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Music History 1 > Quiz 1 Reverse Questions > Flashcards

Quiz 1 Reverse Questions Flashcards

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1
Q

The most important service of the Catholic Church.

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

A

The Mass

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2
Q

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

A

Liturgy

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3
Q

the five prayers that are always present in the Mass

A

Ordinary

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4
Q

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

A

Five Ordinary Prayers

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5
Q

The music they sang.

A

Chant

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6
Q

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

A

Proper

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7
Q

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

A

Text Setting

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8
Q
  • 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.
A

Characteristics of a chant

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9
Q

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

A

Performance Practice

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10
Q

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

A

Examples of performance practice

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11
Q

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

A

the 3 different group settings in chants

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12
Q

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

A

Solmization

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13
Q

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

A

Isorhythm (equal rhythm)

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14
Q

Rhythmic pattern in certain medieval choral compositions

A

Talea

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15
Q

Repeated pitches of the chant line

A

Color

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16
Q

Hand gestures to show the rising and falling of pitches

A

Chironomy

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17
Q

A chant sang alternately by two groups.

A

Antiphony

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17
Q

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

A

Heterophony

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18
Q

Single line of music

A

Monophony

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19
Q

Reciting tone and tenor are other names for what term?

A

Confinalis

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19
Q

Tonic

A

Finalis

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20
Q

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

A

Confinalis

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21
Q

What do you find by going up five pitches? (If the note is B, make it a C)

A

The confinalis in authentic modes

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22
Q

Principal line of music.

A

Cantus Firmus

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22
Q

What do you find by taking the Confinalis of the Authentic mode and go down a third (If the note is B, make it a C)

A

The confinalis of a hypo mode

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22
Q

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

A

Cantillation

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23
Q

Chant, Vox Principalis or Plainsong are alternative name for what term?

A

Cantus Firmus

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24
Q

Unison, fourth, fifth and octave

A

Perfectus

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24
Q

Added voice to cantus firmus (Counterpoint line)

A

Vox Organalis

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25
Q

Range

A

Ambit’s

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25
Q

seconds, thirds, sixths, sevenths…

A

Imperfects

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26
Q

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

A

Musica Ficha

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27
Q

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

A

Contrafactum

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28
Q

Indicates the first pitch of the next line.

A

Custos

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29
Q

How many melodic modes are there?

A

8

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29
Q

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.

A

Incipit

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29
Q

Moving from one hexachord to another

A

Mutation

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30
Q

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.

A

Hocket

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30
Q

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

A

Tenor

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31
Q

F : MOLL
G : DUR
C: NATURAL.

A

Hexachords

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32
Q

Name and number the authentic melodic modes

A

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

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33
Q

Name and number the hypo (plagal) melodic modes

A

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

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34
Q

How many rhythmic modes are there?

A

6

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35
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)

36
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)

37
Q

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

A

Double leading tone cadence

38
Q

Earliest two voiced counterpoint

A

Organum

38
Q

What cadence did Machaut invent?

A

Double leading tone cadence

39
Q

When the melodic line moves Ti-La-Do

A

Landini cadence

40
Q

Single line melodies being sung by a choir.

A

Plainchant/plainsong

41
Q

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.

A

Types of organum that didn’t have a fixed rhythm

42
Q

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

A

Type of organum that has a fixed rhythm

43
Q

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

A

Clausula

44
Q

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

A

Substitute Clausula

45
Q

What kind of piece could a Motet be?

A

Sacred or Secular

46
Q

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

A

Trope

47
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.
48
Q

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

A

Ars Nova

49
Q

Ancient Art. Musical activity before the 14th century

A

Ars Antiqua

50
Q

French Song

A

Chanson

51
Q

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

A

Channsonniers

52
Q

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.

A

Motet

53
Q

What are these characteristics from?

  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).
A

Motet

54
Q

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.

A

Polytextual Motet

55
Q

Poet-composers who flourished in Northern France

A

Trouveres

56
Q

Poet-composers who flourished in Southern France

A

Troubadours

57
Q

Female version of troubadours

A

Trobairitz

58
Q

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

A

Jongleurs

59
Q

German traveling musicians

A

Spielleute

59
Q

German Song

A

Lied

60
Q

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

A

Goliards

61
Q

The ensemble that performed instrumental music

A

Consort

62
Q

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

A

The Recorder

63
Q

A double reed instrument that evolves into the oboe.

A

The Shawm

64
Q

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.

A

The Bagpipe

65
Q

A double reed instrument that evolves into the bassoon.

A

The Racket/Dulcet

66
Q

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

A

The Sackbut

67
Q

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.

A

Crummhorn (Krumhorn)

68
Q

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

A

Horn

69
Q

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

A

The Trumpet

70
Q

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

A

Cornetto, cornett or zink

71
Q

Types of Viols

A

Viola da gamba and Viola da braccia

72
Q
  • 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
A

Viola da gamba

73
Q
  • 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
A

Viola da braccia

74
Q

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

A

The Harp

75
Q

Six-string instrument from India

A

The Sitar

76
Q

Five-string instrument

A

The Pentar

77
Q

Four-string instrument which later became the guitar.

A

The Chitarre

78
Q

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

A

The Lute

79
Q

Organ and Harpsichord

A

Name the most common keyboard instruments

80
Q

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

A

The Harpsichord

81
Q

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

A

The Organ

82
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.

83
Q

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

A

Estampie

84
Q

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

A

Hildegard von Bingen

85
Q

Most famous work is Ordo Virtutum

A

Hildegard von Bingen

86
Q

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

A

Guido d’Arezzo

87
Q

Most famous work is Micrologus

A

Guido d’Arezzo

88
Q

Considered to be the greatest composer of the Ars Nova

A

Guillaume de Machaut

89
Q

Most famous work is Mass of Notre Dame

A

Guillaume de Machaut

90
Q

Used hockets and double leading tone cadence

A

Machaut

91
Q

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

A

Adam de la Halle

92
Q

Most famous work is Jeu de Robin et Marion

A

Adam de la Halle

93
Q

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.

A

Philip de Virty

93
Q

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

A

Pastourelle

94
Q

Most famous work is Ars Nova Musicae

A

Philip de Virty

95
Q

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

A

Boethius

96
Q

Most famous work is De Institutione Musica

A

Boethius

97
Q

It was at Notre Dame that two of the earliest composers for which we have information, who were writing music and contributing to the development of polyphony. Their 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.

A

Leonin and Perotin

Music History 1 (5 decks)

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