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RCM History 2 > Medieval Definitions > Flashcards

Medieval Definitions Flashcards

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1
Q

Describe the “texture” of Middle Ages musical style

A

evolved from a single-line, to increasingly complex, multi-voiced compositions

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2
Q

describe the “notation” of Middle Ages musical style

A

from NEUMES attempting to record chant melodies, a system evolved that made it possible to represent both pitches and rhythmic values

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3
Q

describe the melodic range of Middle Ages musical style

A

narrow range, gradually evolved and writing became more complex, range increased

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4
Q

describe the rhythm of Middle Ages musical style

A

flexible, unmeasured rhythm of plainchant, gradually became more structured

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5
Q

monophonic texture

A

music consisting of a single voice or melodic line, no harmony or accompaniment

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6
Q

polyphonic texture

A

two or more independent melodic lines or voices heard simultaneous (contrapuntal texture)

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7
Q

modes

A

scale patterns distinguished by their own unique order of tones and semitones, referred to by their original greek name (ie Dorian, phyrgian, etc.)
used for melodies in middle ages and renaissance

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8
Q

neumes

A

earliest form of notation in western music which used small symbols with no stems to indicate the direction of the melodic line. Later evolved to shapes on a staff representing specific pitches
ie. Haec dies

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9
Q

a cappella

A

vocal music without instrumental accompaniment.

latin for “in the chapel”

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10
Q

plainchant (plainsong)

A

monophonic texture, modal melodies, narrow range and unmeasured prose rhythm

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11
Q

Gregorian Chant

A

singe line melody (monophonic texture)
(a plainchant from the time period of pope Gregory)
modal, based on sacred latin texts, sung freely following the inflections of the text

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12
Q

countertenor

A

high male voice with a strong, pure tone, out of normal male range

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13
Q

what are the 3 text settings

A

syllabic: one note for each syllable
neumatic: several notes (2-4) for each syllable
melisma tic: many notes for each syllable, very elaborate

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14
Q

responsorial singing

A

performance method where solo voice alternates chorus

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15
Q

Organum

A

earliest form of polyphony. Began as an improvised practice.
original text referred to as “cantus firmus”. New melodic lines added but initially maintained primary intervals between voices

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16
Q

cantus firmus

A

“fixed song”, material borrowed from a Gregorian chant creating the foundation for a new polyphonic composition.
originally in the lowest voice

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17
Q

tenor

A

“to hold”, refers to the voice that contains the cantus firmus, as it is “held” underneath the other voices

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18
Q

organal style

A

a style of free organum where the newly composed upper voice uses faster note values and the original chant is sung by the lower voice in very long notes.

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19
Q

discant style

A

sections of the organum in which the original chant has father rhythmic values so it is more closely related to the upper voice

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20
Q

clausula

A

clearly defined sections without discant style organum that is highly melismatic

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21
Q

rhythmic modes

A

rhythmic patterns of long and short notes

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22
Q

which piece is a Gregorian Chant

A

Haec Dies (anonymous), early middle ages

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23
Q

Which piece is an organum

A

Haec Dies organum (anonymous), ca. 1175

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24
Q

Polytextual Motet

A

a vocal composition without accompaniment (a capella)
usually 3 voices, and at least 2 texts. (new texts added to the upper voices of organum)
often used secular texts along sacred, and mixed languages
bottom voice contains cantus firmus, upper voices more rhythmically active

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25
Q

ostinato

A

a rhythmic or melodic pattern repeated

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26
Q

countertenor

A

a high male voice with a pure tone

27
Q

which piece is a polytextual motet?

A

O mitissima/Virgo/Haec Dies (13th century)

28
Q

Monophonic Chanson

A

“song” of monophonic texture, usually in strophic form. if instrumental accompaniment was added it was often improvised.
Grew from troubadour/trouvere tradition, texts often reflected love

29
Q

strophic

A

same music for each verse of the poem

30
Q

trouvere

A

Northern France –aristocratic poet-musicians who composed and performed original poems and songs, often sang of love

31
Q

troubadour

A

Southern France–aristocratic poet-musicians who composed and performed original poems and songs, often sang of love

32
Q

jongleurs

A

medieval entertainers, worked as court jesters, musicians, storytellers

33
Q

minnesinger

A

german for “singers of love”, german counterpart of troubadours/trouveres

34
Q

which piece is a monophonic chanson?

A

ce fut en mai (d’Arras), mid 13th century

35
Q

Polyphonic chanson

A

French, secular, lyric-driven song of polyphonic texture

36
Q

rondeau

A

a poetic form usedin polyphonic chansons, 4 verses, 4 refrains. AB aAab AB

37
Q

Musica ficta

A

“false music” a performance practice where performers raised or lowered pitches y chromatic semitones to avoid undesirable intervals

38
Q

isorhythm

A

“equal rhythm” combines melodic patterns (color) with rhythmic patterns (talea)

39
Q

hocket

A

French for “hiccup” where a melodic line is split between two voices and each voice alternates between notes and rests
common in Ars Nova style

40
Q

which piece is a polyphonic chanson

A

puis qu’en oubli (Machaut), mid 14th century

41
Q

Dance Music

A

earliest form of instrumental music, for social dance such as estampie, saltarello, and ronde
modal melodies, improvised accompaniment, monophonic texture
first notated examples from 13th century

42
Q

name 3 exampels of medlieval dance styles

A

estampie, ronde, saltarello

43
Q

estampie

A

one of the earliest medieval dances, of a stately character involving elaborate body movemets, danced by a couple

44
Q

heterophonic texture

A

same melody played with a variation at the same time as the original.
requires two or more voices. added voices often improvised

45
Q

Lute

A

indoor string instrument, like a guitar but more strings

46
Q

psaltery

A

indoor string instrument, trapezoidal, plucked or bowed

47
Q

rebec

A

indoor string instrument, pear shape

48
Q

vielle

A

indoor string instrument, figure 8 shape, ancestor of violin

49
Q

dulcimer

A

indoor string/percussion instrument of various shapes

50
Q

recorder

A

indoor wind instrument

51
Q

cornetto

A

outdoor wind instrument, later made of wood, long slender shape, ancestor of trumpet

52
Q

crumhorn

A

outdoor wind instrument, j shaped

53
Q

sakbut

A

outdoor wind instrument, made of brass, slides, has bell shaped end
ancestor of trombone

54
Q

shawm

A

outdoor wind instrument, long with bell shaped end, double reed
ancestor of the oboe

55
Q

portative

A

keyboard instrument, with pipes and a pumped bellow

aka organetto

56
Q

positive

A

keyboard instrument, portable but larger than the portative, like a piece of furniture.
one keyboard, small pipes, no pedals

57
Q

regal

A

keyboard instrument, portable organ, small keyboard, reeds instead of pipes
ancestor of the harmonium
player pumped bellows while playing

58
Q

Nakers

A

percussion instrument, resembles small kettle drums/bongos, played in pairs, unpitched

59
Q

tabor

A

outdoor percussion instrument, large, cylindrical

60
Q

tambourine

A

percussion instrument, wooden frame with small metal discs inserted, may or may not have drum skin

61
Q

Gradual

A

the fourth section of the Mass Proper (variable)
texts primarily from the psalms
chants in this portion usually melismatic and performed in a responsorial style
ie. Haec Dies

62
Q

organum

parallel organum

A

the earliest form of polyphony

when an additional vocal line mves in parallel motion above or below a pre-existing chant at the interval of a P4 or P5

63
Q

motet

A

a vocal composition with or without instrumental accompaniment, secular or sacred, usually anon and polytextual

64
Q

drone

A

a sustained pitch or long held note, provides harmonic support

RCM History 2 (13 decks)

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