Classroom Deck Flashcards

Question

reading difficulties with the Winchester Troper

Answer 1

ambiguity about neumes - what is notation and what is not starting pitch hard to identify some relation between the height of the neumes letters giving clues to pitches

Answer 2

Holschneider did the most the ones with the most repetition as the most convincing as they evidence underlying rules oriscus - vocal emphasis or repetition?

Answer 3

reforms removes secular clergy from old and new minsters and installs monks spreading Benedictine rule reformed liturgy pupil Wulfstan composed and made another work on the harmony of tones, author of tropes

Answer 4

sanctioned by the Council of Winchester based on customs of Fleury and Ghent expanded Benedictine ritual and rule Fleury had own polyphony which links closely to Winchester

Answer 5

chants by soloists, Alleluias, TRopes, Sequences and organa arranged by liturgical order and genre 174 organa copied separately from their chant

Answer 6

feasts - festal occasions Temporale - christ's life sanctorale - individual saints ritual and elaboration for high days

Answer 7

organum above the chant variant heteropony 5th and 8th interval assumed scribe made errors lack of uniformity

Answer 8

lower fourth as predominant interval unison as favoured final sound, more rarely the lower fourth when voices run parallel for a long time tone repetition oriscus inserted before the final note of a section - more notes in organal part opening lower 4th or unison

Answer 9

more reliable transcription recognises similar chant phrases mean organum does same thing oriscus at cadences forming occursus parallel thirds to avoid tritone extra oriscus in the organal voice delays joining both voices together in the final tone

Answer 10

boundary tones of C F D lower second theory restricted limits editorial choices in transcription

Answer 11

showing different solutions for chant melodies rhetorically influenced style differences in transcripts

Answer 12

oldest found a few years ago Paleo-Frankish notation below and other notation above grouping of dots added in at the end of manuscript end of words as cadenecs fourth as underlying interval notation evolving

Answer 13

Abbey of Fleury Benedictine rule Bishop of Worhester went to learn Dunstan also went List of Officials including Cantor - role expanding organum below thirds and seconds (some flat 2) variety organal voice repeating tones cadencing to unison from lower note

Answer 14

Tract for Septuagesmina many parallel fourths some speculation over correctness tract sung at Winchester with organal voice - not completely the same but related

Answer 15

loss of sources 11th century ornate and refined organum fourths longer phrases verse and polyphony alternating

Answer 16

six aleluia melodies 2 voices Alleluia V. Multifarie olim coming together on unison every neume end smaller sections

Answer 17

Reconstructions difficult to see. Cycle of liturgical order. Organal voice predominantly above. Cadence at octave Expanding range to 10th Contrary motion principle. Liberating organal voice? Joining odd word together. Expanding ‘free’ writing over whole phrase.

Answer 18

Milan prose and verse treatise Montpellier treatise

Answer 19

rationalization of practice through observation and classification rather than instruction coincides with earliest notations of New Song - on the edge of liturgy

Answer 20

France (Aquitaine?) organum as duplex cantus or two-fold song phrase boundaries and tonality the same fourth and fifth preferred third and sixth permitted final and first note roughly the same forming copula whenever eight note phrases

Answer 21

five ways of doing organum conjunct beginning - unison/octave disjunct beginning - 4th/5th switching voices more than one note against note organal voice above copula new word for occursus some internal copula range huge

Answer 22

three different ways of realising taking big chant melisma and singing to Benedicamus polyphonic melisma versions or revisions? sense of direction and voice leading

Answer 23

for memorisation yellow line for c and red for f minor third used treatise showing compositional play organal voice as dominant

Answer 24

updates Guido different musicians practice differently contrary motion regions with unison cadences teaching by example not definition copula at end of word almost every type of interval oblique motion cadence

Answer 25

Boethian metra, c.1100 Horace Ode 3.13, c.1100

Answer 26

Boethius De consolation philosophiae singing through poetry contrary motion fourths dominate Montepellier treatise is closest

Answer 27

Middle third of France rich, wealthy, independent land owners resisting regime power Duke William IX of Aquitaine as the first known troubadour writing the first crusade songs Eleanor of Aquitaine - court sponsoring troubadour song connection of crusade, troubadour song and Latin repertory

Answer 28

Paris, Latin 1139 probably copied at the Abbey of St-MArtial of Limoges A-I and A-II Early polyphony c.1100

Answer 29

Paris, Latin 3549 probs copied in Aquitaine Middle (c.1150)

Answer 30

Paris, 3719 probs copied in Aquiaine C-I and C-II as early (c.1100) C-III and C-IV as middle (c.1150)

Answer 31

London, BL Add. 36881 notational features common to Catalonia and Apt (France) manuscript D-I and D-II Late (c.1200) square notation with straight line of atalonian repertory oblong punctus and vertical ligature between diagonal punctus and pes. score notation

Answer 32

consists of 9 libelli (booklets) sections with polyphony and these are fetsal books for Christmas and Easter major feasts Benedicamus worked into many - used at end of office or meal

Answer 33

begins with text and score line dry point line for orientation mathematical use of space

Answer 34

verses following structure per line or strophe writing out first voice for first strophe and second voice for second looks like monophony but is actually polyphony key change at major point of articulation such as between strophes

Answer 35

dots in parchment indicating lines four or five lines - beginning of modern stave text line dividing line between voices

Answer 36

rhythmic or accentual accent is penultimate (p) and antipen (pp) e.g a strophe could be 2x 8p + 7pp. rhyming units building new forms

Answer 37

D and G strongest consonance at end of neume

Answer 38

florid counterpoint mixture of textures variety in versus form - strophic and through-composed examples contrary motion and perfect consonance stock figures expanding and contracting voice crossing terminal melismas interdependence of voice - simultaneous construction of parts (Fuller)

Answer 39

first two lines sound like cantus firmus with elaboration in upper but other six lines more note against note poetic not strophic 5ths and octave cadences marking consonance overlapping voices music articulating structure

Answer 40

song about St Nicholas paired strophes stave verse structure interval rhyme between each 4, final line of paired strophes rhymes with each other musically paired also texture from sequence

Answer 41

double text - lower and upper difference not a motet as the Benedicamus melody is from the Stirps Jesse responsary so texts are related florid style

Answer 42

on edges of liturgy through-composed melody repeated between strophe pairs poetry features in all 4 Aquitanian songbooks themes mainly xmas

Answer 43

clear liturgical function prose collected in blocks spread throughout year

Answer 44

5 books written mainly by a single scribe and notator 11th century Book 1 contains monophonic items for Mass and Office for feasts of St Hames and later polyphonic voices Book 5 includes polyphony, 14 pieces for St James and 4 unassigned

Answer 45

solo sections of chant genres florid upper voices for Responsaries conductus not versus central French notation various people attributed

Answer 46

2 part polyphony with extra notated part in red not all three together, red lines as alternative for second voice?

Answer 47

Comes out of series of reforms from Benedictine order. Expansion of ritual with Aethelwold. Dunstan at Ghent Oswald of Worchester at Fleury new benedictine reforms via Dunstan and Oswald writings and experiences earlier Carolingian spread

Answer 48

Prolongs occursus by giving extra note, 3rd, 2nd, unison (after end of chant). Different to Guido – 3rd, 2nd, unison

Answer 49

Winchester organa is somewhat isolated in its presentation in comparison to scattered sources sources that we have from across Europe also suggest that the Winchester repertory clearly defines principles for an localised method of polyphonic singing

Answer 50

both manuscripts show core similarities in organum construction, such as the structural arrangement and intervallic patterning, in the Winchester repertory phrases are longer

Answer 51

‘individual features cannot be regimented under set rules and procedures’, suggesting that in the true practice of polyphony rules manifested slightly differently from theoretical suggestions

Answer 52

When looking at the way in which the Winchester Troper approaches these endings, in comparison to polyphony from the rest of the continent, the English style adds notes at the occursus to extend the passage of parallel movement , this practice also contrasts to the theoretical underpinnings and suggestions for polyphonic singing in Guido’s Micrologus, a treatise from around the same time period ... In the Winchester repertory, the treatment of occursus is less strict in practice and suggests that standard patterns could be rejected in favour of more common melodic solutions, as musical options, such as the presence of the minor third, go far beyond what Guido suggested (Rankin, 1993).

Answer 53

cultivating what is now preserved scribes notation It is likely that a maximum of five scribes worked on the Winchester Troper specifically and one in particular is responsible for 165 out of the 174 notations before then perhaps being altered and changed by others scribes also likely singers - ongoing adaptation of style

Answer 54

Sentence at end of conductus that identifies whether it comes before a reading. The reader now reads the powerful words of God.

Answer 55

Becoming foundation for new creations. E.g motet taking out these melismatic chants and adding parts to them. Internal patterns of repetition within them – not in any other aspects of chant. Expanding final melisma for more patterns of repetition and creating own. Constructivist art and art of making patterns. Crossing and exchanging of patterns. exchanges playing with musical possibilities

Answer 56

Codex as liturgised practice of some Aquitanian song. Theory treatises giving note by note and Codex expanding it. note by note version as a basic framework elaborated by different singers?

Answer 57

instead of dictating and defining the practice, seems to rationalise it through classifying with examples that often provide more knowledge of the practice than the text upper and lower parts not organal and chant

Answer 58

Montpellier says the clausula cannot extend beyond 8 notes. Milan prose - internal copula evidenced in Nostra phalanx Annua gaudia which does not follow the same balanced phrase structure, with the use of six and five syllable phrases joining octave and unison in both Iacobe Virginei florid upper - responsary not conductus

Answer 59

cadences on different degrees at the ends of internal phrases clearly play a role in structuring songs though differing degrees of openness and closure. This is an important consideration that is not brought to the fore by treatises, especially since they tend to assume a given voice. We might look at examples in the treatises to see how they manage tonal planning.

Classroom Deck Flashcards

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