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Music History Graduate Entrance Exam > Medieval Period > Flashcards

Medieval Period Flashcards

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1
Q

Middle Ages (date)

A

Fall of Roman Empire in 5th century, through next 1000 years

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2
Q

Hildegard von Bingen

A

Wrote nonliturgical sacred music drama, Ordo Virtutum (ca 1151). Uncommon practice of writing both melodies and poetic verse. Women excluded from priesthood/singing, held positions in convents

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3
Q

Ordo Virtutum

A

Von Bingen’s sacred music drama. Solo female contrast with female choir. Drone

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4
Q

Antiphonal Psalmody

A

Half verses alternate between two choirs, imitate ancient Syrian models

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5
Q

Quem queritis in presepe

A

Liturgical drama, developed out of plainchant. Dialogue sung responsorially,

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6
Q

Guido de Arezzo

A

ca. late 900s, early 1000s. Came up with solfedge, basically. Pedagogical for sightsinging

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7
Q

Jongleurs/Minstrels

A

In service to a particular lord or a traveler. Sang/played instruments (music outside of the church in Middle Ages). 12th century

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8
Q

Troubadors/Trouveres

A

Troub - S France. Trouv - N. France. 12th century

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9
Q

Bernart de Ventadorn

A

1150-1180. Courtly song “Can vei la lauzeta mover”. Feels like a iv, v drone beneath storytelling text. Love songs

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10
Q

Contessa Beatriz de Dia

A

Trobairitz, 1212. A Chantar. Love song

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11
Q

Minnensinger

A

German knightly poet-musicians. 12th-14th centuries. “Palestinalied” strings with lots of parallel 5ths and dudes singing. Bar Form (AAB)

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12
Q

Transition from Ancient Greece to early Christian Rome (historical ideas)

A

• Music as philosophy, woven into education. Music as astrology as well
• Pythagoras (ratios) and music theory
• Harmonics
Christian
• Music inspires divine thoughts
• After collapse of Roman Empire, ancient philosophy/theory still around (Boethius/Martianus Capella)
•

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13
Q

Early Christian Church Musical Practices

A
  • Old Testament book of Psalms (Judaic heritage)
  • Influences from Syrian monasteries
  • Byzantine (later Orthodox) vs. Roman Catholic
  • Gregorian chant - notation
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14
Q

Medieval Music theory

A
  • Built on Boethius
  • Medieval modal system (8 modes)
  • Guidonian hand/solmization
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15
Q

Secular music (medieval song)

A
  • Goliard songs (latin text) sung by Jongleurs

* Troubadours and Trobairitz (M/F) flourished in courts singing poetic forms of music often sensual

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16
Q

Middle Ages musical events timeline

A
  1. Responsorial psalmody
  2. Boethius
  3. Earliest notation of Gregorian chant
  4. Guido
  5. Gregorian chant spreads to Spain
  6. Goliards
  7. Hildegard
17
Q

Polyphony in 13th century

A
  • Independence from parallel motion in chant. Developed from improvisation
  • Organum - New layers of melody together. Early organum 2 voices in oblique, contrary, parallel motion. Florid organum w/drone underneath
18
Q

notre Dame Polyphony

A
  • Ornate. Leonin and Perotin
  • leonin - Magnus LIber Organi
  • Introduction of modal rhythm
19
Q

Motets (13th cent. and onward)

A
  • Clausula section (rhythmic part) of organum by itself
  • Cantus firmus derived from organum chant, based on “discant clausula” (decoration)
  • Early motets in rhythm, adding latin or French text on secular topic. Some adapted new rhythms
20
Q

Franconian motets

A
  • Typically 3 voices. Mirrored complication in architecture (gothic cathedral)
  • Precise rhythms
21
Q

14th century French and Italian Music (historical perspective)

A
  • 100 years war (1337-1453) btw France and England
  • Black Death
  • Church extends beyond matters of faith (politics)
  • Papacy became a political affair
22
Q

Ars Nova

A
  • Anthology of works from 13th and early 14th cent. Lots of monophony
  • Roman de Fauvel (poem satirizing political corruption)
  • 34 motets, new style of “Ars Nova”
  • Philipe de Vitry - Isorhythm
  • Writing rhythm with different notepads
23
Q

Isorhythm

A
  • Tenor used as a long bass line - Talea.
  • “Color” - extended over 2, 3 or more Taleae.
  • Other rhythms above are complex
24
Q

Guillaume de Machaut

A

Leading composer and poet of Ars Nova
• Used hocket
• Composed Chansons as well

25
Q

Chansons (Formes fixes)

A

Love songs in 13th and 14th centuries
• Virelai (A bba A)
• Ballade (aabC)
• Rondeau (ABaAabAB)

26
Q

Trecento (Italian 13th century)

A
  • Madrigal - 2 voices, satirical love poems

* Voices echo one another. Long melismas on last accented syllable of each line.

27
Q

Landini

A

Leading composer of the trecento.

• Ballate, some mass ordinary settings

28
Q

Ars Subtilior

A

Refined and complex. Chivalric society in Avignon (France) and N. Italy
• Fancy decorations in manuscripts
• Musica ficta - false or “Feigned” music, flavor to 14th cent. French and Italian music. Chromatic alterations

29
Q

Leonin (Late 1100s, early 1200s)

A

Early composer of organum
• “Tenor” (original chant) is drawn out as drone over long period of time, Upper voice “duplum” almost an improvisation
• Cathedral of Notre Dame in Paris

30
Q

Perotin (Late 1100s, early 1200s)

A
  • Also cathedral of Notre dame
  • 4 voice polyphonic mass parts
  • Lots of triplet figures in upper 3 voices
31
Q

Cantus Firmus Mass

A

Sacred composition Based on melody (CF) of secular song. Ockeghem. Changes rhythm

Music History Graduate Entrance Exam (7 decks)

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