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Music History > Medieval > Flashcards

Medieval Flashcards

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1
Q

Bull Lyre

A

Sumerian LYRE with a bull’s head at one end of the soundbox.

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2
Q

Hymn

A

Song of praise sung to God.

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3
Q

Diatonic

A

Traditional major scale.

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4
Q

Aulos

A

Ancient Greek reed instrument, usually played in pairs.

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5
Q

heterophony

A

Music or musical TEXTURE in which a MELODY is performed by two or more parts simultaneously in more than one way, for example, one voice performing it simply, and the other with embellishments.

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6
Q

monophony

A

Music or musical TEXTURE consisting of unaccompanied MELODY.

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7
Q

polyphony

A

Music or musical TEXTURE consisting of two or more simultaneous lines of independent MELODY. See also COUNTERPOINT

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8
Q

ethos

A

(1) Moral and ethical character or way of being or behaving. (2) Character, mood, or emotional effect of a certain TONOS, MODE, METER, or MELODY.

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9
Q

genus

A

(Latin, “class”; pronounced GHEH-noos; pl. genera) In ancient Greek music, one of three forms of TETRACHORD: DIATONIC, CHROMATIC, and ENHARMONIC.

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10
Q

enharmonic

A

In ancient Greek music, adjective describing a TETRACHORD comprising a major third and two quartertones, or a MELODY that uses such tetrachords. (2) Adjective describing the relationship between two pitches that are notated differently but sound alike when played, such as G and A .

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11
Q

conjunct

A

In ancient Greek music, adjective used to describe the relationship between two TETRACHORDS when the bottom NOTE of one is the same as the top note of the other. (2) Of a MELODY, consisting mostly of STEPS.

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12
Q

disjunct

A

(1) In ancient Greek music, adjective used to describe the relationship between two TETRACHORDS when the bottom NOTE of one is a WHOLE TONE above the top note of the other. (2) Of a MELODY, consisting mostly of skips (thirds) and leaps (larger INTERVALS) rather than STEPS. (page 16)

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13
Q

Greater Perfect System

A

In ancient Greek music, a system of TETRACHORDS spanning two octaves.

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14
Q

species

A

The particular ordering of WHOLE TONES and SEMITONES within a perfect fourth, fifth, or octave.

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15
Q

psalm

A

A poem of praise to God, one of 150 in the Book of Psalms in the Hebrew Scriptures (the Christian Old Testament). Singing psalms was a central part of Jewish, Christian, Catholic, and Protestant worship.

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16
Q

cantillation

A

Chanting of a sacred text by a solo singer, particularly in the Jewish synagogue

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17
Q

chant

A

Unison unaccompanied song, particularly that of the Latin LITURGY (also called PLAINCHANT). (2) The repertory of unaccompanied liturgical songs of a particular RITE

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18
Q

plainchant, plainsong

A

A unison unaccompanied song, particularly a LITURGICAL song to a Latin text.

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19
Q

rite

A

The set of practices that defines a particular Christian tradition, including a CHURCH CALENDAR, a LITURGY, and a repertory of CHANT.

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20
Q

neume

A

A sign used in NOTATION of CHANT to indicate a certain number of NOTES and general MELODIC direction (in early forms of notation) or particular pitches (in later forms).

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21
Q

musica mundana, musica humana, musica instrumentalis

A

(Latin, “music of the universe,” “human music,” and “instrumental music”) Three kinds of music identified by Boethius (ca. 480–ca. 524), respectively the “music” or numerical relationships governing the movement of stars, planets, and the seasons; the “music” that harmonizes the human body and soul and their parts; and audible music produced by voices or instruments.

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22
Q

reciting tone

A

The second most important NOTE in a MODE (after the FINAL), often emphasized in CHANT and used for reciting text in a PSALM TONE

23
Q

final

A

The main NOTE in a MODE; the normal closing note of a CHANT in that mode.

24
Q

gamut

A

The entire range of pitches normally written in the Middle Ages.

25
Q

hexachord

A

(solmization) (from Greek, “six strings”) (1) A set of six pitches. (2) In medieval and RENAISSANCE SOLMIZATION, the SIX NOTES represented by the syllables ut, re, mi, fa, sol, la, which could be transposed to three positions: the “natural” hexachord, C-D-E-F-G-A; the “hard” hexachord, G-A-B-C-D-E; and the “soft” hexachord, F-G-A-B -C-D. (3) In TWELVE-TONE theory, the first six or last six notes in the ROW.

26
Q

solmization

A

A method of assigning syllables to STEPS in a SCALE, used to make it easier to identify and sing the WHOLE TONES and SEMITONES in a MELODY. Ex: ut, re, mi, fa, etc.

27
Q

Mass

A

(1) The most important service in the Roman church. (2) A musical work setting the texts of the ORDINARY of the Mass, typically KYRIE, GLORIA, CREDO, SANCTUS, and AGNUS DEI.

28
Q

Alleluia

A

Item from the MASS PROPER, sung just before the Gospel reading, comprising a RESPOND to the text “Alleluia,” a verse, and a repetition of the respond. CHANT alleluias are normally MELISMATIC in style and sung in a RESPONSORIAL manner, one or more soloists alternating with the CHOIR.

29
Q

Gradual

A

Item in the MASS PROPER, sung after the Epistle reading, comprising a RESPOND and VERSE. CHANT graduals are normally MELISMATIC in style and sung in a RESPONSORIAL manner, one or more soloists alternating with the CHOIR.

30
Q

Introit

A

First item in the MASS PROPER, originally sung for the entrance procession, comprising an ANTIPHON, PSALM VERSE, Lesser DOXOLOGY, and reprise of the ANTIPHON.

31
Q

Tract

A

Item in the MASS PROPER that replaces the ALLELUIA on certain days in Lent, whose text comprises a series of PSALM VERSES.

32
Q

Agnus Dei

A

(Latin, “Lamb of God”) Fifth of the five major musical items in the MASS ORDINARY, based on a litany.

33
Q

Communion

A

Item in the MASS PROPER, originally sung during communion, comprising an ANTIPHON without verses.

34
Q

Offertory

A

Item in the MASS PROPER, sung while the COMMUNION is prepared, comprising a RESPOND without VERSES

35
Q

Ordinary

A

Texts of the MASS that remain the same on most or all days of the CHURCH CALENDAR, although the tunes may change.

36
Q

Proper

A

Texts of the MASS that are assigned to a particular day in the CHURCH CALENDAR.

37
Q

Antiphon

A

(1) A LITURGICAL CHANT that precedes and follows a PSALM or CANTICLE in the OFFICE. (2) In the MASS, a chant originally associated with ANTIPHONAL PSALMODY; specifically, the COMMUNION and the first and final portion of the INTROIT.

38
Q

canticle

A

HYMN-like or PSALM-like passage from a part of the Bible other than the Book of Psalms.

39
Q

Office

A

A series of eight prayer services of the Roman church, celebrated daily at specified times, especially in monasteries and convents; also, any one of those services.

40
Q

responsory

A

RESPONSORIAL CHANT used in the OFFICE. Matins includes nine Great Responsories, and several other Office services include a Short Responsory

41
Q

melisma

A

A long MELODIC passage sung to a single syllable of text.

42
Q

recitation formula

A

In CHANT, a simple outline MELODY used for a variety of texts.

43
Q

responsorial

A

Pertaining to a manner of performing CHANT in which a soloist alternates with a group.

44
Q

neumatic

A

In CHANT, having about one to seven NOTES (or one NEUME) sung to each syllable of text

45
Q

syllabic

A

Having (or tending to have) one NOTE sung to each syllable of text.

46
Q

psalm tone

A

A MELODIC formula for singing PSALMS in the OFFICE. There is one psalm tone for each MODE.

47
Q

Doxology

A

A formula of praise to the Trinity. Two forms are used in GREGORIAN CHANT: the Greater Doxology, or GLORIA, and the Lesser Doxology, used with PSALMS, INTROITS, and other chants.

48
Q

psalmody

A

The singing of PSALMS.

49
Q

strophic

A

Of a poem, consisting of two or more stanzas that are equivalent in form and can each be sung to the same MELODY; of a vocal work, consisting of a strophic poem set to the same music for each stanza.

50
Q

jubilus

A

(Latin) In CHANT, an effusive MELISMA, particularly the melisma on “-ia” in an ALLELUIA.

51
Q

cycle

A

A group of related works, comprising MOVEMENTS of a single larger entity. Examples include cycles of CHANTS for the MASS ORDINARY, consisting of one setting each of the KYRIE, GLORIA, SANCTUS, and AGNUS DEI (and sometimes also Ite, missa est); the POLYPHONIC MASS cycle of the fifteenth through seventeenth centuries; and the SONG CYCLE of the nineteenth century.

52
Q

sequence

A

(1) A category of Latin CHANT that follows the ALLELUIA in some MASSES. (2) Restatement of a pattern, either MELODIC or HARMONIC, on successive or different pitch levels.

53
Q

trope

A

Addition to an existing CHANT, consisting of (1) words and MELODY; (2) a MELISMA; or (3) words only, set to an existing melisma or other melody.

54
Q

liturgical drama

A

Dialogue on a sacred subject, set to music and usually performed with action, and linked to the LITURGY

Music History (2 decks)

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