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Music History > Mid-Term Terms/Definitions > Flashcards

Mid-Term Terms/Definitions Flashcards

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1
Q

Gregorian Chant

A

the repertory of ecclesiastical chant used in the Roman Catholic Church

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2
Q

Gallican Chant

A

the liturgical plainchant repertory of the Gallican rite of the Roman Catholic Church in Gaul, prior to the introduction and development of elements of the Roman rite from which Gregorian chant evolved

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3
Q

Old Roman Chant

A

a repertory of ecclesiastical chant preserved in 11th and 12th century manuscripts from Rome representing a local tradition; a near relative of Gregorian chant

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4
Q

Syllabic

A

having one note sung to each syllable of text

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5
Q

Neumatic

A

having 1-7 notes (or one neume) sung to each syllable of text

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6
Q

Melismatic

A

of a melody, having many melismas (many long passages of notes sung to one syllable of text)

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7
Q

Direct

A

a manner of performing chant without alternation between groups

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8
Q

Antiphonal

A

a manner of performance in which two or more groups alternate

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9
Q

Responsorial

A

a manner of performing chant in which a soloist alternates with a group

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10
Q

Psalm Tone

A

a melodic formula for singing songs in the Office; there is one psalm tone for each mode

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11
Q

Antiphon

A

a liturgical chant that precedes and follows a psalm or canticle in the Office; in the Mass, a chant associated with the communion and the first and final portion of the Introit

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12
Q

Neume

A

a sign used in notation of chant to indicate a certain number of notes and general melodic direction (in early forms) or particular pitches (in later forms)

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13
Q

Ligature

A

neume-like noteshape used to indicate a short rhythmic pattern in 12th to 16th century notation

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14
Q

Heightened Neumes

A

in an early form of notation, neumes arranged so that their relative heights indicated higher or lower pitch

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15
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

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16
Q

Hexachord (natural, hard, soft)

A

the six notes used to represent the six solmization syllables (ut, re, mi, fa, sol, la) which could be transposed into three positions
Natural: C-D-E-F-G-A
Hard: G-A-B-C-D-E
Soft: F-G-A-Bb-C-D

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17
Q

Office

A

a series of eight prayer services of the Roman church, celebrate daily at specified times, especially in monasteries and convents

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18
Q

Mass

A

the most important service in the Roman church; a musical work setting the texts of the Ordinary of the Mass

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19
Q

Introit

A

first item in the Mass Proper, originally sung for the entrance procession, comprising and Antiphon, Psalm Verse, Lesser Doxology, and reprise of the antiphon

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20
Q

Gloria

A

second of the five major musical items in the Mass Ordinary

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21
Q

Kyrie

A

one of the five major musical items in the Mass Ordinary

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22
Q

Gradual

A

item in the Mass Proper, sung after the Epistle reading, comprising a Respond and Verse; melismatic and responsorial

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23
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; melismatic and responsorial

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24
Q

Sequence

A

a category of Latin chant that follows the Alleluia in some Masses

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25
Q

Credo

A

third of the five major musical items in the Mass Ordinary, a creed or statement of faith

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26
Q

Offertory

A

item in the Mass Proper, sung while the Communion is prepared, comprising a respond without verses

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27
Q

Sanctus

A

one of the five major items in the Mass Ordinary

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28
Q

Agnus Dei

A

fifth of the five major musical items in the Mass Ordinary

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29
Q

Communion

A

items in the Mass Proper, comprising an antiphon without verses

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30
Q

Post Communion

A

follows the Communion during the Mass

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31
Q

Ite missa est

A

the concluding Latin words addressed to the people in the Mass

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32
Q

Proper

A

texts of the Mass that are assigned to a particular day in the Church Calendar

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33
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

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34
Q

What is the Mode #, final, range, and repercussio of the Dorian mode?

A

Mode 1
Final = D
Range = Above
Repercussio = A

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35
Q

What is the Mode #, final, range, and repercussio of the Hypo-Dorian mode?

A

Mode 2
Final = D
Range = Around
Repercussio = F

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36
Q

What is the Mode #, final, range, and repercussio of the Phrygian mode?

A

Mode 3
Final = E
Range = Above
Repercussio = C

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37
Q

What is the Mode #, final, range, and repercussio of the Hypo-Phrygian mode?

A

Mode 4
Final = E
Range = Around
Repercussio = A

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38
Q

What is the Mode #, final, range, and repercussio of the Lydian mode?

A

Mode 5
Final = F
Range = Above
Repercussio = C

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39
Q

What is the Mode #, final, range, and repercussio of the Hypo-Lydian mode?

A

Mode 6
Final = F
Range = Around
Repercussio = A

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40
Q

What is the Mode #, final, range, and repercussio of the Mixolydian mode?

A

Mode 7
Final = G
Range = Above
Repercussio = D

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41
Q

What is the Mode #, final, range, and repercussio of the Hypo-Mixolydian mode?

A

Mode 8
Final = G
Range = Around
Repercussio = C

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42
Q

Repercussio

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 (also called the reciting tone)

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43
Q

Constantine the Great

A

Founder of Constantinople

44
Q

Pope Gregory I “The Great”

A

founded the medieval papacy and was pope from 590-604; also may have written early Frankish chant books

45
Q

Pope Stephen II

A

wanted to spread Gregorian chant throughout the Roman Empire and protect the papacy from the Lombard; 752-7

46
Q

Pepin III “The Short”

A

first Frankish king to rule during the Carolingian Renaissance; 751-68

47
Q

Charlemagne

A

Pepin III’s son; major influence in the spread of Gregorian chant across the Roman Empire; 768-814

48
Q

Guido d’Arezzo

A

developed the idea of using a staff for notation; also developed the hexachord system

49
Q

Secular Monophony

A

a genre composed by the Troubadours, Trovères, and Minnesingers in the 12th and 13th centuries

50
Q

Troubadour

A

a poet-composer of Southern France who wrote monophonic songs in Occitan (langue d’oc) in the 12th or 13th cent.

51
Q

Trouvère

A

a poet-composer of Northern France who wrote monophonic songs in Old French (langue d’oil) in the 12th or 13th cent.

52
Q

Minnesinger

A

a poet-composer of medieval Germany who wrote monophonic songs, particularly about love, in Middle High German

53
Q

Strophic

A

consisting of two or more stanzas that are equivalent in form and can each be sung to the same melody

54
Q

Refrain

A

a recurring line(s) of text usually set to a recurring melody

55
Q

Canso

A

Troubadour song about courtly love

56
Q

Alba

A

Troubadour “Dawn song”

57
Q

Rondeau

A

French forme fixe with a single stanza and the musical form ABaAabAB

58
Q

Ballade

A

French forme fixe, normally in three stanzas, in which each stanza has the musical form aabC

59
Q

Virelai

A

French forme fixe in the pattern Abba Abba AbbaA

60
Q

Courtly Love (fin’ amour / fine amour)

A

an idealized love for an unattainable woman who is admired from a distance

61
Q

Polyphony

A

music or musical texture consisting of two or more simultaneous lines of independent melody

62
Q

Homophony

A

musical texture in which all voice move together in essentially the same rhythm, as distinct from polyphony and heterophony

63
Q

Parallel Organum

A

type of polyphony in which an added voice moves in exact parallel to a chant, normally a perfect fifth below it

64
Q

Modified Parallel Organum

A

starts at unison and moves to fourths then back to unison again

65
Q

Parallel Motion

A

two voices moving in the same direction at equivalent melodic intervals

66
Q

Similar Motion

A

two voices moving in the same direction but at different melodic intervals

67
Q

Oblique Motion

A

one voice stays on the same pitch while another voice moves

68
Q

Contrary Motion

A

two voices moving in opposite directions; the melodic intervals of these voices are irrelevant

69
Q

Aquitanian Polyphony

A

style of polyphony from the 12th cent., encompassing both discant and florid organum

70
Q

Notre-Dame Organum

A

style of polyphony from the late 12th and 13th cents., associated with the Cathedral of Notre Dame in Paris

71
Q

Organum

A

one of several styles of pearly polyphony from the 9th through 13th cents., involving the addition of one or more voices to an existing chant

72
Q

Tenor

A

in polyphony of the 12th and 13 cents., the voice part that has the chant or other borrowed melody, often in long hold notes

73
Q

Duplum

A

in polyphony of the late 12th through 14th cents., second voice from the bottom

74
Q

Triplum

A

in polyphony of the late 12th through 14th cents., third voice from the bottom; in Notre Dame polyphony, an organum in three voices

75
Q

Florid Organum / Organum Purum

A

12th cent. style of two-voice polyphony in which the lower voice sustains relatively long notes while the upper voice sings note-groups of varying length above each note of the lower voice

76
Q

Discant Clausula

A

a contained section in polyphony in which the upper voice has about one to three notes for each note of the lower voice

77
Q

Conductus

A

a serious medieval song, monophonic or polyphonic, setting a rhymed, rhythmic Latin poem

78
Q

Cauda

A

melismatic passage in a polyphonic conductus

79
Q

Simple Conductus

A

non-melismatic conductus?

80
Q

Substitute Clausula

A

in Notre Dame polyphony, a new clausula (usually in discant style) designed to replace the original polyphonic setting of a particular segment of a chant

81
Q

Motet

A

polyphonic vocal composition; the earliest motets add a text to an exisiting discant clausula; 13th cent. motets feature one or more voices, each with its own text in Latin or French

82
Q

Motetus

A

the voice above the tenor in a motet

83
Q

Franconian Motet

A

b

84
Q

Petronian Motet

A

b

85
Q

Rhythmic Modes

A

system of six durational patterns used in polyphony of the late 12th and 13th cents., used as the basis of the rhythmic notation of the Notre Dame composers

86
Q

Franconian Notation System

A

system of notation described by Franco of Cologne around 1280, sing noteshapes to indicate durations

87
Q

Longa (Long)

A

Rectangle (Double Brevis, Quadruple Semibrevis)

88
Q

Brevis (Breve)

A

Square (Half Longa, Double Semibrevis)

89
Q

Semibrevis (Semibreve)

A

Diamond (Half Brevis, Quarter Longa)

90
Q

Duplex Long

A

6 tempora

91
Q

Perfect Long

A

3 tempora

92
Q

Imperfect Long

A

2 tempora (combined with brevis to create group of 3)

93
Q

Brevis Recta

A

1 tempora (when combined with a second brevis); brevis recta usually comes first

94
Q

Brevis Altera (Altered Breve)

A

2 tempora (when combined with a second brevis); brevis altera usually comes second

95
Q

Major Semibreve

A

2/3 of a tempus; analogous to the brevis altera

96
Q

Minor Semibreve

A

1/3 of a tempus; analogous to the brevis recta

97
Q

Tempus

A

in medieval systems of notation, the basic time unit (1 beat)

98
Q

La Comtessa de Dia

A

Who dat?

99
Q

Bernart de Ventadorn

A

…?

100
Q

Adam de la Halle

A

Don’t give Adam about who this is

101
Q

Leonin

A

wrote the Magnus Liber Organi and combined discant and florid organum (soloists) with plainchant (choir)

102
Q

Anonymous IV

A

wrote about Leonin and Perotin

103
Q

Franco de Cologne

A

wrote the Ars Cantus Mensurabilis; first to create idea that noteshape = length

104
Q

Perfection

A

in medieval systems of notation, a unit of duration equal to three tempora (3 beats)

105
Q

Perotin

A

great discant writer who wrote four-part organum

Music History (2 decks)

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