Flashcards in Artistic Movements Deck (14):
A style of polyphony created during the Gothic era by Leoninus.
When both voices move at roughly the same rate and have clearly defined rhythms.
A system designed by Leoninus and colleagues at Notre Dame that consisted of rhythmic modes with ligatures. These designated specific rhythms that a performer was to sing.
Notre Dame School
The time period 1160-1260 when Leoninus, Perotinus, and their colleagues created a huge musical repertory. This style became immensely influential to later musical movements.
Music from the first half of the 14th century.
Characterized by four innovations:
1. Theorists acknowledge the minim (subdivision of the semibreve)
2. Musicians divided into duple and triple units.
3. Triplets and hemiola were used in duple meters
4. Time signatures appear for the first time.
Term referring to music from the 13th century with simple rhythmic patterns, all in triple meter.
Late 14th century music from Avignon into southern parts of France and northern Italy. Marked by the most subtle, sometimes extreme, rhythmic relationships.
cantus firmus technique
When borrowed melodic material is placed in the tenor.
When a composer uses a pre-existing plainsong and embellishes it and giving it a rhythmic profile. The elaborated chant then serves as the basic melodic material for a polyphonic composition.
Ornamented material can appear in any voice, though is most often heard in the cantus.
Directly tying music to text/using music that sounds out the meaning of text.
One of the most important developments in music. How we "hear music" and the mood it portrays are influenced by this technique.
Also called emulation technique.
When a composer borrows not only a pre-existing melody, but also the polyphonic complex. This is then elaborated on.
A traditional style for church music; the musical embodiment of the restrained spirit of the Counter-Reformation
Monteverdi's term for the new text-driven approach to musical composition that he practiced. Allowed for deviations from conventional counterpoint.
Paved way for new Baroque music.
Indicated a rough, bold sound in music with excessive ornamentation.