q

Conceptions of Musical rhythm evolved dramatically in the later Medieval era. Describe at least three developments that illustrate changing approaches to rhythm.

A

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

58
Q

What is the ars nova? How is it different from the ars antiqua?

A

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.

59
Q

Describe several ways in which historical events of the fourteenth century affected the musical style

A

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

60
Q

Trace three stages in the development of thirteenth-century motet, describing the features of each stage as thoroughly as possible

A

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

61
Q

Trace three stages in the development of organum, describing the features of each stage as thoroughly as possible

A

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

62
Q

choir of male voices, parallel voices

A

organa from Musica enchiriadis

63
Q

solo male beginning then joined by choir, eeee

A

Leoninus, Viderunt omnes

64
Q

feee, male choir beginning, quicker than Leoninus

A

Perotinus, Viderunt omnes

65
Q

different meters in different voices, voice accents

A

Adam de la Halle, De ma dame vient/Dieus, comment porroie/Omne

66
Q

Higher pitch male voices, slowly, accordian

A

Petrus de Cruce, Aucun onte trouve/Lonc tans/Annuntiantes

67
Q

sing, round, mining

A

sumer is icumen in

68
Q

kee solo, kee choir

A

Philippe de Vitry, Cum statua/Hugo,Hugo/Magister invidie

69
Q

Kyrie, gloria

A

Guillaume de Machaut, La messa de Notre Dame

70
Q

douce dame jolie, female voice

A

Machaut, Douce dame jolie

71
Q

protemps, eeee, female and male voices

A

Machaut Rose liz, printemps, verdure

72
Q

stringed instrument and singular female voice, reed instrument

A

Philippus de Caserta, En remirant vo douce pourtraiture

73
Q

non, single female voice, followed by a male voice

A

Jacopo da Bologna, Non al suo amante

74
Q

cosi, pensoso

A

Francesco Landini, Cosi pensoso

75
Q

female choir, no accompaniment at first, soft

A

Landini, Non avra ma pieta

Music History (6 decks)

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