midieval

Question 1

machaut

Answer 1

1. most important of french ars nova. 2. 1300-1377
2. why were they important
3. when they lived
4. what type of compositions (masses, hockets, motets, secular songs, most associated with ars nova)
5. association with vocab terms, monophonic songs were in the trouvere tradition

Question 2

talea

Answer 2

rhythmic repetition

Question 3

color

Answer 3

melodic repetition

Question 4

virelai

Answer 4

among the most popular forms of the 14th century, one of the three formes fixes, (fixed forms).text and music have particular patterns of repetition, that include a refrain

A bba A bba A bba A (form) lowercase a means different words.

feelings of nature/love and how they relate

Question 5

forms fixes,

Answer 5

ballade, virelai, and rondeau,

Question 6

ballade,

Answer 6

forme fixes, three stanzas, each sung to the same music, each ending with the same text, acting as a refrain, form of each stanza is aabC (a sections may end differently)

philosophy, history, or celebration of a person

Question 7

rondeau

Answer 7

has one stanza, forme fixe, AB a A ab AB (lowercase are the stanza, which is interrupted by the refrain. the refrain uses the same text, lower case uses different text.

usually themes of love

Question 8

2. Three important theoretical discoveries or contributions related by writers in Antiquity or the Middle Ages

Answer 8

Phillippus de caserta in 13. Philippus de caserta, 1370s, theorist and composer at avignon court, composers of the day had found a more subtle manner, than the ars nova, refined styl, manuscripts are elaborate decorations, red and black notes, ingenius notation, losongs and music written in shape of heart or other creative things. introduced new notation signs, vertical combination of different mensurations. some songs from this period are very rhythmically complex. for professional performers and educated audiencesasdfas. was in fashion for not very long. aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa

Question 9

ritornello

Answer 9

Part of madrigal. Madrigal is for voices only. two or three voices. all voices sing the same text. Two or more 3line stanzas.followed by a closing set of lines, set to different music with different metered.

so it’s aab.
first a, three lines
, second a, three lines as well. b=2 lines, different meter, different music, etc.

Question 10

Francesco Landini

Answer 10

Leading composer of ballate and foremost italian musician of the trecento. 1325-1397 2.

1. why were they important, sweetness of harmonies, thirds and sixths,
2. when they lived
3. what type of compositions, ballate, madrigals, caccia, virelai,
4. association with vocab terms

Question 11

Haut/bas

Answer 11

Haut means french for high, bas is french for Low.. These terms in the fourteenth through sixteenth centuries, describe volume rather than pitch however. Haut instruments included shawms, cornetts, trumpets. the bas instruments included harps, vielles, lutes, psalteries, organs.

Question 12

ars nova

Answer 12

(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. (page 114)

Question 13

mensuration

Answer 13

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. (page 114)

Question 14

minim

Answer 14

In ARS NOVA and RENAISSANCE systems of rhythmic NOTATION, a NOTE that is equal to half or a third of a SEMIBREVE. (page 114

Question 15

mode time and prolation,

Answer 15

Definition

(Latin modus, tempus, prolatio) The three levels of rhythmic division in ARS NOVA NOTATION. Mode is the division of LONGS into BREVES; time the division of breves into SEMIBREVES; and prolation the division of semibreves into MINIMS. (page 116

Question 16

semiminim

Answer 16

In ARS NOVA and RENAISSANCE systems of rhythmic NOTATION, a NOTE that is equal to half of a MINIM. (page 117)

Question 17

cantus

Answer 17

(Latin, “melody”) In POLYPHONY of the fourteenth through sixteenth centuries, the highest voice, especially the texted voice in a polyphonic song. (page 126)

Question 18

ritornello

Answer 18

Definition

(fourteenth century) (1) In a fourteenth-century MADRIGAL, the closing section, in a different METER from the preceding verses. (2) In sixteenth- and seventeenth-century vocal music, instrumental introduction or interlude between sung stanzas. (3) In an ARIA or similar piece, an instrumental passage that recurs several times, like a REFRAIN. Typically, it is played at the beginning, as interludes (often in modified form), and again at the end, and it states the main THEME. (4) In a fast MOVEMENT of a CONCERTO, the recurring thematic material played at the beginning by the full ORCHESTRA and repeated, usually in varied form, throughout the movement and at the end. (page 132

Question 19

ritornello/madrigal

Answer 19

A 14th c. madrigal contains 2 or 3 stanzas​
Each contains three lines, with 11 syllables per line​
Sung to same music = a a​
The piece concludes with a two line ritornello (refrain) (b) in a contrasting rhythm or meter​
Challenge question: compare the 14th c. madrigal to the 16th century variety. What elements are different?​
Ex. NAWM 30, Jacopo de Bologna, Non al suo amante​
On a poem by Petrarch​
Notice the fine and varied division of the beat, frequent vocal melismas, and the contrasting meter of the ritornello​
Ritornello similar to the tornanda in troubadour music

Question 20

powerpoint landini

Answer 20

Landini was the most famous musician of the Trencento​
He went blind in childhood, yet was a poet, musician, and theorist​
He was a singer, but he also played the organ and reportedly could play any stringed instrument, even those he had never encountered previously​
He is believed to have spent time in Venice; from 1375 until his death he was employed at the Cathedral of Florence, where he is buried​

Question 21

machaut and elements of the ars nova

Answer 21

Guillaume de Machaut was the most famous composer of the 14th century ​
During his lifetime, as both a composer and a poet​
This reputation endured after his death, in part because he compiled manuscripts of both his poems and compositions​
Therefore, we have a mostly complete record of his compositional activity​
His music represents many of the major developments of the Ars Nova​
The consistent application of polyphony to secular song​
The unification of compositions through small melodic motifs​
The use of isorhythm in large-scale compositions

Question 22

style of mass movements,

Answer 22

Conductus style​
Simultaneous text declamation in all voices​
More or less homorhythmic throughout​
Tenor-based or motet style​
Based on pre-existing tenor​
Often isorhythmic​
Cantilena style​
Treble-dominated texture​
Melodic line supported by two lower voices in long notes​
You can see the difference between the first two in the Kyrie and the Gloria from the Messe de Notre Dame (NAWM 26)

Question 23

when did formes fixes emerge

Answer 23

at the end of the trouvere era. These are popular song forms that emerged at end of the trouvère era, and became the standard French secular polyphonic song forms for the next 200 years

Question 24

ars nova is associated with a more secular view of the wolrd

Answer 24

yes indeed kris…yes indeed.

Question 25

when did the isorythmic motet arise?

Answer 25

In the ars nova

Question 26

modus, tempus and prolation, and their relation to one another.

Answer 26

Modus defines the relationship between longs and breves​ Tempus defines the relationship between breves and semibreves​ Prolation defines the relationship between semibreves and minims

Question 27

what do the dot and circle and half circle mean?

Answer 27

DeVitry assigned a shape to indicate each meter​ A circle indicates perfect tempus (as it is a “perfect” shape); a semicircle indicates imperfect​ A dot indicates major prolation; the lack of a dot indicates minor prolation

Question 28

In Ars Nova notation, what is typically transcribed as a measure in modern notation?

Answer 28

``` Question 24 In Ars Nova notation, what is typically transcribed as a measure in modern notation? Selected Answer: long Correct Answer: breve Response Feedback: FEEDBACK: See page 116 ```

Question 29

in the fourteenth century, the smallest possible note value was the

Answer 29

minim

Question 30

in ars nova notation, what is usually translated into a measure

Answer 30

breve

Question 31

adfasdfasd

Answer 31

asdfasdf

Question 32

asdfasdf

Answer 32

asdfasdf

Question 33

duplum

Answer 33

duplum Definition (from Latin duplus, "double") In POLYPHONY of the late twelfth through fourteenth centuries, second voice from the bottom in a four-voice TEXTURE, above the TENOR. (page 95)

Question 34

clausula

Answer 34

Definition (Latin, "clause," pl. clausulae) In NOTRE DAME POLYPHONY, a self-contained section of an ORGANUM that closes with a CADENCE. (page 97)

Question 35

motet

Answer 35

motet Definition (from French mot, "word") POLYPHONIC vocal COMPOSITION; the specific meaning changes over time. The earliest motets add a text to an existing DISCANT CLAUSULA. Thirteenth-century motets 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 motets feature ISORHYTHM and may include a CONTRATENOR. From the fifteenth century on, any polyphonic setting of a Latin text (other than a MASS) could be called a motet; from the late sixteenth century on, the term was also applied to sacred compositions in German and later in other languages. (page 100)

Question 36

which parts of the mass are associated with the ordinary, what is the ordinary

Answer 36

​ Ordinary​ Texts always the same​ Kyrie, Gloria, Credo, Sanctus, Agnus Dei​ Ite Missa Est (the mass is ended) is also a consistent text, but so short it is rarely set to music

Question 37

is the antiphon neumatic or syllabic?

Answer 37

neumatic

Question 38

is the psalm verse neumatic or syllabic or melismatic?

Answer 38

syllabic

Question 39

is the credo syllabic, neumatic or melismatic?

Answer 39

syllabic

Question 40

proper links it to the day of the church calendar

Answer 40

proper links a piece to a day of the calendar year.

Question 41

mode, time, and prolation

Answer 41

Definition (Latin modus, tempus, prolatio) The three levels of rhythmic division in ARS NOVA NOTATION. Mode is the division of LONGS into BREVES; time the division of breves into SEMIBREVES; and prolation the division of semibreves into MINIMS. (page 116)

Question 42

offertories and graduals, are syllabic, neumatic, or melismatic?

Answer 42

melismatic

Question 43

what were three ways the three ways that tropes were implemented?

Answer 43

13troping 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. (page 61) Trope expanded an existing chant in one of three ways. 1, by adding new words and music before the chant and often between phrases. 2. melody only, extending melismas or adding new ones. or 3, text only, usually called prosula or prose, set to existing melismas.

Question 44

ordo virtutum

Answer 44

morality play by Hildegard of Bingen, with allegorical characters, the devil does not sing.