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Mid-Term Terms/Definitions Flashcards

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1
Q

Gregorian Chant

A

the repertory of ecclesiastical chant used in the Roman Catholic Church

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2
Q

Gallican Chant

A

the liturgical plainchant repertory of the Gallican rite of the Roman Catholic Church in Gaul, prior to the introduction and development of elements of the Roman rite from which Gregorian chant evolved

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3
Q

Old Roman Chant

A

a repertory of ecclesiastical chant preserved in 11th and 12th century manuscripts from Rome representing a local tradition; a near relative of Gregorian chant

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4
Q

Syllabic

A

having one note sung to each syllable of text

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5
Q

Neumatic

A

having 1-7 notes (or one neume) sung to each syllable of text

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6
Q

Melismatic

A

of a melody, having many melismas (many long passages of notes sung to one syllable of text)

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7
Q

Direct

A

a manner of performing chant without alternation between groups

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8
Q

Antiphonal

A

a manner of performance in which two or more groups alternate

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9
Q

Responsorial

A

a manner of performing chant in which a soloist alternates with a group

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10
Q

Psalm Tone

A

a melodic formula for singing songs in the Office; there is one psalm tone for each mode

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11
Q

Antiphon

A

a liturgical chant that precedes and follows a psalm or canticle in the Office; in the Mass, a chant associated with the communion and the first and final portion of the Introit

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12
Q

Neume

A

a sign used in notation of chant to indicate a certain number of notes and general melodic direction (in early forms) or particular pitches (in later forms)

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13
Q

Ligature

A

neume-like noteshape used to indicate a short rhythmic pattern in 12th to 16th century notation

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14
Q

Heightened Neumes

A

in an early form of notation, neumes arranged so that their relative heights indicated higher or lower pitch

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15
Q

Solmization

A

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

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16
Q

Hexachord (natural, hard, soft)

A

the six notes used to represent the six solmization syllables (ut, re, mi, fa, sol, la) which could be transposed into three positions
Natural: C-D-E-F-G-A
Hard: G-A-B-C-D-E
Soft: F-G-A-Bb-C-D

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17
Q

Office

A

a series of eight prayer services of the Roman church, celebrate daily at specified times, especially in monasteries and convents

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18
Q

Mass

A

the most important service in the Roman church; a musical work setting the texts of the Ordinary of the Mass

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19
Q

Introit

A

first item in the Mass Proper, originally sung for the entrance procession, comprising and Antiphon, Psalm Verse, Lesser Doxology, and reprise of the antiphon

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20
Q

Gloria

A

second of the five major musical items in the Mass Ordinary

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21
Q

Kyrie

A

one of the five major musical items in the Mass Ordinary

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22
Q

Gradual

A

item in the Mass Proper, sung after the Epistle reading, comprising a Respond and Verse; melismatic and responsorial

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23
Q

Alleluia

A

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; melismatic and responsorial

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24
Q

Sequence

A

a category of Latin chant that follows the Alleluia in some Masses

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25
Credo
third of the five major musical items in the Mass Ordinary, a creed or statement of faith
26
Offertory
item in the Mass Proper, sung while the Communion is prepared, comprising a respond without verses
27
Sanctus
one of the five major items in the Mass Ordinary
28
Agnus Dei
fifth of the five major musical items in the Mass Ordinary
29
Communion
items in the Mass Proper, comprising an antiphon without verses
30
Post Communion
follows the Communion during the Mass
31
Ite missa est
the concluding Latin words addressed to the people in the Mass
32
Proper
texts of the Mass that are assigned to a particular day in the Church Calendar
33
Ordinary
texts of the Mass that remain the same on most or all days of the Church Calendar, although the tunes may change
34
What is the Mode #, final, range, and repercussio of the Dorian mode?
Mode 1 Final = D Range = Above Repercussio = A
35
What is the Mode #, final, range, and repercussio of the Hypo-Dorian mode?
Mode 2 Final = D Range = Around Repercussio = F
36
What is the Mode #, final, range, and repercussio of the Phrygian mode?
Mode 3 Final = E Range = Above Repercussio = C
37
What is the Mode #, final, range, and repercussio of the Hypo-Phrygian mode?
Mode 4 Final = E Range = Around Repercussio = A
38
What is the Mode #, final, range, and repercussio of the Lydian mode?
Mode 5 Final = F Range = Above Repercussio = C
39
What is the Mode #, final, range, and repercussio of the Hypo-Lydian mode?
Mode 6 Final = F Range = Around Repercussio = A
40
What is the Mode #, final, range, and repercussio of the Mixolydian mode?
Mode 7 Final = G Range = Above Repercussio = D
41
What is the Mode #, final, range, and repercussio of the Hypo-Mixolydian mode?
Mode 8 Final = G Range = Around Repercussio = C
42
Repercussio
the second most important note in a mode (after the final), often emphasized in chant and used for reciting text in a psalm tone (also called the reciting tone)
43
Constantine the Great
Founder of Constantinople
44
Pope Gregory I "The Great"
founded the medieval papacy and was pope from 590-604; also may have written early Frankish chant books
45
Pope Stephen II
wanted to spread Gregorian chant throughout the Roman Empire and protect the papacy from the Lombard; 752-7
46
Pepin III "The Short"
first Frankish king to rule during the Carolingian Renaissance; 751-68
47
Charlemagne
Pepin III's son; major influence in the spread of Gregorian chant across the Roman Empire; 768-814
48
Guido d'Arezzo
developed the idea of using a staff for notation; also developed the hexachord system
49
Secular Monophony
a genre composed by the Troubadours, Trovères, and Minnesingers in the 12th and 13th centuries
50
Troubadour
a poet-composer of Southern France who wrote monophonic songs in Occitan (langue d'oc) in the 12th or 13th cent.
51
Trouvère
a poet-composer of Northern France who wrote monophonic songs in Old French (langue d'oil) in the 12th or 13th cent.
52
Minnesinger
a poet-composer of medieval Germany who wrote monophonic songs, particularly about love, in Middle High German
53
Strophic
consisting of two or more stanzas that are equivalent in form and can each be sung to the same melody
54
Refrain
a recurring line(s) of text usually set to a recurring melody
55
Canso
Troubadour song about courtly love
56
Alba
Troubadour "Dawn song"
57
Rondeau
French forme fixe with a single stanza and the musical form ABaAabAB
58
Ballade
French forme fixe, normally in three stanzas, in which each stanza has the musical form aabC
59
Virelai
French forme fixe in the pattern Abba Abba AbbaA
60
Courtly Love (fin' amour / fine amour)
an idealized love for an unattainable woman who is admired from a distance
61
Polyphony
music or musical texture consisting of two or more simultaneous lines of independent melody
62
Homophony
musical texture in which all voice move together in essentially the same rhythm, as distinct from polyphony and heterophony
63
Parallel Organum
type of polyphony in which an added voice moves in exact parallel to a chant, normally a perfect fifth below it
64
Modified Parallel Organum
starts at unison and moves to fourths then back to unison again
65
Parallel Motion
two voices moving in the same direction at equivalent melodic intervals
66
Similar Motion
two voices moving in the same direction but at different melodic intervals
67
Oblique Motion
one voice stays on the same pitch while another voice moves
68
Contrary Motion
two voices moving in opposite directions; the melodic intervals of these voices are irrelevant
69
Aquitanian Polyphony
style of polyphony from the 12th cent., encompassing both discant and florid organum
70
Notre-Dame Organum
style of polyphony from the late 12th and 13th cents., associated with the Cathedral of Notre Dame in Paris
71
Organum
one of several styles of pearly polyphony from the 9th through 13th cents., involving the addition of one or more voices to an existing chant
72
Tenor
in polyphony of the 12th and 13 cents., the voice part that has the chant or other borrowed melody, often in long hold notes
73
Duplum
in polyphony of the late 12th through 14th cents., second voice from the bottom
74
Triplum
in polyphony of the late 12th through 14th cents., third voice from the bottom; in Notre Dame polyphony, an organum in three voices
75
Florid Organum / Organum Purum
12th cent. 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
76
Discant Clausula
a contained section in polyphony in which the upper voice has about one to three notes for each note of the lower voice
77
Conductus
a serious medieval song, monophonic or polyphonic, setting a rhymed, rhythmic Latin poem
78
Cauda
melismatic passage in a polyphonic conductus
79
Simple Conductus
non-melismatic conductus?
80
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
81
Motet
polyphonic vocal composition; the earliest motets add a text to an exisiting discant clausula; 13th cent. motets feature one or more voices, each with its own text in Latin or French
82
Motetus
the voice above the tenor in a motet
83
Franconian Motet
b
84
Petronian Motet
b
85
Rhythmic Modes
system of six durational patterns used in polyphony of the late 12th and 13th cents., used as the basis of the rhythmic notation of the Notre Dame composers
86
Franconian Notation System
system of notation described by Franco of Cologne around 1280, sing noteshapes to indicate durations
87
Longa (Long)
Rectangle (Double Brevis, Quadruple Semibrevis)
88
Brevis (Breve)
Square (Half Longa, Double Semibrevis)
89
Semibrevis (Semibreve)
Diamond (Half Brevis, Quarter Longa)
90
Duplex Long
6 tempora
91
Perfect Long
3 tempora
92
Imperfect Long
2 tempora (combined with brevis to create group of 3)
93
Brevis Recta
1 tempora (when combined with a second brevis); brevis recta usually comes first
94
Brevis Altera (Altered Breve)
2 tempora (when combined with a second brevis); brevis altera usually comes second
95
Major Semibreve
2/3 of a tempus; analogous to the brevis altera
96
Minor Semibreve
1/3 of a tempus; analogous to the brevis recta
97
Tempus
in medieval systems of notation, the basic time unit (1 beat)
98
La Comtessa de Dia
Who dat?
99
Bernart de Ventadorn
...?
100
Adam de la Halle
Don't give Adam about who this is
101
Leonin
wrote the Magnus Liber Organi and combined discant and florid organum (soloists) with plainchant (choir)
102
Anonymous IV
wrote about Leonin and Perotin
103
Franco de Cologne
wrote the Ars Cantus Mensurabilis; first to create idea that noteshape = length
104
Perfection
in medieval systems of notation, a unit of duration equal to three tempora (3 beats)
105
Perotin
great discant writer who wrote four-part organum

Music History (2 decks)

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