History 1 Test 1

Characteristic of Greek Music - Words and Music

words and pitches closely related, sung text was ideal, pitches gave the rhythm

Monophonic

one melody - common

Heterophonic

2 or more voices playing same melody by freely embellishing(improving/trills/runs) - common

Polyphonic

many sounds - 2 or more independent melodies going on at same time

Greek improv

most Greek music is improvised

Doctrine of Ethos

music has powerful effect on character and behavior, music you listen to determines what you will become (music for warriors) , each mode or tonos had its own ethical character and instruments had their own ethos ( Apollo - lyre etc.)

Ancient Greek Music

very few complete pieces (45 fragments), indirect evidence - writings describing music, theory, and paintings of musicians

Art Music

WRITTEN, learned through tradition, rules

Folk Music

UNWRITTEN, oral traditions, work songs/lullabys

Greek Music Performance Practice

mainly improv, contests for improvisation

Greek Music Theory

theorized a lot and Romans took most of it

Tonos/ Tonoi

organization of pitches in a pattern roughly equivalent to our version of a scale

Tetrachord

collection of 4 pitches, outside pitches must be a perfect 4th, inside 2 can be in any order

each scale had its own collection of melodic formulas and pitches that in turn for melodies

conjunct tetrachord

G - C - G, 2 P4 intervals that use same middle note

Disjunct tetrachord

C - F, G - C, 2 perfect 4th intervals use different middle notes

Genera

types of chords

Diatonic Greek

Tone, Tone, Semitone

Chromatic Greek

m3, semitone, semiton

Inharmonic Greek

M3, quarter tone, quarter tone

Judaic Heritage

Christians developed their own music and worship but took many ideas from Jewish

Psalm

peom from the book of psalms

Canticles

poem not from the the book of Psalms

Direct psalm Performance

solo or unison performance straight through

Responsorial Psalm Performance

alternates between soloist and group ( call and response)

Antiphonal Psalm Performance

group vs group

Hymn

non biblical sacred psalm, was argued if appropriate due to ethos and if music was too attractive compared to the words

Chant Dialects

Versions of chant differed across europe, same text but different chant across regions, caused arguments throughout Europe, unified when left europe placed under single ruler

Charlamagne

created an empire to politically stablize, used Roman Catholic Church to unify, unified literagy by sending singers and Roman Chant books to correct all chant books in the empire - France

Pope Gregory 1

created all Roman chants directly inspired by holy spirit, allowed Charlamage to stop all local chants and adopt Roman Catholic Chants because it was the word of god

Neunes

notes, groups of noted,

Transmission of Greek Music Theory

Romans absorbed arts and philosophy of the regions they conquered ( Greece), collected and preserved Greek culture

Capella

outlined program of education based on the 7 liberal arts, classified in 2 classes, trivium and quadrium

Trivium - Capella

language disciplines- grammar, philosphy, logic

Quadrium

Mathematic Discipline - math, geometry, music, astronomy

music included because it was the language of ratios and mathematical principles

Boethius

most influential person in music, created De Institutione Musica - principles and fundamentals of music - ancient thinking of music - used until Renaissance

Boethius Classifications of music

cantors - person who can sing , musicas - TRUE MUSICIAN, studied music and understands the music

Musica Mundana

music of the spheres/ cosmos

music produced by the stars and planets- heavenly bodies

Musica Humana

harmony and balance and relationships of man and society with relationships

we harmonize with each other to create society

Musica Instrumanetales

music produced by instruments, audible sounding out by poroptions

Church Modes

scholars looked at chants they were singing and found melodic patterns and developed classification systems for 4 scale systems 2 on D E F G

8 Melodic Church Modes

1. Dorian, 2. Hypodorian, 3. Phyrgian, 4. Hypophyrigain, 5. Lydian, 6. Hypolydian, 7. Mixolydian, 8. Hypomixolydian

Dorian

Final is D

Phyrgian

Final is E - Dominat is C

Lydian

Final is F

Mixolydian

Final is G

Authentic

melodies stay above final

Plagal

melodies final is in the middle

Ambitus

Range of melody

Guido of Arezzo

accredited for boys to sing at sight (Guildonian Head) and the Theroy of Hexachords

Theory of Hexachords

collection of 6 pitches insuccesion, had 3 kinds, made scale out of them - 2 octaves and a 6th, added solfedge

Hard Hexachord

Bottom Pitch G had B natural

soft hexachord

Bottom Pitch F had B flat

natural hexachord

Bottom Pitch C did not have B of B flat

Mutation - hexachords

porcess from moving from on hexachord to another - used for melodies larger than a 6th

Solmization

Method of assigning a syllabic name to each tone of the scale - COULD BE WRONG

Liturgical Calendar

based on Christmas and Easter, all texts and services revolved around calendar, prepatory seasons Christmas - Advent, Easter- Lent

Mass

developed as a commemoration of the lords supper, has 2 parts-Liturgy of the Word and Liturgy of the Eucharist, readings arranged to liturgical calendar and arranged if spoken sung or chanted

Liturgy of the Word

Fore-mass, like a confirmation class, had prayers reading scripture, and sermon - open to everybody

Liturgy of the Eucharist

Sacfirce-mass, only Christians allowed, closed door, celebration of Holy Communion

Ordinary Texts

texts that are ALWAYS the same, sung or spoken every time

Proper Texts

texts that change from season to season

5 texts of mass ordinary

Kyrie, Gloria, Credo, Sanctus, Agnus Die

Sanctus, Agnus Die

Offices/Canonical Hours

short services that meet throughout the day, most important musical element is chanting of Psalms, arranged so you go through all the Psalms every week

Antiphons

short chant that you sing before and after psalm- psalm is normally longer, have proper antiphons to proper psalms, chanted antiphonally not responsorial( maybe)

Styles of text setting

relationship between syllables of text and number of pitches that set each syllable, syllabic, nuematic, melosmatic

Syllabic

one note per syllable

Melismatic

many notes per syllable - Alleluias

Neumatic

in between melismatic and syllabic, 2-5 notes per syllable, majority of chants

Recitation Formulas

simplest kind of chant, used for prayers, readings, and responsorial prayers, recite text on one pitch

9 psalms tones

9 formulas that the church created to chant psalms, every psalm has a proper psalm tone and proper antiphon

Intonation

how you set into the psalm

Tenor

reciting tone

Mediant

formula for finishing first half of verse- punctuation of half verse

Termination

ending to psalm

Psalm tone formula

Intonation, Tenor, Mediant, Tenor, Termination

Text sets of hymns

Santus- Neumatic with melismas, Agnus Die - nuematic, Kyrie- sylabbic, Credo- syllabic, Gloria- melismatic

Troping

ways to add music, text, of both to existing chants, changes titles as well

Notker Balbulus

created a new kind of chant through troping to help him with melismas of the Jubilus(last syllable of chants that last a while - ex: last syllable of Alleluia)

set Jubilus to a text to help him remeber the melodic parts of the melody

Sequence

standardized in 1100 and has separate chant in pairs of versicles,

single melody for first line, 2&3 different text, 4&5 different text, 6&7 different text, etc.

has form of abbccdd etc.

Liturgical dramas

clergy began embellishing different texts by having people act/read certain characters in the bible, started with Easter and Christmas

Hildegard de Bingen (1098-1179)

most famous composer of this time, was dedicated to a church at a young age and raised by a womens community, had a monastic education, could read and write in german and latin and specialized in medicine and music (herbal medicine), had visions of god and wrote down the visions in books, famous during lifetime and corresponded with kings- European wide reputation

Chants of Hildegard

in a single mode, characterized by wide ranges, melismas,

starts on final goes to dominant then octave final and descends throughout piece to end on final

Ordo Virtutum

liturgical drama by Hildegard

Medieval Monophonic song

single line melodies/text, written in notation that does not have rhythm