Oxford History of Music, Chapter 1 Flashcards

Learn major points of music history

1
Q

What was the first Western repertory to be notated as a coherent body of work (8th - 9th centuries)?

A

Music set to the official Latin texts of Western Christian worship. Roman church chant.

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2
Q

What were characteristics of Roman church chant?

A

Vocal and monophonic (single-voiced).

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3
Q

How and why was Roman church chant preserved in notated form?

A

In the period of relative political stability following the creation of the Holy Roman Empire (when Charlemagne was crowned temporal leader on Christmas 800 CE), arts flourished.

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4
Q

Who was the central figure in standardizing administrative, legal and canonical practices in the early Holy Roman Empire?

A

Alcuin, or Albinus of York (ca. 735-804), an English scholar invited by Charlemagne around 781 to set up a cathedral school.

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5
Q

Which studies were known as the “trivium” among the seven “liberal arts” of the ancients?

A

Grammar, logic and rhetoric.

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6
Q

Which studies were known as the “quadrivium” among the seven “liberal arts” of the ancients?

A

Arithmetic, geometry, astronomy and music

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7
Q

How was music considered within the “quadrivium”?

A

In entirely theoretical terms as an art of measurement: measurement of harmonic ratios (tunings and intervals) and of rhythmic quantities (classical poetic meters). It made absence of notation possible.

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8
Q

What is the significance of Charlemagne’s “Admonitio generalis” (‘General advisory”) of March 23, 789?

A

This order to the Frankish clergy sought to replace Gallican rites with Roman liturgical texts and tunes that had to be sung (for one does not “call upon God” in conventional manners of speaking).

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9
Q

According to legend, who was the composer of “Gregorian chant”?

A

Pope Gregory I, who reigned from 590 to 604. According to one account, he received inspiration from the Holy Spirit in the guise of a dove. (Depictions of St. Gregory typically show him with a dove near his mouth.) He is known as “Pope Gregory the Great” and is the patron saint of musicians, singers, students and teachers.

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10
Q

How did the legend of St. Gregory advance migration of Roman chant into northern Europe?

A

The legend was a propaganda ploy contrived to persuade the northern churches that the Roman chant was better than theirs.

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11
Q

What is an “antiphoner”?

A

A book containing the music for the liturgical calendar.

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12
Q

In addition to Pope Gregory I, which other pope was credited with composing Gregorian chant?

A

Pope Gregory II (reigned 715-731) was also credited with composing the chants. (No one person can be credited with composing all chant).

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13
Q

Where did Christian psalmody (and the earliest form of Gregorian chant) originate?

A

Not in the traditions of pre-Christian Jewish worship (whose temple rites came to an end with the Roman destruction of the temple in 70 CE). It started in the secluded vigils of Christian monks.

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14
Q

What is psalmody?

A

Psalmody is the use of the biblical psalms in worship, as distinguished from “hymnody,” the creation and use of extrabiblical poetic and musical compositions in worship.

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15
Q

What is hymnody?

A

The creation and use of extrabiblical poetic and musical compositions in worship. (Psalmody uses Biblical psalms.)

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16
Q

How did Christian psalmody emphasize monophony?

A

Christian psalmody emphasized metaphors of community and discipline (monastic ideals), symbolized by unaccompanied by singing in unison. It reflects not the primitive origins of music, but the actual rejection of earlier practices, both Judaic and pagan, that were far more elaborate and presumably polyphonic.

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17
Q

Who took some of the first steps toward organizing the ceaseless cyclic psalm-chanting of early monastic vigils into a liturgy?

A

St. Benedict of Nursia, writing in his famous Regula morachorum, the book of rules for the monastery Benedict founded in Monte Cassino in 529.

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18
Q

How was monastic psalmody practiced in vigils?

A

To help keep them awake and assist in meditation, monks would read and recite constantly, chiefly from the Bible, and particularly from the Psalter. Eventually, the practice was to recite the Psalter in an endless cycle.

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19
Q

What is a melisma?

A

Melisma, plural melismata, is the singing of a single syllable of text while moving between several different notes in succession. Music sung in this style is referred to as melismatic, as opposed to syllabic, where each syllable of text is matched to a single note.

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20
Q

What is a responsory?

A

A responsory is any psalm, canticle or other sacred musical work sung responsorially, that is, with a cantor or small group singing verses while the whole choir or congregation respond with a refrain. A responsory has two parts: a respond (or refrain), and a verse.

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21
Q

What is a Psalter?

A

A volume containing the Book of Psalms, often with other devotional material bound in as well, such as a liturgical calendar and litany of the Saints.

22
Q

What was the significance of melismatic singing to Christian mystics?

A

Melismatic singing was held by Christian mystics to be the highest form of religious utterance. “It is a certain sound of joy without words,” St. Augustine wrote.

23
Q

What is a hymn?

A

A hymn is “song with praise of God,” according to St. Augustine.

24
Q

What is an antiphon?

A

An antiphon (Greek for “opposite” + “voice”) in Christian music and ritual is a responsory by a choir or congregation, usually in the form of a Gregorian chant, to a psalm or other text in a religious service or musical work.

25
Q

What is antiphony?

A

Antiphony is now generally used for any call and response style of singing.

26
Q

What is a doxology?

A

A doxology (Greek for “glory” + “saying”) is a short hymn of praises to God in various Christian worship services, often added to the end of canticles, psalms and hymns.

27
Q

How did antiphons and responds evolve in Christian worship?

A

While psalms were fixed, antiphons and responds drawn from it could vary with the occasion (such as feast days). They became the primary site of new musical composition while chant was within the “oral tradition.”

28
Q

What is the “stichic” principle?

A

The stichic principle (from the Greek for “verse”) is the selection of individual verses for setting as antiphons and responds (as opposed to the “cursive” principle of complete cyclic readings).

29
Q

What is a neume?

A

A neume (pronounced “nyoom” is the basic element of Western and Eastern systems of musical notation before the invention of five-line staff notation. The word is a Middle English corruption of the Greek word for breath (pneuma).

30
Q

What is a neume?

A

A neume is the basic element of Western and Eastern systems of musical notation prior to the invention of five-line staff notation. The word is a Middle English corruption of the ultimately Greek word for breath (pneuma).

31
Q

What was a major limitation of Carolingian neumes (a limitation shared with prior neumes)?

A

One cannot read a melody from the without knowing the notation already. (To sight-read a melody, one needs at a minimum a means of precise relative pitch measurement.)

32
Q

Who is credited with creating the first guide to staff notation?

A

The monk Guido of Arezzo, whose treatise Micrologus (c. 1028) had the first guide to staff notation.

33
Q

Who is credited with creating the first guide to staff notation?

A

The monk Guido of Arezzo, whose treatise Micrologus (c. 1028) had the first guide to staff notation…

34
Q

Why was musical notation desirable for the church in the Carolingian era?

A

The migration of Roman Catholicism to northern Europe made notation desirable, but the nature of early sources suggest it was a mnemonic device, an arbiter of disputes or a status symbol. Literacy didn’t suddenly replace “orality” as a means of musical transmission but gradually joined it.

35
Q

Why was musical notation desirable for the church?

A

The migration of Roman Catholicism to northern Europe made notation desirable, but the nature of early sources suggest it was a mnemonic device, an arbiter of disputes or a status symbol. Literacy didn’t suddenly replace “orality” as a means of musical transmission but gradually joined it.

36
Q

What is the root of the term “tenor”?

A

The name “tenor” derives from the Latin word tenere, which means “to hold.” The tenor was the structurally fundamental (or “holding”) voice in medieval church music. All other voices were in relation to the tenor.

37
Q

What are the parts of a psalm verse?

A

Psalm verse is divided into a first and second half, or hemistich. The first half has the initium, or intonation, of a melodic fragment; tenor, or recitation note; flexa, or downward inflection, used only if the first half of the verse is long; and mediatio, or middle cadence (resting point). The second part has the tenor, sung until the terminatio, or final cadence.

38
Q

How many psalm tones are used in the Latin liturgy?

A

Eight, plus one called the tonus peregrinus (“migrating tone”) because the tenor of the second hemistich is different from the first.

39
Q

What are accentus and concentus?

A

Accentus is a style of church music that emphasizes spoken word. It is often contrasted with concentus, an alternative style that emphasizes harmony. The terms accentus and concentus were probably introduced by Andreas Ornithoparchus in his Musicae Activae Micrologus, Leipzig, 1517.

40
Q

What was included in the concentus?

A

All that portion of the liturgical song performed by the entire choir, or by sections of it. Hymns, psalms, mass ordinary and alleluias were, generally speaking, included under this term, as well as anything with more complex or distinctive melodic contours.

41
Q

What was included in the accentus?

A

Parts of the liturgy that the priest, the deacon, the subdeacon or the acolyte sang alone, such as the collects, the epistle and gospel, the preface, or anything that was recited chiefly on one tone, rather than sung, by the priest or one of his assistants. The accentus should never be accompanied by harmonies.

42
Q

What is “Justus ut palma” (or “Iustus ut palma”)?

A

Iustus ut palma (also transliterated as Justus ut palma) is the title of a number of sacred choral works which use Psalm 92:12 in the Latin Vulgate as lyrics. The Justus ut palma group refers to a family of melodically related Graduals in the Gregorian chant repertory.

43
Q

What is a Gradual?

A

The Gradual (Latin: graduale) is a chant or hymn in the liturgical celebration of the Eucharist for many Christian denominations.

44
Q

What does “Justus ut palma” mean in English?

A

Latin: Justus ut palma florebit, sicut cedrus quae in Libano est, multiplicabitur.
English: The righteous shall flourish like a palm-tree: and shall spread abroad like a cedar in Libanus.

45
Q

What is a Gregorian mode (or church mode)?

A

A Gregorian mode (or church mode) is one of the eight systems of pitch organization used to describe Gregorian chant.

46
Q

What are the eight church modes?

A

Authentic Plagal

  1. Dorian 2. Hypodorian
  2. Phrygian 4. Hypophrygian
  3. Lydian 6. Hypolydian
  4. Myxolydian 7. Hypomyxolydian
47
Q

Where does evidence of the first Roman psalm tones appear?

A

In the Carolingian service books as early as the eighth century (but not actually notated until the early 10th century).

48
Q

How were Gregorian modes similar to the catalog of Greek lyre tunings?

A

They both employed what some scholars now call the “diatonic pitch set,” the field of pitches and pitch relationships reducible to a specific arrangement of tones and semitones.

49
Q

What was the origin of the diatonic pitch set?

A

We will never know them for certain (scientists claims to have found evidence of prehistoric diatonic instruments, but it’s conjecture).

50
Q

What is a diatonic scale?

A

A diatonic scale (or heptatonia prima) is an eight-note musical scale composed of seven pitches and a repeated octave.

51
Q

How did Pythagoras invent musical practice, according to Greek legend?

A

As related by Nicomachus, Pythagoras discovered harmonic ratios after hearing beautiful sounds from a blacksmith’s shop and weighing the anvils being struck.

52
Q

What are the ratios of the Pythagorean harmonies?

A

1: 2 - Octave
3: 4 - Perfect fourth
2: 3 - Perfect fifth
8: 9 - Perfect fourth to perfect fifth