Brainscape's Knowledge GenomeTM

Browse over 1 million classes created by top students, professors, publishers, and experts.


See full index

MUSIC HIST TO 1750 (MUSI-3347-02) 2018FA > Mystery Score #1: Terms & People > Flashcards

Mystery Score #1: Terms & People Flashcards

1
Q

(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.

A

The Office

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
2
Q

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

A

Psalm

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
3
Q

Song to or in honor of a god. In the Christian tradition, song of praise sung to God.

A

Hymn

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
4
Q

(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.

A

Antiphon

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
5
Q

(from Latin missa, “dismissed”)

(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. In this book, as in common usage, the church service is capitalized (the Mass), but a musical setting of the Mass Ordinary is not (a mass).

A

The Mass

Ordinary: Kangaroos Get Krunk Singing Alto

KGCSA

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
6
Q

(Greek, “Lord”) One of the five major musical items in the MASS ORDINARY, based on a BYZANTINE litany.

A

Mass Ordinary: Kyrie

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
7
Q

(Latin, “Holy”) One of the five major musical items in the MASS ORDINARY, based in part on Isaiah 6:3.

A

Sanctus

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
8
Q
  • 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.
A

Strophic

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
9
Q

The entire range of pitches normally written in the Middle Ages.

A

Gamut

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
10
Q

(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.

A

Hexachord

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
11
Q

?

A

8 Church Modes

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
12
Q

A span of NOTES, as in the range of a MELODY or of a MODE.

A

Range

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
13
Q

(from Latin tenere, “to hold”)

(1) In POLYPHONY of the twelfth and thirteenth centuries, the voice part that has the chant or other borrowed MELODY, often in long-held NOTES.
(2) In POLYPHONY of the fourteenth and fifteenth centuries, the fundamental voice that together with the CANTUS determines the musical structure.
(3) In vocal music from the sixteenth century on, part for relatively high male voice.
(4) Male voice of a relatively high range.

A

Tenor

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
14
Q

The main NOTE in a MODE; the normal closing note of a CHANT in that mode.

A

Final

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
15
Q

?

A

Ut queant laxis

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
16
Q

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

A

Chant Styles: Syllabic

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
17
Q

Pertaining to a manner of performing CHANT in which a soloist alternates with a group.

A

Responsorial

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
18
Q

?

A

Gloss

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
19
Q

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.

A

Trope

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
20
Q

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.

A

Sequence

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
21
Q

Medieval Latin songs associated with the goliards, who were wandering students and clerics.

A

Goliard Song

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
22
Q

(French, “songbook”) Manuscript collection of secular songs with French words; used both for collections of MONOPHONIC TROUBADOUR and TROUv`ere songs and for collections of POLYPHONIC songs.

A

Chansonnier

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
23
Q

(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.

A

Troubadour

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
24
Q

See Fine Amour

(French, “refined love”; pronounced FEEN ah-MOOR;

fin’amours in Occitan; also called _______)

An idealized love for an unattainable woman who is admired from a distance. Chief subject of the TROUBADOURS and TROUv’eres.

A

Courtly Love

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
25
Q

Medieval MONOPHONIC song in Spanish or Portuguese.

A

Cantiga

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
26
Q

(1) One of the 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.

A

Organum

(Latin; pronounced OR- guh -num)

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
27
Q

Principal Voice

In an ORGANUM, the original CHANT MELODY.

A

Vox Principalis

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
28
Q

Organal voice

In an ORGANUM, the voice that is added above or below the original CHANT MELODY.

A

Vox organalis

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
29
Q

Type of 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 ocatve.

A

Parallel Organum

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
30
Q

?

A

Free Organum

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
31
Q

Style of POLYPHONY from the twelfth century, encompassing both DISCANT and FLORID ORGANUM.

A

Aquitanian Polyphony

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
32
Q

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.

A

Florid Organum

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
33
Q

(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.

A

Discant Organum

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
34
Q

Style of POLYPHONY from the late twelfth and thirteenth centuries, associated with the Cathedral of Notre Dame in Paris.

A

Notre Dame Organum

35
Q

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 rhythmic NOTATION of the Notre Dame composers.

A

Rhythmic Modes

36
Q

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.

A

Substitute Clausulae

37
Q

?

A

“Dominus” Melisma

38
Q

(from French mot, “word”)

POLYPHONIC vocal COMPOSITION; the specific meaning changes over time.

  • The earliest ____ add a text to an existing DISCANT CLAUSUL.
  • Thirteenth-century _____ feature one or more voices, each with its own sacred or secular text in Latin or French, above a TENOR drawn from CHANT or other MELODY.
  • Most fourteenth- and some fifteenth-century ____ feature ISORHYTHM and may include a CONTRATENOR.
  • From the fifteenth century and on, any polyphonic setting of a Latin text (other than a MASS) could be called a ____;
  • from the late sixteenth century on, the term was also applied to sacred compositions in German and later in other languages.
A

Motet

39
Q

In medieval and RENAISSANCE systems of RHYTHMIC NOTATION, a NOTE equal to two or three BREVES.

A

Long

40
Q

In medieval and RENAISSANCE NOTATION, a division of a note value into three (rather than two) of the next smaller unit. See MODE, TIME, and PROLATION.

A

Perfect Subdivisions

Perfect (or major) division

41
Q

The three levels of rhythmic division in ARS NOVA NOTATION.

  • Mode is the division of LONGS into BREVES;
  • Time is the division of breves into SEMIBREVES;
  • Prolation is the division of semibreves into MINIMS.
A

Mode / Time / Prolation

(Latin modus, tempus, prolatio)

42
Q

In ARS NOVA and RENAISSANCE systems of rhythmic NOTATION, signs that indicate which combination of time and prolation to use (see MODE, TIME AND PROLATION). The predecessors of TIME SIGNATURES.

A

Mensuration Signs

43
Q

Repetition in a voice part (usually the TENOR) of an extended pattern of durations throughout a section or an entire COMPOSITION.

A

Isorhythm

(From Greek iso-, “equal,” and rhythm)

44
Q

In an ISORHYTHMIC COMPOSITION, an extended rhythmic pattern repeated one or more times, usually in the TENOR. Compare COLOR.

A

Talea

Latin, “cutting”; pronounced TAH-lay-ah)

45
Q

(Latin, “new art”)

Style of POLYPHONY from fourteenth-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.

A

Ars nova

46
Q

(1) French FORME FIXE, normally in three stanzas, in which each stanza has the musical form aabC and ends with a REFRAIN (C).
(2) Instrumenal piece inspired by the GENRE of narrative poetry.

A

Fixed Forms: Ballade

47
Q

The 1300s (the fourteenth century), particularly with reference to Italian art, literature, and music of the time.

A

Italian Trecento

(Italian, short for mille trecento, “one thousand three hundred” pronounced treh-CHEN-toh)

48
Q

?

A

Squarcialupi Codex

49
Q

Fourteenth-century Italian song GENRE with the FORM AbbaA, in which A is the ripresa or REFRAIN, and the single stanza consists of two piedi (bb) and a volta (a) sung to the music of the ripresa.

A

Ballata

(from Italian ballare, “to dance”; pl. ballate)

50
Q

Fourteenth-century Italian FORM featuring two voices in CANON over a free untexted TENOR

A

Caccia

(Italian, “hunt”; pronounced CAH-cha; pl. cacce)

51
Q

(1) Fourteenth-century Italian poetic form and its musical setting, having two or three stanzas followed by a RITORNELLO.
(2) Sixteenth-century Italian poem having any number of lines, each of seven or eleven syllables.
(3) POLYPHONIC or CONCERTATO setting of such a poem or of a sonnet or other nonrepetitive VERSE form.
(4) English polyphonic work imitating the Italian GENRE.

A

Madrigal

(Italian madrigale, “song in the mother tongue”)

52
Q

Was credited with discovering that the octave, fifth, and fourth, long recognized as consonances, are also related to numbers. These intervals are generated by the simplest possible ratios: for example, when a string is divided, segments whose lengths are in the ratio 2;1 sound an octave, 3;2 a fifth, and 4;3 a fourth.

A

Pythagoras

53
Q

Was the most revered authority on music in the Middle Ages. His is a science of numbers, and numerical ratios and proportions determine intervals, consonances, scales, and tuning. Divided music into three parts music mundana (the music of the universe), musica humana (human music), and musica instrumentalis (instrumental music)

A

Boethius

54
Q

Conquests expanded his territory throughout modern-day France, Belgium, the Netherlands, western Germany, Switzerland, and northern Italy, continued this policy, sending for singers from Rome to teach the chant in the north.

A

Charlemange

55
Q

Revered as the founder of their church and consequently attributed their liturgy and its music to him. The legend arose that the changes were dictated to him by the Holy Spirit in the form of a dove.

A

Pope Gregory I

56
Q

The most famous early writer of sequence texts

A

Notker Balbulus

57
Q

Suggested an arrangement of lines and spaces, using a line of red ink for F and of yellow ink for C and scratching other lines into the parchment.

To facilitate sight-singing, introduced a set of syllables corresponding to the pattern of tones and semitones in the succession C-D-E-F-G-A. Solmization.

His followers developed a pedagogical aid on the hand.

A

Guido d’Arezzo

58
Q

Achieved great success as prioress and abbess of her own convent and as a writer and composer. There are more surviving chants by this person than by any other composer from the entire Middle Ages.

A

Hildegard von Bingen

59
Q

Thanks to a treatise from about 1285 known as Anonymous IV, we know the names of two musicians associated with creating polyphony for Notre Dame:

Served at the Cathedral of Paris in many capacities, beginning in the 1150s, before the current building was begun. He was a canon at Notre Dame, became a priest, and was affiliated with the monastery of St. Victor.

A

Leonin

60
Q

Thanks to a treatise from about 1285 known as Anonymous IV, we know the names of two musicians associated with creating polyphony for Notre Dame:

Little is known about him. He must have held an important position at the cathedral. The treatise’s reference to both as “master” suggests that both earned the master of arts degree at the school that would become the University of Paris, a center of intellectual innovation intertwined with Notre Dame Cathedral since the last decades of the twelfth century.

Was a European composer, believed to be French, who lived around the end of the 12th and beginning of the 13th century. He was the most famous member of the Notre Dame school of polyphony and the ars antiqua style.

A

Perotin

61
Q

The first vernacular poet-composer whose complete works were collected in a manuscript, showing the great esteem in which he was held. Musical plays were built around narrative pastoral songs (songs in idealized rural settings). The most famous was Jeu de Robin et de Marion by this trouvère.

A

Adam de la Halle

62
Q

The rhythmic variety of the Franconian motet was extended one step further by this person

A

Petrus de Cruce

63
Q

Codified the new system, now called Franconian notation, in his Ars cantus mensurabilis (The Art of Measurable Music), written around 1280.

A

Franco of Cologne

64
Q

French composer, poet, church canon, administrator for the duke of Bourbon and the king of France, and later bishop of Meaux, is named by one writer as the “inventor of a new art”—in Latin, ars nova.

A

Philippe de Vitry

65
Q

The most important composer and poet of the French Ars Nova period

A

Guillaume de Machaut

66
Q

Was born in northern Italy, probably in Florence or nearby Fiesole. The son of a painter, he was blinded by smallpox during childhood and turned to music, becoming an esteemed performer, composer, and poet. A master of many instruments, he was especially known for his skill at the organetto, a small portative organ

A

Francesco Landini

67
Q

Item from the MASS PROPER, sung just before the Gospel reading, comprising a RESPOND to 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.

A

Mass Proper: Alleluia

68
Q

(Latin, “Glory”) Second of the five major musical items in the MASS ORDINARY, a praise formula also known as the Greater DOXOLOGY.

A

Mass Ordinary: Gloria

69
Q

(Latin, “I believe”) Third of the five major musical items in the MASS ORDINARY, a creed or statement of faith.

A

Mass Ordinary: Credo

70
Q

(Latin, “Lamb of God”) Fifth of the five major musical items in the MASS ORDINARY, based on a litany.

A

Agnus Dei

71
Q

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

A

Reciting Tone

72
Q

In CHANT, having about one to seven NOTES (or one NEUME) sung to each syllable of text.

A

Chant Styles: Neumatic

73
Q

Of a MELODY, having many MELISMAS.

A

Chant Styles: Melismatic

74
Q

Adjective describing a manner of performance in which two or more groups alternate.

A

Antiphonal

75
Q

Pertaining to a manner of performing CHANT without alternation between groups (see ANTIPHONAL) or between soloist and group (see RESPONSORIAL).

A

Direct

76
Q

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.

A

Oblique Organum

77
Q

In medieval and RENAISSANCE systems of RHYTHMIC NOTATION, a NOTE that is normally equal to half or a third of a LONG.

A

Breve

(from Latin brevis, “short”)

78
Q

In medieval and RENAISSANCE systems of rhythmic NOTATION, a NOTE that is normally equal to half or a third of a BREVE.

A

Semibreve

79
Q

In medieval and RENAISSANCE NOTATION, a division of a NOTE value into two of the next smaller units (rather than three). See MODE, TIME and PROLATION.

A

Imperfect Subdivisions

80
Q

In an ISORHYTHMIC COMPOSITION, a repeated MELODIC pattern, as opposed to the repeating rhythmic pattern (the TALEA)

A

Color

(Latin rhetorical term for ornament, particularly repitition , pronounced KOH- lor )

81
Q

?

A

Ars Antigua

82
Q

French FORME FIXE in the pattern A bba A bba A bba A, in which a REFRAIN (A) alternates with stanzas with the musical FORM bba, the a using the same music as the refrain.

A

Fixed Forms: Virelai

83
Q

(1) French FORME FIXE with a single stanza and the musical FORM ABaAabAB, with capital letters indicating lines of REFRAIN and lowercase letters indicating new text set to music from the refrain.
(2) FORM in seventeenth- and eighteenth-century instrumental music in which a repeated STRAIN alternates with other strains, as in the pattern AABACA.

A

Fixed Forms: Rondeau

(pl. rondeaux)

84
Q

(from Latin gradus, “stairstep”)

Item 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.

A

Mass Proper: Gradual

MUSIC HIST TO 1750 (MUSI-3347-02) 2018FA (55 decks)

Brainscape helps you reach your goals faster, through stronger study habits.
© 2024 Bold Learning Solutions. Terms and Conditions