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Music History > Quiz 1 > Flashcards

Quiz 1 Flashcards

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1
Q

What survives concerning music from Greek culture?

A
  • Physical remains - instruments and performing spaces
  • Visual images - drawings of musicians, instruments, and performances
  • Music itself - notation, oral tradition, and recordings (estimations)
  • Writings - texts about the use, role, and impact of music in culture
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2
Q

What is the Doctrine of Ethos?

A
  • A belief that music is so powerful as to affect human character and morality
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3
Q

What were some of Socrates’ beliefs in regards to music?

A
  • Certain modes of music affect development in different ways
  • Instrumental music is more damaging than vocal music
  • Frowned upon large ensembles and virtuosic music
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4
Q

Who was Boethius and why is he significant?

A
  • Consul and minister to the ruler of Italy
  • Most revered authority on music in the Middle Ages
  • Wrote The Fundamentals of Music, which was copied and cited for 1,000 years
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5
Q

Briefly explain the origins of the commonly used solmization syllabes today.

A
  • Introduced by Guido of Arezzo to facilitate sight-singing
  • Used the first six phrases of the song Ut queant laxis, which began on C-D-E-F-G-A in ascending order
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6
Q

What is the definition of Mass?

A
  • The most important service in the Roman church
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7
Q

What is the definition of mass?

A
  • A musical work setting the tests of the Ordinary of the Mass
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8
Q

What is the definition of Ordinary?

A
  • Texts of the Mass that remain the same on most or all days of the church calendar
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9
Q

What is the definition of Proper?

A
  • Tests of the Mass that are assigned to a particular day in the church calendar
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10
Q

What is the definition of Office?

A
  • A series of eight prayer services of the Roman church
  • Celebrated daily at sepcified times, especially in monasteries and convents
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11
Q

What is the definition of trope?

A
  • An addition to an existing chant consisting of words and melody, a melisma, or words only
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12
Q

Introit, Kyrie, Gradual

Is each chant syllabic, neumatic, or melismatic?

A
  • Introit: between syllabic and neumatic
  • Kyrie: neumatic
  • Gradual: melismatic
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13
Q

Introit, Kyrie, Gradual

What is the performing force for each chant?

A
  • Introit: antiphonal or responsorial
  • Kyrie: antiphonal
  • Gradual: responsorial
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14
Q

Introit, Kyrie, Gradual

What is the structure or form for each chant?

A
  • Introit: ABB’A
  • Kyrie: AAA BBB CCC’
  • Gradual
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15
Q

Introit, Kyrie, Gradual

Is each chant Proper or Ordinary?

A
  • Introit: Proper
  • Kyrie: Ordinary
  • Gradual: Proper
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16
Q

Introit, Kyrie, Gradual

Did these chants originally accompany any activity during the Mass?

A
  • Introit: entrance procession of the priest
  • Kyrie: a short prayer repeated in response to a leader
  • Gradual: No accompanying activity
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17
Q

What are the dates of the Middle Ages?

A
  • 5th century - 15th century
  • 410/476 CE - 1400 CE
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18
Q

When did Christianity become the state religion and Rome become the center of the Western Christian church?

A
  • 4th century
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19
Q

When was the fall of the Roman Empire?

A
  • 476 CE
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20
Q

When were the Dark Ages? What important developments occured?

A
  • 5th - 8th century
  • Monasteries became centers of learning
  • Monks formed a core body of chant
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21
Q

When was the rule of Charlemagne? What important developments occured?

A
  • 768-814 CE (8th century)
  • Marks the end of the Dark Ages
  • Earliest surviving fragments of music manuscripts
  • Adoption of Roman chant to centralize authority
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22
Q

When were the High Middle Ages? What important developments occured?

A
  • 12th-13th century
  • Music manuscripts survive in large numbers
  • Emergence of large cities
  • Developments of secular churches and cathedrals
  • New compositional ideas came out of universities
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23
Q

When and what was the First Crusade? What important developments occured?

A
  • 1095 CE
  • Western attempt to reclaim the Middle East from Muslims
  • Returned with their instruments and practices
24
Q

To what does the term “Middle Ages” refer?

A
  • A middle period between two great cultures (the Greek/Roman culture and it’s rebirth - the Renaissance)
  • A derogatroy term
25
Q

Why was a large part of the Catholic liturgy conducted in music?

A
  • Projection of sound
  • Attainability for the illiterate
  • To create a sense of unity/oneness
  • Doctrine of Ethos
  • Method of prayer/meditation
  • Conveyed divine beauty
26
Q

Why is the body of liturgical music called Gregorian Chant?

A
  • Pope Gregory was important in organizing the liturgy and unifying the church
  • Myth says that God in the form of a dove whispered the chants in Gregory’s ear
27
Q

What are the general features of chant? How do they relate to the spiritual purpose of music?

A
  • Latin
    • Language of Rome/tradition
    • Divine language separate from everyday vulgarity
    • One language to unite the church and establish power
  • Vocal
    • Doctrine of Ethos
  • Monophonic
    • Unity/oneness
    • Simplicity
    • Focus on the text***
  • Stepwise mostion
    • Exaggeration of natural inflections in speech
  • Rhythmically free (ametric)
    • Lacks wordly limits
    • Differentiation from secular music
28
Q

What was St. Augustine’s concern about setting the liturgy to music?

A
  • The music would be sinful should it take attention away from the text
29
Q

What causes differences between forms of chant?

A
  • Importance of text
  • Various performers
  • Matches corresponding actions of the Mass
30
Q

What two central types of services were celebrated in the Catholic Church?

A
  • Office
    • 8 services over 24 hours
  • Mass
    • mid-morning service
    • reflects the Last Supper
    • more elaborate music
31
Q

What factors might lead to such repetition in the Kyrie?

A
  • Importance of the idea
  • Short text
  • Accesible for congregation
32
Q

What about the style of the Gradual is ornate?

A
  • Responsorial - never sung by the congregation
  • Very long melismas (most melismatic chant)
33
Q

To what do the terms syllabic, neumatic, and melismatic refer?

A
  • syllabic: having (or tending to have) one note sung to each syllable of text
  • neumatic: having about one to seven notes (or one neume) sung to each syllable of text
  • melismatic: having many long melodic passages sung to a single syllable of text
34
Q

What is the subject of the Gradual?

A
  • The importanc and/or the birth of Christ
35
Q

What takes place during the Gradual?

A
  • Nothing - a point in the service for meditation and contemplation
36
Q

Why did the Gradual development into a highly ornate chant?

A
  • Movement of the Proper
  • Sung by the choir
  • A time for meditation
37
Q

How many modes are in the Medieval modal system? What are the two types?

A
  • 8 modes
  • Authentic and plagal
38
Q

What are the modes of the modes of the Medieval modal system? Which are authentic and which are plagal? What is the final and reciting tone of each mode?

A
  1. Dorian
    • Authentic
    • Final is D
    • Reciting tone is A
  2. Hypodorian
    • Plagal
    • Final is D
    • Reciting tone is F
  3. Phrygian
    • Authentic
    • Final is E
    • Reciting tone is C
  4. Hypophrygian
    • Plagal
    • Final is E
    • Reciting tone is A
  5. Lydian
    • Authentic
    • Final is F
    • Reciting tone is C
  6. Hypolydian
    • Plagal
    • Final is F
    • Reciting tone is A
  7. Mixolydian
    • Authentic
    • Final is G
    • Reciting tone is D
  8. Hypomixolydian
    • Plagal
    • Final is G
    • Reciting tone is C
39
Q

What is a final? How is it used?

A
  • The important structural pitch of a mode
  • Often starts and ends the piece and is repeated at key points
40
Q

What are the ranges of authentic and plagal modes?

A
  • Authentic ranges go an octave above the final
  • Plagal ranges are an octave surrounding the final
41
Q

What is a reciting tone?

A
  • The secondary important structural pitch of a mode
  • In authentic modes, the reciting tone is a fifth above the final
    • If the reciting tone falls on B (an unstable pitch), it moves up to C
  • In plagal modes, the reciting tone is a third below the corresponding authentic mode’s reciting tone (unless B)
42
Q

When did Hildegard von Bingen live?

A
  • 1098-1179 CE
43
Q

What are Hildegard von Bingen’s musical and non-musical accomplishments?

A
  • Given to the Catholic church by parents to be a nun
  • Became head abyss of her own convent
  • Political advisor
  • Wrote books about many different subjects (the human body, religious philosophy, art)
  • Largest collection of chants (77), the Play of Virtues
44
Q

How was Hildegard von Bingen inspired to compose?

A
  • Ideas came as visions directly from God
45
Q

Describe Hildegard von Bingen’s visions

A
  • Visions becan at age 4-5
  • Recieved long, detailed visions of art, music, and other ideas
  • God wanted her to share her visions
  • Recieved a visions to have an independent convent
  • Visions gave her authority and credibility
46
Q

How were Hildegard von Bingen’s musical output and ideas unusual for the time?

A
  • Chants honored female figures in Catholic history
  • Religious writings had females at the center of theology
  • Believed all types of music could be used to glorify God
  • Wrote a play told through music (completely unique of the time)
    • Gave each character a different style of music
47
Q

What is the Play of Virtues?

A
  • A play about a struggling soul trying to choose the right path
  • Continually set to music
48
Q

How are the charaters in the Play of Virtues provided different styles of music?

A
  • The Devil’s lines are spoken, while the anima is sung
  • Varying registers and textual forms
  • Disjunct vs. conjuct melodic lines
49
Q

What developments in the 12th century precipitated secular monophonic song?

A
  • An increase in trade routes
  • Prosperous economy, use of money
  • Created wealthy courts which could be patrons to the arts
50
Q

What is the background of the troubadours and trouvères?

A
  • Troubadours were attached to the courts; often came from the upper class themselves
  • Trouvères were the next generation of performers; they came from a broader range of society
51
Q

What and how did the French tradition travel to Germany?

A
  • Beatrice of France brought her favorite minstrels with her to Germany to get married
  • Minnesingers became the next generation of performers
52
Q

On what criterion are songs classified?

A
  • The subject of the poetry used as lyrics
    • dawn-song (lovers departing)
    • auld/pastoral (woman seduced by a knight)
    • debate-song (concepts of love)
53
Q

What is courtly love?

A
  • A love that redefines and changes a man mentally and physically
  • The suffering is a purifying, enobling effect
  • A secular parallel to the cult of the Virgin Mary
54
Q

What were the issues of historical performances?

A
  • Instrumentation
    • Determined using iconografic evidence
  • Rhythm
    • Found in the poem’s metric feel of words
  • Language
  • Vocal quality/timbre
  • Ornamentation/improvisation
  • Musical form - compare & contrast
55
Q

When were troubadours and trouvères active?
What language did they use?

A
  • 12th century France
  • Troubadours spoke Occitan; trouvères spoke Old French

Music History (6 decks)

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