Music History Midterm 1

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ethos

ethos

ethical character or way of being and behavior; Harmonia in music reflects and can influence harmonia in other realms, such as the human soul

Harmonia

the unification of parts in an orderly whole, encompassing mathematical proportions, philosophical ideas, and even the structure of society - connected to musical intervals, scale types, or melody styles.

tetrachord

a series of four notes that span a perfect fourth

Boethius

Most revered authority on music in the Middle Ages Wrote de institutione musica, copied for the next 1000 years Believed music had an influence on character and education, music acted primarily as an object of knowledge

Musica enchiriadis

music theory treatise describing the 8 modes, and has exercises for locating semitones and explains consonance and polyphony

final

main note in a mode, the normal closing note of a chant in that mode

range

a span of notes as in the range of a melody or of a mode

reciting tone

the second most important note in a mode, often emphasized in chant and used for reciting text in a psalm tone

solmization

A method of assigning syllables to STEPS in a SCALE, used to make it easier to identify and sing the WHOLE TONES and SEMITONES in a MELODY.

psalm tones

the formulas for chanting psalms and the oldest chants of the liturgy designed to fit any psalm One for each church mode 5 parts: intonation recitation semicadence continued recitation termination

Hildegard von Bingen

Abbess of a convent in Germany who composed original plainchants; had visions from God Primarily antiphons and responsories for the Office and sequences for mass Most surviving chants of any other Middle Ages composer

Minnesinger

modeled from troubadours 12-14th century sang love songs with a slight religious tinge some are written in church modes and others sound like major scales most likely in triple meter and were organized through phrase repetition

cantiga

songs in Galician-Portuguese in honor of the Virgin Mary prepared in 1270-90 preserved in 4 manuscripts

clausula

a section in discant style (basically a phrase); tend to have more consonance and short phrasing Perotinus wrote many tenor repeats a rhythmic motive based on a rhythmic mode

Leoninus

study and work at the Cathedral of Notre Dame Wrote the Magnus Liber Organi

Guillame de Machaut

Leading composer and poet of the Ars Nova Compiled own complete works and several manuscripts Used isorhythm in his music

Squarcialupi Codex

Source for Italian Trecento polyphony contains hundreds of pieces for 2-3 voices

isorhythm

equal rhythm segments of identical rhythm, which can recur multiple times in one piece. Includes the Talea/color.

Ars Nova

style of polyphony from 14th century France, distinguished from earlier styles by a new system of rhythmic notation that allowed duple or triple division of note values, syncopation, and great rhythmic flexibility.

Gradual

tend to be the most melismatic and virtuosic, musical peak and most reflective parts responsorial with choir and soloist

madrigal

secular Italian compositions that are idyllic, pastoral, satirical, or love poems set for two voices

Guido of Arezzo

developed a tool for learning notes by assigning them to certain knuckles on the hand wrote the Micrologus pushed towards solmization used hexachords

Philippe de Vitry

wrote the treatise Ars Nova Possibly wrote five motets from Roman De Fauvel works contained early isorhythm

troubadour

A medieval poet and musician who traveled from place to place, entertaining people with songs of courtly love most artful and refined at the time

trope

expanded existing chants by adding new words and music, expanding the melody through melisma, or text added to existing melismas

ballade

inherited from trouveres, 3-4 stanzas, sang strophically, ending with the same line of poetry, which serves as a refrain

virelai

refrain, stanza, refrain; typically three stanzas, with refrains linking them

Trecento

1300s references Italian art, literature in music THE PEOPLE SCHISM FROM CHURCH MUSIC BECOMES SECULAR Songs become form fix: caccia, ballata and rondeau. Madrigal becomes secular song- focuses on pastoral (nature)

organum

one of several styles of early polyphony from the ninth through thirteenth centuries, involving the addition of one or more voices to an existing chant

Mass Proper

The prayers with texts that change depending on the church calendar. The prayers are the Introit, Gradual, Alleluia, Offertory

Mass Ordinary

Kyrie, Gloria, Credo, Sanctus, Agnus Dei Performed every week

office

A series of eight prayer services of the Roman church, celebrated daily at specified times, especially in monasteries and convents; also, any one of those services.

antiphon

(1) A LITURGICAL CHANT that precedes and follows a PSALM or CANTICLE in the OFFICE. (2) In the MASS, a chant originally associated with ANTIPHONAL PSALMODY; specifically, the COMMUNION and the first and final portion of the INTROIT.

responsorial style

• a method of performance

• solo voice alternates with chorus

• solo passages referred to as "verse"

• chorus passages referred to as "respond"

• Haec dies (Chant)

epic

A long narrative poem telling of a hero's deeds Often recited in the earliest forms of music

Perotinus

studied and worked at the Cathedral of Notre Dame Wrote many clausulae

Papal Schism

division of the Church, time during two popes claiming legitimacy and it forced Europe to pick sides showed the corrupt side of the clergy

Roman de Fauvel

A narrative poem satirizing political corruption both secular and ecclesiastical, apparently written as a warning to the king of France and enjoyed in political circles and at court. manuscript contains 169 pieces of music pieces of music that are interwoven into the story, mostly monophonic, 34 motets that embody Ars Nova Style

caccia

Italian song that is in canon, and set to lively and graphic words. Based off of the french chance, and shows a hunt, where one voice pursues another usually has a free, untexted tenor in slower motion

Sequence

Example: Dies Irae. Melodies composed syllabically and are secular.

Liturgical Drama

Ritual play performed on holy days, composed anon most of the time, Hildegard von Bingen, the Easter Mass

Epitaph of Seikilos

Anon Genre: Antiquity, Ancient Greece

Puer natus est nobis

Anon Genre: Monophonic Plainchant mass

Viderunt omnes (gradual)

Anon Genre: Monophonic Plainchant mass

Dies Irae

Thomas of Celano Genre: Sequence

In principo omnes

Hildegard von Bingen Genre: Liturgical

Can vei la lauzeta mover

Bernart de Ventadorn Genre: Troubador Chancson (song)

A chantar

Comtessa de Dia Genre: Troubador Chancson (song)

Non sofre Santa Maria

Anon Genre: Cantiga

Jubilemus, exultemus

Anon Genre: Polyphonic organimus

Viderunt omnes (the bad one)

Leoninus Genre: Polyphonic mass

Viderunt omnes (the good one)

Perotinus Genre: Polyphonic mass

De ma dame vient

Adam de la Halle Genre: Motet

Cum Statua

Philippe de Vitry Genre: Motet

La Messe de Notre Dame: Kyrie

Guillaume de Machaut Genre: Polyphonic mass ordinary

Rose, liz, printemps, verdure

Guillaume de Machaut Genre: Rondeau

Non al suo amante

Jacopo da Bologna Genre: Pastoral (madrigal)

Non avra ma' pieta

Francesco Landini Genre: Ballata

Talea

Repeating rhythm unit

Color

Repeating melody

Liturgy

The book of songs for masses-