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tle > music unit 1 lesson 1 > Flashcards

music unit 1 lesson 1 Flashcards

1
Q

western music tradition and religious music development can be traced back in Europe during the medieval period form 400 CE to 1400 CE.

A

true

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2
Q

between the fall of the roman empire and the age of reawakening and discovery.

A

also called the middle ages

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3
Q

was based upon a religious subject

A

“dark ages”

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4
Q

magnificent works of architecture, sculpture, paintings poetry, and music appeared.

A

13th century

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5
Q

kinds of music during the middle ages:

A

music for the knights, for the nobles in the castle, and chants for the priest.

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6
Q

music during the middle ages< as they celebrated the christian services in cathedrals and monasteries.

A

true

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7
Q

most of the sacred music was never written down

A

true

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8
Q

only the music of the church is well preserved because at that time only the people of the church were educated.

A

true

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9
Q

the reading and copying of texts were the isolated reservation of the monasteries ad major cathedrals.

A

true

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10
Q

the monks were requested to read and write to be familiar with the scriptures.

A

true

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11
Q

later on they devised a system to notate and copy music.

A

true

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12
Q

through notation and copying, the church music spread to other monastic communities and was taught to succeeding generations.

A

true

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13
Q

official music of the roman catholic church.

A

gregorian chant

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14
Q

gregorian chant was referred to after?

A

pope gregory I the great

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15
Q

plainsong or plainchant

A

gregorian chant

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16
Q

its melody (gregorian chant) is set to sacred latin text, composed for the western church and performed without without instrumental accompaniment.

A

true

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17
Q

it (gregorian chant) can be simple or elaborate but tends to move pitches by a step within a narrow range

A

true

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18
Q

the melodic style avoids wide leaps and dynamic contrasts

A

true

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19
Q

all voices are sung together in unison, thus considered monophonic texture and does not have harmony nor counterpoint.

A

true

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20
Q

male voices are sung in unison when performing a chant

A

true

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21
Q

its rhythm is not measured: improvisational style is applied through spoken words

A

true

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22
Q

originally it was a chant passed along by oral tradition, but later on they were notated

A

true

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23
Q

means”fixed song” it is pre-existing melodic line

A

true

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24
Q

the gregorian notations used different signs called

A

neume

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25
Q

`notes sung on a single syllable

A

neume

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26
Q

a neume always starts at the beginning of a syllable

A

true

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27
Q

its always read from left to right just like in modern notation but from bottom to top when notes are written on the same column

A

true

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28
Q

a square a diamond or a bold line represents a neume

A

true

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29
Q

this is a single note

A

punctum

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30
Q

this is the same as a punctum

A

virga

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31
Q

one note is written above another note : the bottom sung first, followed by the note above it.

A

podatus (pes)

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32
Q

the higher note comes and is sung first

A

clivis (flexa)

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33
Q

three or more notes go upward and are sung from the bottom

A

scandicus

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34
Q

three or more notes go upward but the middle one has a vertical episema, slightly prolonging that note

A

salicus

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35
Q

three notes go up and then back down

A

torculus (pes flexus)

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36
Q

three or more notes go downward the first note is sung first

A

climacus

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37
Q

this has high note a low note and a high note. the line starts at the fist note and goes down to the middle note

A

porrectus (flexus resupinus)

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38
Q

four notes go up and then drop down

A

scandicus flexus

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39
Q

this is a porrectus with a low note on the end

A

porrectus flexus

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40
Q

this is the opposirte of a scandicus flexus

A

climacus resupinus

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41
Q

one note skips outward

A

torculus resupinus

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42
Q

one note goes up then two notes go down

A

pes subbipunctus

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43
Q

four notes in a row go down

A

virga subtripunctis

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44
Q

four notes in a row go up

A

virga praetripunctis

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45
Q

horizontal line

A

episema

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46
Q

vertical line

A

episema

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47
Q

a vertical line separates musical phrases and may sometimes allow pause for takign a breathe

A

true

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48
Q

skinny note

A

custos

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49
Q

gregorian neumes are written on a four line staff

A

ture

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50
Q

modern notation uses five line staff

A

true

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51
Q

the clef indicates the location f Do in the case of Do clef and Fa in the case of Fa clef

A

true

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52
Q

it marks where do is on the staff

A

c cleff

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53
Q

it indicates where Fa is on the staff

A

F clef

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54
Q

these clefs can be placed on any line of the staff to indicate which associates to the named note

A

true

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55
Q

different styles in writing the text of the gregorian chant

A

text settings

56
Q

there is one assigned note for each syllable of text

A

syllabic

57
Q

a group of neumes is assigned to one syllable of text

A

neumatic

58
Q

there are many notes assigned to one syllable of text, usually combining several groups of neumes

A

melismatic

59
Q

there many syllables assigned to one note of text

A

psalmodic

60
Q

english translation of salve regina

A

hail queen, mother of mercy
hail, our life, our comfort, and our hope.
exiled children of Eve, we cry out to you:
to you we breathe a prayer,
as we journey in sorrow and lament
through this “valley of tears”
come then, our advocates,
turn your eyes filled with pity our way.
and when this time of exile is past,
show us Jesus, the blessed fruit of your womb,
gentle, loving , and kind virgin Mary.

61
Q

were the scales used in both sacred and secular music

A

church modes

62
Q

eight church modes: plagal and auhtentic

A

skl

63
Q

four authentic modes:

A

dorian, phrygian, lydian, mixolodian

64
Q

four plagal modes:

A

hypodorian, hypophrygian, hypolydian, hypomixolodian

65
Q

they composed of seven different tones and an eight note that duplicates the first note an octave higher

A

true

66
Q

patterns of whole notes and half notes are different

A

true

67
Q

early medieval music was monophonic in texture

A

true

68
Q

was a french poet and composer: first to write a polyphonic setting of the mass ordinary

A

Guillaume de Machaut (ca.1300-1377)

69
Q

ars nova technique of isorhythm

A

skl

70
Q

repeated rhythmic pattern throughout one or more voices

A

isorhythm

71
Q

german band headed by Frank peterson

A

gregorian

72
Q

band gregorian leader

A

frank Peterson

73
Q

the gregorian chant was continuously performed in the churches during the medieval period

A

true

74
Q

development was introduced by:

A

Pe’rotonin and le’onin

75
Q

development was introduced by Pe’rotonin and le’onin

A

organum

76
Q

early church polyphony

A

organum

77
Q

(organum) soloist uually sings the original chant melody while the choir sings the other patrts in parallel motion

A

skl

78
Q

perotonin’s organum

A

viderunt omnes

79
Q

first composer of poluphonic music who lived in the latter part of the 12th century and earned extesive fame

A

le’onin

80
Q

three and four voice compositions of varied and rich texture

A

motet

81
Q

most important form of the early polyphonic music

A

motet

82
Q

the term motet derives from french word :

A

mot

83
Q

means words that were added to the vocal line

A

mot

84
Q

recuring rhythm

A

talea

85
Q

recurring melodic idea is also called

A

color

86
Q

motets were composed for the secular and religious functions

A

true

87
Q

the roman catholic church’ s central and leading worship service

A

mass

88
Q

before machaut, polyphony for the mas only had one or two sections

A

proper of the mass and ordinary of the mass

89
Q

the section of the mass that are sung to texts that vary with each feast day

A

proper of the mass

90
Q

chants with unvarying texts that were sung almost everyday

A

ordinary of the mass

91
Q

five texts of the Ordinary:

A

kyrie, gloria, credo, sanctus, and agnus dei

92
Q

one of the famous mass songs during this period

A

krie by machaut

93
Q

kyrie

A

Panginoon maawa ka

94
Q

gloria

A

papuri

95
Q

credo

A

siya nawa

96
Q

sanctus

A

santo

97
Q

agnus dei

A

kordero ng Diyos

98
Q

14th century has seen growth in the importance of instrumental music

A

skl

99
Q

it was improvised rather than written

A

skl

100
Q

the first compose-poets to appear in southern France and northern Spain and italy in 12th and 13th century

A

troubadours

101
Q

troubadours came form the word

A

trobar

102
Q

trbar

A

to compose, to discuss or to find

103
Q

they were travelling musicians

A

true

104
Q

the troubadours performed chivalry and courtly romantic music

A

true

105
Q

the composr-performersin northern FArnce

A

trouve’res

106
Q

their influence (trouveres) even reched germany, germany counterpart

A

minnesingers

107
Q

most of the songs of the troubadours and the trouveres were songs about

A

love, crusades, dance songs, and spinning songs

108
Q

their notation of songs does not show rhythm

A

skl

109
Q

acrobat performers

A

minstrels or jongleurs

110
Q

a french trouvee poet and composer

A

Adam de la Halle (ca.1245-1288)

111
Q

adam de la halle is aslo known as

A

Adam le Bossu or Adam the hunchback

112
Q

two part refrains

A

rondeux

113
Q

polyphonic choral compositions

A

motets

114
Q

dialogues between two poets

A

jeuxpartis

115
Q

adam was also an accomplished composer of rondeux. chansons, motets, jeupartis

A

skl

116
Q

1280s his most famous work

A

Le jeu de Robin et de Marion

117
Q

Le jeu de Robin et de Marion

A

the play of robin and marian

118
Q

it is a form of a pastourelle

A

Le jeu de Robin et de Marion

119
Q

heraldic piece that usually contains a dialogue between knight and a peasant girl

A

pastourelle

120
Q

loud or outdoor

A

hauts

121
Q

soft or indoor

A

bas

122
Q

loud instruments

A

trumpets, sackbut, shawm, bagpipe, nakers, tabor

123
Q

long instrument made of metal. this is usually used for fanfares

A

trumpet

124
Q

resembles a trombone instrument

A

sackbut

125
Q

this has a reed that vibrates against the toungue or lips to produce sound. this resembles an oboe instrument

A

shawm

126
Q

this is an ancient instrumnt made from a gout or sheep skin and a reed pipe. this is usually used by the poorest people

A

bagpipe

127
Q

this is a drums intument played in pairs

A

nakers

128
Q

this is a small drum instrument made from the trunk of a tree or a metal with animal skin stretched across the top of the hollow part

A

tabor

129
Q

soft instruments

A

flute, recorder, harp, fiddle, lute, positive organ

130
Q

this a recorder like woodwind musical instrument. on of the favorite instruments of the minstrels while traveling

A

flute

131
Q

flute like woodwind musical instrument. this is held vertically from the lips of the player

A

recorder

132
Q

favorite musical instrument of the troubadours and minstrels

A

harp

133
Q

this is a bowed or plucked string instrument placed under the chin of the player

A

fiddle

134
Q

this is a pear shaped plucked string instrument with bent neck and a fretted fingerboard

A

lute

135
Q

this is the principle musical instrument in monasteries and cathedrals during the late medieval period. this was the only instrument by the church authorities.

A

positive organ

136
Q

curriculum (astronomy, arithmetic, gemetry)

A

quadrivium

137
Q

measurement was applied to music using

A

sound and time

tle (14 decks)

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