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music histoty > Chants and secular songs in the middle ages > Flashcards

Chants and secular songs in the middle ages Flashcards

1
Q

middle ages

A

between 800-1450)

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2
Q

Sacred music

A

plainchant or Gregorian chant

created for ceremonial and communal liturgy

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3
Q

NON sacred

A

Secular monody

type:
elite or courtly

created for entertainment, feelings

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4
Q

types of music

A

monophonic: one melody, single line

homophonic: melody supported by chords

Polyphonic: two or more melodic lines at the same time

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5
Q

Troubadours

A

poet composers during the 12th and 13th century
among the most artful and refined

wrote their own lyrics in either of the two french dialects at the time

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6
Q

Liturgy

A

worship service
made up of texts and rites
yearly cycle of readings from the bible and weekly of the psalms

purpose: glorify god and saints, teach the gospel,

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7
Q

two readings that make up the liturgy

A

the office and the mass

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8
Q

the mass

A

Also known as the Eucharist

readings and prayers
focal point of religious life
proper and ordinary

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9
Q

explain proper and ordinary

A

proper: change week to week
introit, gradual, sequence, alleluia, offertory, communion

Ordinary: do not change, always present
kyrie, Sanctus, credo, Agnus Dei, Gloria,

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10
Q

explain the office

A

series of eight prayer services

group of monks and nuns praying

liturgy includes psalms each with
an antiphon: sung before and after a psalm

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11
Q

rule of Saint Benedict

A

Saint Benedict giving the rule to a group of monks,
it contains the office

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12
Q

the structure of the mass

A

intro prayers
liturgy of the word
the liturgy of the Eucharist

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13
Q

notation of chant

A

Invented to standardize (uniform) the performance of chant melodies

This helped the Frankish empires:
mission to promote a uniform liturgy and music in order to influence more worshippers across their lands

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14
Q

Alcuin of York

A

English monk during 8th and 9th

helped emperor Charlemagne in his mission to revive education in the Frankish empire

RESULT: development of musical centers, including saint gall switzrlnd

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15
Q

Frankish empire influence on plainchant

A

more leaps
in thirds
new melodies
new forms of chant such as tropes, sequences, liturgical drama

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16
Q

musical style

A

syllabic
(one note per syllable)

melismatic:
many notes per syllable

17
Q

manner of performance:

A

Antiphonal (alternating choir)

Responsorial (choir responding to soloist)

Direct: (sung by one choir)

18
Q

neumatic (chant)

A

prolonged melodic gestures of two to seven notes each.

19
Q

Antiphone (office )

A

a melody with its own text before and after a psalm

early times: the whole antiphone song before the psalms

eventually: only the opening verses sung, entire thing after the psalm.

originated to be sung by a group

20
Q

psalm tones (office)

A

formulas for chanting the psalms,
designed to fit the words of any psalms

A Psalm tone consists of five melodic elements:

1 intonation
2 reciting tone
3 bends at midpoint
4 reciting tone
5 descending to a final cadence or termination

the final verse usually leads into the lesser doxology (praise to the Trinity)

21
Q

proper mass antiphonal

A

introit and communion

introit: originally a psalm with antiphone
(shortened today, only the antiphone)

the communion: near the end of the mass
short chant, one scriptural verse

22
Q

church modes

A

1 dorian
2 hypodorian

3 phrygian
4 hypophyrigian

5 lydian
6 hypolydian

7 mixolydian
8 hypomixolydian

23
Q

about church modes

A

are defined by the sequence of whole tones and semitones in a diatonic octave built on a fnalis

authentic modes rose above the final

plagal modes: circled around or went farther below the final

24
Q

Guido arrezzo

A

his followers developed a pedagogical visual aid
proposed a set of syllables to help singers remember the notes

25
Q

early musical notation

A

notes were places above texts

eventually: idea of scratching a horizontal line in the parchment corresponding to a particular note

this was not for the sound but for telling the difference between notes

26
Q

three forms of chant repertory

A

two balanced phrases

strophic: several stanzas sung to a melody

free form: original in its content

27
Q

gradual and alleluia

A

the most developed chants of the mass

responsorial chants, intended for choir and soloist in alternation.

came to the frankish (france) churches from rome

melodies are florid and structured.

melismatic formulas occur such as intonation, internal cadance, terminations

28
Q

a trope

A

can add:

*new words and music before the chant
and often between phrases
*extending melisma or adding new ones
*text set to existing melismas

the first meothd is commin and used with introits.

flurished around the 10-11th

29
Q

sequence (10-13th)

A

notker babulus : frankish monk as saint gall

imitated and adapted for secular songs.

banned by the council of trent.

text syllables under long melismas

30
Q

liturgical drama

A

a type of play that grew out of ritual and was performed on imp holiday days

originated in troping

31
Q

hildegard (1098-1179, germany)

A

wrote a nun liturgical yet sacred music drama

a play called ordo virtutum that has 82 songs

allegorical characters, the devil does not speak as he is distant with the go

said her music is divinely inspired
having a connection with god meant being heard

32
Q

solmanization

A

doing the syllables of music in 6 steps

cdefga

solfage

33
Q

chansons the geste

A

praise song that celebrated the deeps of warriors and rulers

secular songs

34
Q

jongleurs

A

people who sang secular songs

traveled in small groups

35
Q

troubadours

A

male of female

poet composers who flourished in 12th in france

political, moral, love songs

strophic and sung to the same melody

bernart de ventadorn who wrote can vei la lauzeta nawm

music histoty (17 decks)

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