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Music History 1 > Quiz 1 > Flashcards

Quiz 1 Flashcards

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1
Q

What is The Mass?

A

The most important service of the Catholic Church.

From “Ite, missa est,” Go, the congregation is dismissed.

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2
Q

Liturgy

A

The body of texts and rites that make up a sacred service.

The Christian service commemorates the last supper of Jesus and his disciples as found in the New Testament

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3
Q

Ordinary

A

the five prayers that are always present in the Mass

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4
Q

Five Ordinary Prayers and meaning

A

Kyrie - Lord
Gloria - Glory
Credo - I believe
Sanctus - Holy
Agnus Dei - The Lamb of God

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5
Q

Proper

A

Any other pieces that don’t begin with the ordinary prayers
eg: Collects, Gospel, Alleluia, etc

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6
Q

Chant

A

The music they sang.

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7
Q

Characteristics of a chant

A
  • Monophonic (single line music)
  • Limited melodic range
  • Unmeasured rhythm
  • Based on modes
  • Strophic (the same music for each line of text) setting is often used.
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8
Q

Text Setting

A

Syllabic: One note per syllable
Neumatic: 2- 5 notes per syllable
Melismatic: More than 5 notes per syllable

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9
Q

Performance practice

A

The manner in which people performed aspects of the music that was not indicated on the page.

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10
Q

Examples of performance practice

A

Rhythm, tempo, dynamics, articulations, starting pitch and how many people are singing in the chant.

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11
Q

Name the 3 different group settings in chants

A

Direct performance: Singing in unison
Responsorial performance: Leader alternates with ensemble
Antiphona performancel: Alternating choirs

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12
Q

Solmization, what is it and who invented it?

A

Guido d’Arezzo invented a system used as an aid to remember the pitches in melismatic passages. (Solfege)

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13
Q

Isorhythm (equal rhythm)

A

This applied to a chant line. As the pieces grew longer, the pitches of the chant line were repeated

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14
Q

Color

A

Repeated pitches of the chant line

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15
Q

Talea

A

Rhythmic pattern in certain medieval choral compositions

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16
Q

Chironomy

A

Hand gestures to show the rising and falling of pitches

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17
Q

Antiphony

A

A chant sang alternately by two groups.

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18
Q

Heterophony

A

The simultaneous performance of different versions of the same melody by different voices or instruments

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19
Q

Monophony

A

Single line of music

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20
Q

Finalis

A

Tonic

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21
Q

What are the other names for Confinalis?

A

Reciting tone and tenor

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22
Q

Confinalis

A

secondary most important note. This is the note in the mode used if you were repeating many words on the same syllable

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23
Q

How do you find the confinalis in authentic modes?

A

go up five pitches (If the note is B, make it a C)

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24
Q

How do you find the confinalis in hypo (plagal) modes?

A

take the Confinalis of the Authentic mode and go down a third (If the note is B, make it a C)

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25
Q

Cantillation

A

Type of singing where the same note is used when repeating many words on the same syllable.

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26
Q

Cantus Firmus

A

Principal line of music.

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27
Q

Other names for Cantus Firmus

A

Chant, Vox Principalis or Plainsong

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28
Q

Vox Organalis

A

Added voice to cantus firmus (Counterpoint line)

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29
Q

Perfectus (Intervals)

A

Perfect intervals: unison, fourth, fifth and octave

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30
Q

Imperfectus (intervals)

A

Imperfect intervals (seconds, thirds, sixths…)

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31
Q

Ambitus

A

Range (Lowest to highest note in a chant)

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32
Q

Contrafactum

A

The replacing of one text with a new text (Usually so it can be performed at church)

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33
Q

Musica Ficta

A

The raising and lowering of pitches by either the performer or the composer

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34
Q

Custos

A

Indicates the first pitch of the next line.

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35
Q

Incipit

A

Before the vocal polyphony started, a soloist would chant a few notes of the opening of the tenor part. This provided the sound of the pitch for the day.

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36
Q

Hocket

A

Medieval practice of a single melody that is shared between two (or occasionally more) voices such that alternately one voice sounds while the other rests.

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37
Q

Tenor: Definiton and other names

A

Hold or sustain.
St. Martial, Melismatic, or Organum Purum

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38
Q

3 types of hexachords

A

Hexachord beginning on:
F : MOLL
G : DUR
C: NATURAL.

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39
Q

Mutation

A

Moving from one hexachord to another

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40
Q

How many melodic modes are there?

A

8

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41
Q

Name and number the authentic melodic modes

A

Dorian (1), Phrygian (3), Lydian (5) and Mixolydian (7)

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42
Q

Name and number the hypo (plagal) melodic modes

A

Hypodorian (2), Hypophrigian (4), Hypolydian (6) and Hypomixolydian (8)

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43
Q

How many rhythmic modes are there?

A

6

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44
Q

Name the first 3 rhythmic modes

A

Mode 1: Long Short (quarter note, eight note)
Mode 2: Short Long (eight note, quarter note)
Mode 3: Long Short Long (dotted quarter note, eight note, quarter note)

45
Q

Name the last 3 rhythmic modes

A

Mode 4: Short Long Long (eight note, quarter note, dotted quarter note)
Mode 5: Long Long (two dotted quarter notes)
Mode 6: Short Short Short (3 eight notes)

46
Q

Double leading tone cadence

A

One voice goes Ti-Do, the other voice goes Fi-Sol.
Example: Phrygian - D#-E, A#-B

47
Q

Who created the double leading tone cadence

A

Machaut

48
Q

Landini cadence

A

When the melodic line moves Ti-La-Do

49
Q

Plainchant/plainsong

A

Single line melodies being sung by a choir.

50
Q

Organum

A

Earliest two voiced counterpoint

51
Q

Types of organum that didn’t have a fixed rhythm

A

Parallel: Moves in 4ths or 5ths
Free: Vox Orginalis moves in parallel, contrary, similar or oblique motion
Aquitanian: Chant voice is very sustained, and known as a Tenor.

52
Q

Type of organum that has a fixed rhythm

A

Notre Dame (measured organum): Two or more parts added to chant in measured rhythm using the six rhythmic modes

53
Q

Clausula

A

Newly composed section of discant inserted into a pre-existing setting of the organum.

54
Q

Substitute Clausula

A

New Clausulae sections that could replace old ones. Written for popular clausulae.

55
Q

What kind of piece could a Motet be?

A

Sacred or Secular

56
Q

Trope

A

Newly composed additions usually in neumatic style to antiphonal chants of the proper

57
Q

Kinds of tropes

A
  1. New words and music added to a regular chant.
  2. Extending melismas or adding new ones.
  3. Adding text only to existing melismas.
58
Q

Ars Nova

A

The new art. French musical style of the first half of the 14th century

59
Q

Ars Antiqua

A

Ancient Art. Musical activity before the 14th century

60
Q

Chanson

A

French Song

61
Q

Channsonniers

A

a singer or writer of chansons, especially a cabaret performer who specializes in songs that are a combination of melody and rapid spoken pattern.

62
Q

Motet

A

Clausula sections that became independent pieces to be performed during a Church service.

By the Ars Nova, the Motet could be either a sacred piece or a secular piece.

63
Q

Characteristics of a motet

A
  1. Non-imitative counterpoint between the lines
  2. Dissonance between the parts.
  3. Each line was complete and independent on its own. As long as one resolved at the correct spots, the ear would accept the dissonance along the way.
  4. Preference for a HETEROGENEOUS texture (independence of parts, non- imitative counterpoint).
64
Q

Polytextual Motet

A

Contains two or more voices overlapping each other. These different voices can mean both male and female voices, different languages, or a combination of the two. Written with a lively free, speech-like rhythm for Triplum.

65
Q

Trouveres

A

Poet-composers who flourished in Northern France

66
Q

Troubadours

A

Poet-composers who flourished in Southern France

67
Q

Trobairitz

A

Female version of troubadours

68
Q

Jongleurs

A

People that traveled town to town singing the songs of the Trouveres and Troubadours

69
Q

Lied

A

German Song

70
Q

Spielleute

A

German traveling musicians

71
Q

Goliards

A

Footloose clerics who migrated from one school to another. Their vagabond way of life, scorned by respectable people, was celebrated in their songs.

72
Q

Consort

A

The ensemble that performed instrumental music

73
Q

The Recorder

A

(also known as the flauto) a wind instrument with no reed, still in existence today.

74
Q

The Shawm

A

a double reed instrument that evolves into the oboe.

75
Q

The Bagpipe

A

a double reed instrument with a bag filled with air, allowing the performer to take a breath while the sound continued through a series of pipes, usually tonic and dominant. It reverts to being primarily a folk instrument associated with Ireland and Scotland.

76
Q

The Racket/Dulcet

A

a double reed instrument that evolves into the bassoon.

77
Q

The Sackbut

A

A brass instrument with a slide and mouthpiece that evolved the Trombone.

78
Q

Crummhorn (Krumhorn)

A

A double reed instrument with a curved bell. (Krum means curved). It has a nasal buzzy sound, closer to a Kazoo. It will not survive as an instrument.

79
Q

Horn

A

A hunting instrument that could only play the OVERTONE SERIES, and therefore, could not perform in Church music or secular music.

80
Q

The Trumpet

A

Like the horn, played only the overtone series, and was used for royalty and warfare.

81
Q

Cornetto, cornett or zink

A

Wind instrument that dates from the Medieval, Renaissance and Baroque periods, popular from 1500 to 1650. (sounds like a lose trumpet)

82
Q

Types of Viols

A

Viola da gamba and Viola da braccia

83
Q

Viola da gamba characteristics

A
  • Played between the legs
  • 6 strings tuned in 4ths with 3d in middle Fretted
  • Flat back and curved sloping shoulders
  • The sophisticated string instrument in the Church and aristocracy
  • They begin to lose popularity in the Baroque period
84
Q

Viola da braccia characteristics

A
  • Played on the arm tuned in 5ths
  • Unfretted
  • Rounded back and curved shoulders
  • Peasant instrument
  • They rise in popularity in the Baroque period, and survive today as the violin, viola and cello
85
Q

Harp

A

Harps could have a variety of strings, depending on the size of the instrument. With tuning pegs on the top of the frame, the harp could be re-tuned to allow it to play in a variety of modes.

86
Q

Sitar

A

Six-string instrument from India

87
Q

Pentar

A

Five-string instrument

88
Q

Chitarre

A

Four-string instrument which later became the guitar.

89
Q

Lute

A

Most prized string instrument that came from the Mid-East. Also known as the OUD.

90
Q

Name the most common keyboard instruments

A

Organ and Harpsichord

91
Q

Organ

A

For use in church and the portative organ (a small portable organ with a small keyboard. One hand played monophonic music on the keyboard while the other hand pumped the bellows to provide the air needed.

92
Q

Harpsichord

A

Keyboard instrument that was popular in the court system and for home entertainment.

93
Q

Percussion instruments

A

There is a wide variety of percussion instruments used in the Medieval period, and a great amount of iconography illustrating them. There are no percussion parts, however, as they were improvised, usually for standardized rhythmic patterns for military and dance music.

94
Q

Estampie

A

The earliest notation dance music to survive, a dance from Southern France.

95
Q

Hildegard von Bingen

A

Famous for her prophetic powers and revelations
All her music is monophonic

96
Q

Hildegard von Bingen: Most famous piece

A

Her most famous work is Ordo Virtutum (The Virtues) c. 1151, a non-liturgical sacred music drama is a morality play in which all the parts except the Devil are sung in plainchant.

97
Q

Guido d’Arezzo

A

Italian music theorist from the town of d’Arezzo who invented a system known as Solmization

98
Q

Guido d’Arezzo: Most famous piece

A

Micrologus

99
Q

Guillaume de Machaut

A

Considered to be the greatest composer of the Ars Nova

100
Q

Guillaume de Machaut: Most famous piece

A

Mass of Notre Dame

101
Q

What did Machaut use in the Mass of Notre Dame?

A

Hockets and double leading tone cadence

102
Q

Adam de la Halle

A

French poet-composer trouvère. Among the few medieval composers to write both monophonic and polyphonic music

103
Q

Adam de la Halle: Most famous work

A

Musical play Jeu de Robin et Marion (c. 1282–83)

104
Q

Jeu de Robin et Marion is an example of which type of piece?

A

Pastourelle

105
Q

Philip de Virty

A

He proposed that duple division of note values should be allowed with triple and invented new notation practices to satisfy the demands of the new music.

106
Q

Philip de Virty: Most famous work

A

Ars Nova Musicae

107
Q

Boethius

A

The most revered and influential authority on music in the Middle Ages.

108
Q

Boethius: Most famous work

A

De Institutione Musica

109
Q

Leonin and Perotin

A

It was at Notre Dame that two of the earliest composers for which we have information, Leonin and Perotin, were writing music and contributing to the development of polyphony. Leonin and Perotin’s music became associated with what history has termed the Notre Dame School of Polyphony. It’s with these two composers that we can begin to trace the modern roots of modern Western music.

Music History 1 (5 decks)

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