Mass And Secular Monophony Flashcards
1
Q
define recitationes
A
the recitation of a biblical text ie, a gregorian chant
2
Q
what are the three types of declamation?
A
melismatic( 1-4 to 6), neumatic(1-2 or 3), and syllabic (1-1).
3
Q
define missa. what aspects does it consist of? (3)
A
the main service of the Roman Church. commemoration of the last supper. consists of prayers, biblical readings, and psalm singing.
4
Q
where was the missa celebrated? how often? (3)
A
monasteries (daily), convents (daily), major churches (daily).
5
Q
define ordinarium missae, and list its parts. (8)
A
the parts of the mass that are always present. this includes the kyrie, gloria, credo, sanctus-benedictus, canon, pater noster, agnus dei, and ite missa est.
6
Q
define proprium missae and list its parts. (10)
A
the parts of the mass that vary depending on the time of year. this includes the introit, collect, epistle, gradual, alleluia or tract or sequences, gospel, prayers and psalm 25, offertory, preface, communion, and the post communion.
7
Q
list, in order, the 18 parts of the mass.
A
introit, kyrie, gloria, collect, epistle, gradual, alleluia or tract, or sequence, gospel, credo, prayers and psalm 25 and offertory, preface, sanctus benedictus, canon, pater noster, agnus dei, communion, post communion, ite missa est.
8
Q
what parts of the mass were sung? (11)
A
introit, kyrie, gloria, gradual, alleluia, tract, sequences, credo, offertory, sanctus-benedictus,agnus dei, communion, and ite missa est.
9
Q
which parts of the mass were spoken or recited?
8
A
collect, epistle, gospel, prayers and psalm 25, preface, canon, pater noster, and post-communion.
10
Q
Define introit
A
Neumatic or group style, consists of an introductory antiphon (brief and freely composed, syllabic), a psalm verses (standard formula), an optional repeat of the antiphon, the lesser doxology or Gloria patri (omitted in lent) repeat of the antiphon.
11
Q
Define kyrie
A
Neumatic, rarely melismatic, various musical schemes. In example: Kyrie a a a 3x Christe b b b 3x Kyrie a a a 3x
12
Q
Define Gloria
A
Also known as the greater doxology. Omitted during lent, advent, other penitential days. No systematic repetition pattern. Opening phrase sung by priest or cantor, then choir joins.
13
Q
Define collect
A
Prayer offered by priest. Recited to a recitation tone (to pick orationum). There are usually three collects per mass.
14
Q
Define epistle
A
Usually from the epistles (letters) of the New Testament. Read or recited on a recitation pitch called tonus epistola.
15
Q
Define gradual
A
Melismatic, responsorial chant. Sung on all Sunday’s except the first Sunday after Easter uses melodic formula.
Format: introductory respond, psalm verse, optional respond.
16
Q
Define alleluia
A
Melismatic responsorial chant. Sung on all Sunday’s except during lent. During lent replaced by the tract. Format: refrain on a single word (alleluia), verse, then repetition of refrain.
17
Q
Define the tract
A
Melismatic, direct psalmody without addition of antiphon or response. Sung by soloist. During lent. Also on certain occasions. Characteristic repetition of phrases. Centonization either in 2nd or 8th.
18
Q
Define sequences in respect to the mass.
A
Optional, originally long Melismas sung without text after the alleluia. Later Melismas underlaid with text (prosa). it was used to prolong the mass on certain celebration days.
19
Q
define gospel in respect to the mass
A
a passage from one of the four gospels (matthew, mark, luke, john) chanted in monotone with inflections (tonus evangelii)
this is followed by an optional sermon.
20
Q
define credo
A
syllabic, no systematic repetition pattern, opening phrase sung by priest or cantor, then choir. it is the center of the service and the text cannot be changed.
21
Q
define offertory
A
neumatic reponsorial chant, originally psalm with antiphon. this accompanies the placing of the bread and wine on the altar and the placing of the offering on the altar. usually the churches were government subsadized.
22
Q
what usually begins the offertory?
A
a prayer and psalm. This is recited or spoken.
23
Q
define preface in respect to the mass.
A
a solemn declaration of praise beginning with the words vere dignum.
24
Q
define the sanctus-benedictus
A
neumatic, broken into two parts– “tripartite beginning” (this was the Sanctus in form aba sung by the priest or cantor then the choir) AND “tripartite ending (benedictus-hosanna- benedictus in the form aba)
25
define the canon
the central and most solemn proclamation said by the priest.
26
define pater noster
the Our Father. this is recited.
27
define agnus dei
neumatic or occasionally syllabic. it is usually a reflection of tripartite invocation: aba or aaa. less common is aab or abc
28
define communion (both in its historical context and the music used)
was not optional, only the minister could serve communion, all present gathered around the table, the minister got the wine, and the monks got the bread only.
music was neumatic, it originally was a antiphon and psalm during the distrubution of the elements.
29
what came after communion (aka define Post-Communion)
an antiphonal psalm that was spoken or recited.
30
what is the ite missa est?
this is the concluding salutation of Mass. usually shared melodic material with the kryie (of that mass). sung by priest or deacon then choir responded with "DEo Gratias", or in masses lacking the gloria they responded with "Benedicamus domino"
31
How did antiphonal practice differ from the office to the mass?
Introitus and communio both had antiphons. The mass antiphons were more elaborate than office. The preference for stepwise motions and motions of a third.
32
what did the number three symbolize? two?
the father, son, and holy spirit, were in a group of three, therefore the number three represented perfection. the number two, in turn, represented imperfection.
33
what was the officium? when was it celebrated?
the officium was a short liturgy without communion that was celebrated 8 times a day (every hours). it is unclear whether every monk celebrated every ceremony in the monastery.
34
what musical aspects were there to the office?
a)several psalms each including an antiphon, and b) lessons followed by responsories, hymns, anc canticles. it also sometimes included sung prayers.
35
what were the most significant officia (office services)?
a) Matins: the nighttime service, b)Lauds: the early morning service, and c)Vespers: the Saturday dusk service.
36
define Missal, Gradualia, and Brevarium
a) the liturgical books containing text, b) liturgical books containing music, and c) books containing texts for the Office.
37
what are responsorial, antiphonal, and direct singing styles?
they are the performance practices from Gregorian chant. they are a) soloist in alternation with congregation of monks, b) two halves of the choir of monks alternating, or c) no alternation, the full choir singing.
38
what is a recitation formula?
a piece that you can insert text with any number of syllables into. this included a flexible recitation pitch.
also included various major points of division. signified by melodic motives, denoting ends of phrases, sentences, ends of pieces.
39
define initium in respect to the recitation formula.
the single line of notated pitch that represents the "melody" for all the other lines
40
define recitatio
this is the recitation pitch-- denoted as a "whole note", it is recited as needed to make room for the text. makes room for expansion and contraction.
41
define mediatio
the median of a formula: not always exactly the middle, but the break of phrases. this is the few notes leading up to this separation.
42
define flex
the dip in the melodic line preceeding the mediation.
43
define terminatio
the end of the piece. this is usually a mirror of the beginning of the piece.
44
what was the format of the office antiphons?
the antiphon precedes and follows the psalm, and creats a form of ABB...(psalm)... BBA. the melodic mode was tailored specific to the psalm.
45
what was the text of the antiphon?
they were texts based on the bible but not directly scriptural, or could be a written interpretation of a biblical passage.
46
define hymn, specifically those used in the office.
the hymn is the most familiar genre of sacred monophony. it is strophic and often rhymes. each stanza is sung to the same music. often with the first stanza written out and the rest with only the text.
47
define residuum
this translates to "residual". it is the text underneath a single line of notated text (the initium). this exists in antiphons and in hymns.
48
what pieces in the Missa could have an antiphon?
the introitus and the communio could both have antiphons.
49
how did antiphons vary from the office to the mass?
the mass antiphons were more elaborate than the office. there was preference for stepwise motion and motions by the interval of a third.
50
which aspects of the mass were part of responsorial psalmody?
the gradual, alleluia, and the offertory were a single psalm with a choral response.
51
how did the chants of the ordinarium missae vary from those of the proprium missae?
the ordinarium tended to be longer.
52
define the aspects of office responsories
all office responsories included respond, verse, and full or partial repetition of respond.
53
what is the iubilus?
the lengthy melisma on the final syllable of the alleluia. considered to be an expression of joy by st. augustine.
54
give the example of the alleluia in regards to responsories
begins with a respond on the word alleluia, then a psalm verse, and a repetition of the respond.
55
why were words often repeated three times?
symbolism of three-- father, son, and holy spirit.
56
define trope and list the three ways that it could be used.
an expansion of an existing chant, usually neumatic. a)adding new words and music prior to the chant and frequently between phrases (ex NAWM 3a and 6) b) adding of solely melody with extensive melismas, either new or derived from old melismas. c)adding of soley text, known as prosula (prose).
57
who performed tropes?
tropes were usually soloistic.
58
define prosula
the name for the addition of only text in a trope. means prose.
59
when did the downfall of tropes occur?
the twelfth century. they were banned by the council of Trent (1545-1563) in an attempt to simplify the liturgy.
60
what is a liturgical drama?
a drama with music based on a biblical story. wasn't part of the liturgy. It was unknown if Hildegard of Bingen was actually ALLOWED to do this. Also, the question arises whether it was unrehearsed like chant, or would be rehearsed like a drama of the time.
61
how were tropes used in liturgical drama?
they occasionally expanded to embrace dialogues.
62
was hildegard of Bingen a priest? explain.
she was a nun, as she was female and therefore excluded from the priesthood. she was still able to officiate mass, though.
63
what important events took place at a convent?
the singing of the eight daily officia, the mass, and instruction in reading latin and music.
64
what three important positions did Hildegard of Bingen hold?
a) the prioress and abbess of her convent, b)writer and composer of chant: focus on virgin Mary, the Trinity, and saints, and c) composer of compositions for the office :hymns, melismatic reponsories, and sequences in double versicle form.
65
define double versicle form as opposed to single versicle form.
two lines of text underneath a single line of music as opposed to the normal one.
66
what are some features of Hildegard of Bingen's music?
didn't exceed an octave four or an octave fifth, melodic figures constantly varied, features melodic patterns (ascending fifth, stepwise descent, circling around a cadential noe, successive leaps. and patterns range of an octave)
67
what 5 melodic patterns can be traced in Hildegrad of Bingen's musc?
ascending fifth, stepwise descent, circling around a cadential noe, successive leaps. and patterns range of an octave
68
what was ordo virtutum?
the sacred musical drama by Hildegard of Bingen. it consisted of 82 songs, with the subject of morality from allegorical characters, and in which the devil is speaking while the other characters are singing.
69
how does chant continue to be present as we go through history?
used in polyphonic repertories of Catholic composers and composer of the reformation, reforming of chant in the late 16th, early 17th 19th and early 20th centuries. gregorian chant is still used in lutheran, anglican, and other churches.
70
when was gregorian chant officially replaced in the catholic church.
during the second vatican Council of 1962-1965. the latin chant was replaced by melodies with vernacular text.
71
what is the three parts of the gregorian chant range?
graves= low notes
acutae=middle notes
superacutae=high notes
72
define unica
a piece of music that only exists in one source.
73
define concordancia in respect to sources
a piece that exists in more than one (often many) source.
74
what problem arises when there is more than one source of a piece
which one is the true form of the piece, and which one is the edited version.
75
when does the liturgical year begin?
it begins at advent.
76
when is the anniversary of the protestant reformation (this has absolutely nothing to do with this unit, but Dr Kreyszig spent 20 minutes talking about it, so it must be kinda important, right ;) )
this is 2017. he is already planning what he will be doing on that date.
77
what form does the kyrie end with?
an iij form, where i is repeated twice.
78
what does x.c mean in relationship to date?
it means tenth century.
79
which parts of the mass could have tropes added, and which couldn't?
the introit and antiphon could have, and the credo absolutely couldn't.
80
what is the resolution (the full, written out version) of euouae?
seculorum amen
81
why are abreviations vague in Gregorian chant
many abbreviations could mean the same thing.
82
what is the name for the abbreviation of biblical books' names?
this could be called a biblical rubric, "red", thre regula, or the cannon (which refers to the canonic inscription).
83
define centomization
the reproduction of the notes with a totally different text.
84
would monks leave out verses to make the mass shorter?
absolutely not!! they performed the entire mass from start to finish every time.
85
what is the significance of Hildegard of Bingen in the music world?
she was the first recorded female composer.
86
define latin secular music and its two types.
it is a latin song based on a newly composed melody, and not based on chant.
a) versus-- attached to sacred repertory, and set to rhymed poetry. has a regular pattern of accents. from the 11-13th century Aquitaine and southwestern France.
b) conductus-- rhymed rhythmical text, kinda like the sequence. double versicle structure. 12th century.
87
what were the troubadour and trouveres?
the troubadour were from southern France. they were supported by castles and courts. they spoke langue d'oc. the trouveres were from northern France, and were also supported by castles and courts. they spoke langue d'oil.
88
define bards
poet singers in celtic lands. they performed epics with harps or fiddle.
89
define the 13th century term minstrel
from the latin minister (servant) meant a specialized musician.
90
how did latin songs for performance survive? what repertory survives?
ancient poetry, laments for Charlemagne, satirical, moralizing, or amorous songs. they were preserved with staffless neumes.
91
define goliard
a medieval latin song associated with wandering students and clerics. the topic of these songs were drinking, eating, love, nature, and other earthly pleasures.
92
what is a chanson de geste?
an epic that survives out of northern france. sung in formulas.
93
what was the most famous chanson de geste?
Song of Roland (ca. 1100)
94
what are three epics that may have been sung?
Beowulf (8th cent), eddas (between 800-1200), and Nibelungenlied (13th cent)
95
define jongleurs
(from the same root as jugglers) lived lower class musicians who told stories and performed tricks.
96
who was countess de Dia and what did she write?
late 12th century. she is the first female troubadour (trobairitz) for which we have music. she wrote the anthology piece "A chanter".
97
who was Bernart de Ventadorn?
he was the child of a servant and one of the most influencial troubadour. he wrote Can vei la lauzeta mover sometime between 1170 and 1180.
98
define canso
a troubadour song with the subject of love.
99
who was Guillaume IX, Duke of Acquitaine?
1071-1126. he was the first troubadour for whom we have music.
100
what was a vida?
a somewhat fanciful biography detailing the lives of the troubadours and trouveres.
101
what was a chansonnier?
a book that compiled the music of troubadours and/or trouveres.
102
how many troubadour and trouvere poems and songs survive?
2100 trouvere poems with music, and 2600 troubadour poems, 260 with music.
103
what was troubadour and trouvere poetry based on (literarily speaking) and what were the subjects ?
based on western vernacular poetry, poems of vary subject, form, treatment.
104
what were the three main genres of troubadour songs?
the alba, the canso, and the tenso
105
define alba
a troubadour song about the dawn
106
define tenso
a troubadour song about a debate (or that is debating something)
107
what is fin' amors (aka fine amour)
this is known as courtly love or refined love. the idea that there was a proper, perfect way that love must proceed. this term was coined in the 19th cent to describe the middle ages phenomena.
108
what is the form of the song "a chantar"?
it is in AAB (stanza) form
109
what is the form of the song Palastinalied?
it is in a bar form AAB form
110
what is the form of the song "Robins m'aime"
the opening refrain has an AB form, followed by an aab stanza, then a repeat of the AB refrain. this is a rondeau form.
111
what is the form of te song "non sofre sancta maria"
the opening refrain has an A form, followed by a bba stanza, then a repeat of the A refrain.
112
what various opinions exist in regards to the rhythmic interpretation of repertoire?
a) performance of melodies in free, unmeasured style, b) uniformity in rhythm for each syllable of text, and c)metrical interpretation according to succession of short and long duration corresponding to accented and unaccented syllables.
113
what is Jeu de Robin et de marion?
this was a musical play written by trouvere compoer Adam de la Halle. it was composed in roneau form (ABaabAB). we studied the piece from this called Robins m'aime. (ca. 1284)
114
Define prosa
Melismas underlaid with text.
115
how many middle english songs remain
very few. it was the language of the lower classes, so they weren't very literate and didn't write down their pieces.
116
what is a minnesinger? which came first, the troubadour or the minnesinger?
the german version of the troubadour (which came first).
117
what did minnesingers sing?
they sang minnelieder (love songs) with greater emphasis on spiritual nature than in the french version of the same song.
the emphasis was on faithfulness, duty, and service.
118
what was the form of the minnelieder?
it was the AAB form. it is called the "barform".
119
what example did we have of the minnelieder?
Walther von der Vogelweide's palastinalied from the 12th century.
120
define lauda.
a sacred Italian monophonic song sung in procession of religions penitents and in confraternities. after 14th cent was a genre of polyphony.
121
define cantigas
a Spanish song. had a refrain and verses in AAB. with music for b section used in refrain.
122
what performance practice remains for the cantiga?
soloist and group of singers in alternation, and was often associated with dance.
123
what was a vielle?
a fiddle played with a bow, precursor to the violin.
124
hurdy gurdy
three stringed vielle
125
psaltery
strings attached to a frame, played by plucking. remote ancestor of the harpsichord and piano.
126
transverse flute
made of wood or ivory, with keys. similar to modern flute.
127
shawm
a double reed instrument, similar to the oboe.
128
trumpet
straight without valves. restricted to harmonic series
129
pipe and tabor
high wistle fingered with left hand while right hand beats a small drum.
130
bagpipe
unbroken stream of air. one or more drone pipes all sounded by reeds.
131
bells
played in church and as signals
132
organ
in monastic churches by 1100 and cathedrals by 1300.
133
portative organ
a small carried (or strapped around neck) organ. keys played with one hand bellows operated with left hand.
134
positive organ
placed on a table, assistant required to pump bellow.
135
what is a carole?
a french circle dance. pop during the 12-14th cent.
136
what are some characteristics of dance music?
steady beat, clear meter, repeated sections, predictable phrasing, improvised accomp. usually produced by memory.
137
what was the french estampie?
a pop french dance in triple meter with short sections. has two endings. (ouvert and clos)
138
what is the french names of the first and second ending in the estampie
ouvert and clos
139
what was the italian estampie?
same form as french estampie (two endings), but in duple meter. has longer sections and more repetition than its french counterpart.
140
what was the cantiga song we studied?
non sofre santa maria. 13th century. anonymous. cantigas de santa maria.
141
what was the estampie song we studied?
la quatre estampie royal from le manuscript du roi. late 13th century.
142
Define epigram
A shirt verse that makes a pointed remark, often by wittily juxtaposing contrasting ideas.
