History of Western Music Terms Chp. 1-3

Chapter 1 Terms 

Part One: The Ancient and Medieval Worlds

chant  (1) Unison unaccompanied song, particularly that of the Latin LITURGY (also called PLAINCHANT). (2) The repertory of unaccompanied liturgical songs of a particular RITE. (page 4)

ethos  (Greek, "character") (1) Moral and ethical character or way of being or behaving. (2) Character, mood, or emotional effect of a certain tonos, MODE, METER, or MELODY. (page 4)

lyre  Plucked string instrument with a resonating sound box, two arms, crossbar, and strings that run parallel to the soundboard and attach to the crossbar. (page 5)

notation  A system for writing down musical sounds, or the process of writing down music. The principal notation systems of European music use a staff of lines and signs that define the pitch, duration, and other qualities of sound. (page 6)

polyphony  Music or musical TEXTURE consisting of two or more simultaneous lines of independent MELODY. See also COUNTERPOINT. (page 10)

scholastocism  System of teaching predominant in the Middle Ages based chiefly upon the authority of the Church Fathers, as well as of Aristotle and his commentators. (page 11)

Ch. 1 (pp. 15–26)

heterophony  Music or musical TEXTURE in which a MELODY is performed by two or more parts simultaneously in more than one way, for example, one voice performing it simply, and the other with embellishments. (page 16)

improvisation  Spontaneous invention of music while performing, including devising VARIATIONS, embellishments, or accompaniments for existing music. (page 16)

monophony  Music or musical TEXTURE consisting of unaccompanied MELODY. (page 16)

rhythm  (1) Music's movement in time. (2) A particular arrangement of short and long durations. (page 16)

aulos  Ancient Greek reed instrument, usually played in pairs. (page 17)

kithara  Ancient Greek string instrument, a large LYRE. (page 17)

tetrachord  (from Greek, "four strings") (1) In Greek and medieval theory, a SCALE of four NOTES spanning a perfect fourth. (2) In modern theory, a set of four pitches or PITCH-CLASSES. (3) In TWELVE-TONE theory, the first four, middle four, or last four notes in the ROW. (page 17)

imitation  (1) In POLYPHONIC music, the device of repeating (imitating) a MELODY or MOTIVE announced in one part in one or more other parts, often at a different pitch level and sometimes with minor MELODIC or rhythmic alterations. Usually the voices enter with the element that is imitated, although sometimes imitation happens within the middle of a segment of melody. (2) The act of patterning a new work after an existing work or style; especially, to borrow much of the existing work's material. (page 18)

harmonia  (pl. harmoniai) Ancient Greek concept having multiple related meanings: (1) the union of parts in an orderly whole; (2) SCALE type. (page 19)

chromatic  (in ancient Greek music) (from Greek chroma, "color") (1) In ancient Greek music, adjective describing a TETRACHORD comprising a minor third and two SEMITONES, or a MELODY that uses such tetrachords. (2) Adjective describing a melody that uses two or more successive semitones in the same direction, a SCALE consisting exclusively of semitones, an INTERVAL or CHORD that draws NOTES from more than one DIATONIC scale, or music that uses many such melodies or chords. (page 19)

Pythagorean intonation  A system of tuning NOTES in the SCALE, common in the Middle Ages, in which all perfect fourths and fifths are tuned according to the ratios 4:3 and 3:2. (page 19)

musica mundana, musica humana, musica instrumentalis  (Latin, "music of the universe," "human music," and "instrumental music") Three kinds of music identified by Boethius (ca. 480–524), respectively the "music" or numerical relationships governing the movement of stars, planets, and the seasons; the "music" that harmonizes the human body and soul and their parts; and audible music produced by voices or instruments. (page 22)

chant dialect  One of the repertories of ecclesiastical CHANT, including GREGORIAN, BYZANTINE, AMBROSIAN, and OLD ROMAN CHANT. (page 23)

liturgy  The prescribed body of texts to be spoken or sung and ritual actions to be performed in a religious service. (page 23)

Mass  (from Latin missa) (1) The most important service in the Roman Church. (2) A musical work setting the texts of the ORDINARY of the Mass, typically KYRIE, GLORIA, CREDO, SANCTUS, and AGNUS DEI. (page 23)

psaltery  A plucked string instrument whose strings are attached to a frame over a wooden sounding board. (page 24)

Ambrosian chant  A repertory of ecclesiastical chant used in Milan. (page 25)

Old Roman chant  A repertory of ecclesiastical chant preserved in eleventh- and twelfth-century manuscripts from Rome representing a local tradition; a near relative of Gregorian chant. (page 25)Concise History of Western Music

Chapter 2 Terms

Ch. 2 (pp.27–33)

monody (1) An accompanied solo song. (2) The musical TEXTURE of solo singing accompanied by one or more instruments. (page 27)

plainchant, plainsong A unison unaccompanied song, particularly a LITURGICAL song to a Latin text. (page 27)

monophonic Consisting of a single unaccompanied MELODIC line. (page 27)

art song A song intended to be appreciated as an artistic statement rather than as entertainment, featuring precisely notated music, usually THROUGH-COMPOSED, and requiring professional standards of performance. Compare POPULAR SONG. (page 28)

church calendar In a Christian RITE, the schedule of days commemorating special events, individuals, or times of year. (page 29)

Office (from Latin officium, "obligation" or "ceremony") 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. (page 29)

psalm A poem of praise to God, one of 150 in the Book of Psalms in the Hebrew Scriptures (the Christian Old Testament). Singing psalms is a central part of Jewish, Catholic, and Protestant worship. (page 29)

antiphon (in Mass) (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. (page 30)

canticle HYMN-like or PSALM-like passage from a part of the Bible other than the Book of Psalms. (page 30)

Communion Item in the MASS PROPER, originally sung during communion, comprising an ANTIPHON without verses. (page 30)

Gloria (Latin, "Glory") Second of the five major musical prayers in the MASS ORDINARY. (page 30)

Introit (from Latin introitus, "entrance") First prayer in the MASS PROPER, originally sung for the entrance procession, comprising an ANTIPHON, PSALM verse, DOXOLOGY, and reprise of the ANTIPHON. (page 30)

Kyrie (Greek, "Lord") One of the five major musical prayers in the MASS ORDINARY, based on a BYZANTINE litany. (page 30)

responsory RESPONSORIAL CHANT used in the OFFICE services such as Matins. (page 30)

Byzantine chant The repertory of ecclesiastical CHANT used in the Byzantine RITE and in the modern Greek Orthodox Church. (page 30)

Agnus Dei (Latin, "Lamb of God") Of the five major musical prayers in the MASS ORDINARY, the fifth, based on a litany. (page 31)

Alleluia Prayer from the MASS PROPER, sung just before the Gospel reading, comprising a RESPOND with the text "Alleluia," a verse, and a repetition of the respond. CHANT alleluias are normally MELISMATIC in style and sung in a RESPONSORIAL manner, one or more soloists alternating with the CHOIR. (page 31)

Credo (Latin, "I believe") Third of the five major musical prayers in the MASS ORDINARY, a creed or statement of faith. (page 31)

Gradual (from Latin gradus, "stairstep") Prayer in the MASS PROPER, sung after the Epistle reading, comprising a RESPOND and VERSE. CHANT graduals are normally MELISMATIC in style and sung in a RESPONSORIAL manner, one or more soloists alternating with the CHOIR. (page 31)

Offertory Prayer in the MASS PROPER, sung while the Eucharist is prepared, comprising a RESPOND without VERSES. (page 31)

Proper (from Latin proprium, "particular" or "appropriate") Texts of the MASS that are assigned to a particular day in the CHURCH CALENDAR, often commemorating a saint. (page 31)

sanctus (from Latin proprium, "particular" or "appropriate") Texts of the MASS that are assigned to a particular day in the CHURCH CALENDAR, often commemorating a saint. (page 31)

Ordinary (from Latin ordinarium, "usual") Prayers of the MASS that remain the same on most or all days of the CHURCH CALENDAR, although their melodies may change. (page 32)

Gregorian Chant The repertory of ecclesiastical CHANT used in the Roman Catholic Church. (page 33)

Ch. 2 (pp. 33–43)

liturgical drama Dialogue on a sacred subject, set to music and usually performed with action, and linked to the LITURGY. (page 33)

recitation formula In CHANT, a simple MELODY whose outline is used for a variety of texts. (page 33)

responsorial Pertaining to a manner of performing CHANT in which a soloist alternates with a group. (page 33)

melismatic Adjective describing a MELODY, having many MELISMAS. (page 33)

neumatic In CHANT, having about one to six NOTES (or one NEUME) sung to each syllable of text. (page 33)

melisma A long MELODIC passage sung to a single syllable of text. (page 34)

performance practice Conventions of performance peculiar to different musical styles, eras, and repertories. (page 34)

syllabic Having (or tending to have) one NOTE sung to each syllable of text. (page 34)

harmonia (pl. harmoniai) Ancient Greek concept having multiple related meanings: (1) the union of parts in an orderly whole; (2) SCALE type. (page 19)

intonation A MELODIC formula for singing PSALMS in the OFFICE. There is one psalm tone for each MODE. (page 36)

psalmody The singing of PSALMS. (page 36)

reciting tone (also called TENOR) The second most important NOTE in a MODE (after the FINAL), often emphasized in CHANT and used for reciting text in a PSALM TONE. (page 36)

strophic Of a poem, consisting of two or more stanzas that are equivalent in form and can each be sung to the same MELODY; of a vocal work, consisting of a strophic poem set to the same music for each stanza. (page 36)

Doxology A formula of praise to the Trinity used in GREGORIAN CHANT. (page 36)

jubilus (Latin) In CHANT, an effusive MELISMA, particularly the melisma on "-ia" in an ALLELUIA. (page 38)

respond The first part of a RESPONSORIAL CHANT, appearing before and sometimes repeated after the PSALM verse. (page 38)

coloratura Florid vocal ORNAMENTATION. (page 39)

ornamentation The addition of embellishments to a given MELODY, either during performance or as part of the act of COMPOSITION. (page 39)

sequence (from Latin sequentia, "something that follows") (1) A category of Latin CHANT that follows the ALLELUIA in some MASSES. (2) Restatement of a pattern, either MELODIC or HARMONIC, on successive or different pitch levels. (page 39)

trope Addition to an existing CHANT, consisting of (1) words and MELODY; (2) a MELISMA; or (3) words only, set to an existing melisma or other melody. (page 39)

authentic mode A MODE (2) in which the RANGE normally extends from a STEP below the FINAL to an octave above it, as in modes 1, 3, 5, and 7. See also PLAGAL MODE. (page 42)

final The main NOTE in a MODE; the normal closing note of a CHANT in that mode. (page 42)

plagal mode A MODE (2) in a which the RANGE normally extends from a fourth (or fifth) below the FINAL to a fifth or sixth above it, as in modes 2, 4, 6, and 8. See also AUTHENTIC MODE. (page 42)

mode (1) A SCALE or MELODY type, identified by the particular INTERVALLIC relationships among the NOTES in the mode. (2) In particular, one of the eight scale or melody types recognized by church musicians and theorists beginning in the Middle Ages, distinguished from one another by the arrangement of WHOLE TONES and SEMITONES around the FINAL, by the RANGE relative to the final, and by the position of the TENOR or RECITING TONE. (3) RHYTHMIC MODE. See also MODE, TIME, and PROLATION. (page 42)

hexachord (from Greek, "six strings") (1) A set of six pitches. (2) In medieval and RENAISSANCE SOLMIZATION, the six NOTES represented by the syllables ut, re, mi, fa, sol, la, which could be transposed to three positions: the natural hexachord, C–D–E–F–G–A; the hard hexachord, G–A–B–C–D–E; and the soft hexachord, F–G–A–B –C–D. (3) In TWELVE-TONE theory, the first six or last six notes in the ROW. (page 43)

neume A sign used in NOTATION of CHANT to indicate a certain number of NOTES and general MELODIC direction (in early forms of notation) or particular pitches (in later forms). (page 43)

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. (page 43)

Ch. 2 (pp. 44–48)

chanson de geste (French, "song of deeds") Type of medieval French epic recounting the deeds of national heros, sung to MELODIC formulas. (page 44)

goliard songs Medieval Latin songs associated with the goliards, who were wandering students and clerics. (page 44)

jongleur (French, "juggler") Itinerant medieval musician or street entertainer. (page 44)

minstrel (from Latin minister, "servant") Thirteenth-century traveling musician, some of whom were also employed at a court or city. (page 44)

chansonnier (French, "songbook") Manuscript collection of secular songs with French words; used both for collections of MONOPHONIC TROUBADOUR and TROUVèRE songs and for collections of POLYPHONIC songs. (page 45)

courtly love See FINE AMOUR. (page 45)

fine amour (French, "refined love"; pronounced FEEN ah-MOOR; also called courtly love) An idealized love for an unattainable woman who is admired from a distance. Chief subject of TROUBADOUR and TROUVèRE poetry. (page 45)

refrain In a song, a recurring line (or lines) of text set to a recurring MELODY. (page 45)

trobairitz (from Occitan trobar, "to compose a song") A female TROUBADOUR. (page 45)

troubadour (from Occitan trobar, "to compose a song") A poet-composer of southern France who wrote MONOPHONIC songs in Occitan (langue d'oc) in the twelfth or thirteenth century. (page 45)

trouvère (from Old French trover, "to compose a song") A poet-composer of northern France who wrote MONOPHONIC songs in Old French (langue d'oil) in the twelfth or thirteenth century. (page 45)

Abgesang (pronounced AHP-ge-zong) See BAR FORM. (page 47)

bar form Song FORM in which the first section of MELODY is sung twice with different texts (the two Stollen) and the remainder (the Abgesang) is sung once. (page 47)

Minnelieder (German, "love songs") Songs of the MINNESINGER. (page 47)

Minnesinger (German, "singer of love"; also pl.) A poet-composer of medieval Germany who wrote MONOPHONIC songs, particularly about love, in Middle High German. (page 47)

cantiga Medieval MONOPHONIC song in Spanish or Portuguese. (page 48)Concise History of Western Music

Chapter 3 Terms

Ch. 3 (pp.49–54)

counterpoint The combination of two or more simultaneous MELODIC lines according to a set of rules. (page 50)

hymn Song to or in honor of a god. In the Christian tradition, song of praise sung to God. (page 50)

Notre Dame polyphony Style of POLYPHONY from the late twelfth and thirteenth centuries, associated with the Cathedral of Notre Dame in Paris. (page 50)

organum (Latin; pronounced OR-guh-num) (1) 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. (2) A piece, whether IMPROVISED or written, in one of those styles, in which one voice is drawn from a CHANT. The plural is organa. (page 50)

mixed parallel and oblique organum Early form of ORGANUM that combines parallel motion with oblique motion (in which the ORGANAL VOICE remains on the same NOTE while the PRINCIPAL VOICE moves) in order to avoid TRITONES. (page 51)

parallel organum Type of early POLYPHONY in which an added voice moves in exact parallel to a CHANT, normally a perfect fifth below it. Either voice may be doubled at the octave. (page 51)

organal voice (Latin, vox organalis) In an ORGANUM, the voice that is added above or below the original CHANT MELODY. (page 51)

discant (Latin, "singing apart") (1) Twelfth-century style of POLYPHONY in which the upper voice or voices have about one to three NOTES for each note of the lower voice. (2) TREBLE part. (page 52)

drone NOTE or notes sustained throughout an entire piece or section. (page 52)

florid organum Twelfth-century style of two-voice POLYPHONY in which the lower voice sustains relatively long NOTES while the upper voice sings note-groups of varying length above each note of the lower voice. (page 52)

free organum Style of ORGANUM in which the ORGANAL VOICE, having more rhythmic and melodic independence, moves in a free mixture of contrary, oblique, parallel, and similar motion against the CHANT (and usually above it). (page 52)

Aquitanian polyphony Style of POLYPHONY from the twelfth century, encompassing both DISCANT and FLORID ORGANUM. (page 52)

Ch. 3 (pp. 54–58)

organum duplum In NOTRE DAME POLYPHONY, an ORGANUM in two voices. (page 54)

clausula (Latin, "clause," pl. clausulae) In NOTRE DAME POLYPHONY, a self-contained section of an ORGANUM that closes with a CADENCE. (page 55)

substitute clausula In NOTRE DAME POLYPHONY, a new CLAUSULA (usually in DISCANT style) designed to replace the original POLYPHONIC setting of a particular segment of a CHANT. (page 55)

rhythmic modes System of six durational patterns (for example, mode 1, long-short) used in POLYPHONY of the late twelfth and thirteenth centuries, used as the basis of the rhythmic NOTATION of the Notre Dame singers. (page 56)

duplum (from Latin duplus, "double") In POLYPHONY of the late twelfth through fourteenth centuries, second voice from the bottom in a three- or four-voice TEXTURE, above the TENOR. (page 57)

quadruplum (Latin, "quadruple") (1) In POLYPHONY of the late twelfth through fourteenth centuries, fourth voice from the bottom in a four-voice TEXTURE, added to a TENOR, DUPLUM, and TRIPLUM. (2) In NOTRE DAME POLYPHONY, an ORGANUM in four voices. (page 57)

triple motet Thirteenth-century MOTET in four voices, with a different text in each voice above the TENOR. (page 57)

triplum (from Latin triplus, "triple") (1) In POLYPHONY of the late twelfth through fourteenth centuries, third voice from the bottom in a three- or four-voice TEXTURE, added to a TENOR and DUPLUM. (2) In NOTRE DAME POLYPHONY, an ORGANUM in three voices. (page 57)

motive Short MELODIC or RHYTHMIC idea that recurs in the same or altered form. (page 57)

Ch. 3 (pp. 58–65)

cantus firmus (Latin, "fixed melody") An existing MELODY, often taken from a GREGORIAN CHANT, on which a new POLYPHONIC work is based; used especially for MELODIES presented in long NOTES. (page 58)

tenor (from Latin tenere, "to hold") (1) In a MODE or CHANT, the RECITING TONE. (2) In POLYPHONY of the twelfth and thirteenth centuries, the voice part that has the chant or other borrowed MELODY, often in long-held NOTES. (3) Male voice of a relatively high range. (page 58)

cantus (Latin, "melody") In POLYPHONY of the fourteenth through sixteenth centuries, the highest voice, especially the texted voice in a polyphonic song. (page 58)

double motet Thirteenth-century MOTET in three parts, with different texts in the DUPLUM and TRIPLUM. (page 60)

Franconian notation System of NOTATION described by Franco of Cologne around 1280, using note shapes to indicate durations. (page 61)

cauda (Latin, "tail"; pl. caudae) MELISMATIC passage in a POLYPHONIC CONDUCTUS. (page 63)

conductus A serious medieval song, often of a processional nature, MONOPHONIC or POLYPHONIC, setting a rhymed, rhythmic Latin poem. (page 63)