Music history test 2

Ars Antiqua

1150-1299, 3-part polyphony, started at St Martial monastery in Limoges, France

Cantus firmus

Melody in Ars Antiqua derived from chant, bottom voice, elongated

Franco of Cologne

Composer and theorist at Notre Dame cathedral. Developed Franconian notation with 3 note values

St Martial organum

Tenor sings elongated chant on the bottom, duplum sings melisma above

Ars cantus measurabilis

Art of measured singing

Tempus perfectum

Triple meter, evokes Trinity. Used in Ars Antiqua

Rhythmic modes

Rhythm patterns in Ars Antiqua. Six patterns of long and short units

Franconian notation note values

Longa, brevis, semi-brevis

Leonin

Composer from the Notre Dame school. Wrote Magnus Liber Organi. Wrote for 2 voices.

Perotin

Composer from the Notre Dame school. Wrote Viderunt Omnes (psalm for Xmas). Wrote for 4 voices.

Hocket

Melodic line interrupted by rests and alternating between voice parts

Ars Nova

14th century, centered in Southern France, named for treatise by Phillippe de Vitry

Montpellier codex

Longest manuscript of Notre Dame polyphony

Ars Antiqua Motet

1. select Gregorian chant for tenor

2. elongate it

3. apply rhythmic mode

4. add 2 voices above with lyrics from French poetry (duplum and triplum)

Discant style

Voices in rhythmic modes

Clausula

Newly composed section inserted into pre-existing organum in discant style; melismatic

Jacques de Liege

theorist, studied in Paris, wrote “Speculum Musica” in opposition to de Vitry’s Ars Nova

Ars Nova Motet (isorhythmic)

1. select Gregorian chant for tenor

2. this melody constitutes the color that will repeat throughout

3. rhythmic pattern “talea” is composed

4. talea and color do not repeat in a way that lines up

Talea

Rhythmic pattern much longer than AA rhythmic modes. repeats throughout piece

Color

Repeating melodic idea in Ars Nova music

Roman de Fauvel

14th century French poem by Gervais de Bus. Acrostic for 7 sins: Flattery, Avarice, Vileness, Variete (Fickleness), Envy, and Lachete (cowardice)

Guillaume de Machaut

French Ars Nova composer at the cathedral in Reims. Composed Mass of Notre Dame, first unified setting of a polyphonic mass, written for 4 voices

Cyclic mass

Each movement of the Mass shares melodic material

Cantus firmus mass

Movements share same melody in tenor voice

Italian Trecento

Usually not cantus firmus, more simple than French polyphony. Madrigal, caccia, ballata

Squarcialupi codex

Collection of Italian Trecento, 12 composers represented, each with a portrait

Madrigal

1. poems for 2 voice parts

2. both voices are simple and equal

3. high quality poetry (Petrarch)

Ballata

Written for 3 voice parts, intended for dancing

Francesco Landini

Blind organist, leading trecento ballata composer. Landini cadence: leading tone drops before it resolves

Ars Subitilior

Late 14th century France, Avignon papacy affected the arts, largely centered around secular polyphonic song (trouveres)

Trouvere tradition

Secular French music. Rondeau, ballade, virelai. 3-4 voice parts. More use of 3rd interval

Augen musik

“eye music” meant to be seen and heard. Scores have a themed shape. Used in Ars Subilitor

Chantilly codex

Collection of trouveres music. Mostly composed by Solege

Baude Fresnel

Stage name “Cordier” because he played the harp. Composed for Duke of Burgundy, Philip the Bold. Ars Subitilior

Solege

Leading contributor to Chantilly Codex. Founder of “Le chartre des fumeux” (opium smokers’ charter), wrote a rondeau about smoking opium

Philelpus de Casserta

Italian composer who worked at Avignon. Wrote treatise “Tractarus,” first to discuss syncopation