Quiz 1 Reverse Questions Flashcards
1
Q
The most important service of the Catholic Church.
From “Ite, missa est,” Go, the congregation is dismissed.
A
The Mass
2
Q
The body of texts and rites that make up a sacred service.
The Christian service commemorates the last supper of Jesus and his disciples as found in the New Testament
A
Liturgy
3
Q
the five prayers that are always present in the Mass
A
Ordinary
4
Q
Kyrie - Lord
Gloria - Glory
Credo - I believe
Sanctus - Holy
Agnus Dei - The Lamb of God
A
Five Ordinary Prayers
5
Q
The music they sang.
A
Chant
6
Q
Any other pieces that don’t begin with the ordinary prayers
eg: Collects, Gospel, Alleluia, etc
A
Proper
7
Q
Syllabic: One note per syllable
Neumatic: 2- 5 notes per syllable
Melismatic: More than 5 notes per syllable
A
Text Setting
8
Q
- Monophonic (single line music)
- Limited melodic range
- Unmeasured rhythm
- Based on modes
- Strophic (the same music for each line of text) setting is often used.
A
Characteristics of a chant
9
Q
The manner in which people performed aspects of the music that was not indicated on the page.
A
Performance Practice
10
Q
Rhythm, tempo, dynamics, articulations, starting pitch and how many people are singing in the chant.
A
Examples of performance practice
11
Q
Direct performance: Singing in unison
Responsorial performance: Leader alternates with ensemble
Antiphona performancel: Alternating choirs
A
the 3 different group settings in chants
12
Q
Guido d’Arezzo invented a system used as an aid to remember the pitches in melismatic passages. (Solfege)
A
Solmization
13
Q
This applied to a chant line. As the pieces grew longer, the pitches of the chant line were repeated
A
Isorhythm (equal rhythm)
14
Q
Rhythmic pattern in certain medieval choral compositions
A
Talea
15
Q
Repeated pitches of the chant line
A
Color
16
Q
Hand gestures to show the rising and falling of pitches
A
Chironomy
17
Q
A chant sang alternately by two groups.
A
Antiphony
17
Q
The simultaneous performance of different versions of the same melody by different voices or instruments
A
Heterophony
18
Q
Single line of music
A
Monophony
19
Q
Reciting tone and tenor are other names for what term?
A
Confinalis
19
Q
Tonic
A
Finalis
20
Q
secondary most important note. This is the note in the mode used if you were repeating many words on the same syllable
A
Confinalis
21
Q
What do you find by going up five pitches? (If the note is B, make it a C)
A
The confinalis in authentic modes
22
Q
Principal line of music.
A
Cantus Firmus
22
What do you find by taking the Confinalis of the Authentic mode and go down a third (If the note is B, make it a C)
The confinalis of a hypo mode
22
Type of singing where the same note is used when repeating many words on the same syllable.
Cantillation
23
Chant, Vox Principalis or Plainsong are alternative name for what term?
Cantus Firmus
24
Unison, fourth, fifth and octave
Perfectus
24
Added voice to cantus firmus (Counterpoint line)
Vox Organalis
25
Range
Ambit's
25
seconds, thirds, sixths, sevenths...
Imperfects
26
The raising and lowering of pitches by either the performer or the composer
Musica Ficha
27
The replacing of one text with a new text (Usually so it can be performed at church)
Contrafactum
28
Indicates the first pitch of the next line.
Custos
29
How many melodic modes are there?
8
29
Before the vocal polyphony started, a soloist would chant a few notes of the opening of the tenor part. This provided the sound of the pitch for the day.
Incipit
29
Moving from one hexachord to another
Mutation
30
Medieval practice of a single melody that is shared between two (or occasionally more) voices such that alternately one voice sounds while the other rests.
Hocket
30
Hold or sustain.
Also called St. Martial, Melismatic, or Organum Purum
Tenor
31
F : MOLL
G : DUR
C: NATURAL.
Hexachords
32
Name and number the authentic melodic modes
Dorian (1), Phrygian (3), Lydian (5) and Mixolydian (7)
33
Name and number the hypo (plagal) melodic modes
Hypodorian (2), Hypophrigian (4), Hypolydian (6) and Hypomixolydian (8)
34
How many rhythmic modes are there?
6
35
Name the last 3 rhythmic modes
Mode 4: Short Long Long (eight note, quarter note, dotted quarter note)
Mode 5: Long Long (two dotted quarter notes)
Mode 6: Short Short Short (3 eight notes)
36
Name the first 3 rhythmic modes
Mode 1: Long Short (quarter note, eight note)
Mode 2: Short Long (eight note, quarter note)
Mode 3: Long Short Long (dotted quarter note, eight note, quarter note)
37
One voice goes Ti-Do, the other voice goes Fi-Sol.
Example: Phrygian - D#-E, A#-B
Double leading tone cadence
38
Earliest two voiced counterpoint
Organum
38
What cadence did Machaut invent?
Double leading tone cadence
39
When the melodic line moves Ti-La-Do
Landini cadence
40
Single line melodies being sung by a choir.
Plainchant/plainsong
41
Parallel: Moves in 4ths or 5ths
Free: Vox Orginalis moves in parallel, contrary, similar or oblique motion
Aquitanian: Chant voice is very sustained, and known as a Tenor.
Types of organum that didn't have a fixed rhythm
42
Notre Dame (measured organum): Two or more parts added to chant in measured rhythm using the six rhythmic modes
Type of organum that has a fixed rhythm
43
Newly composed section of discant inserted into a pre-existing setting of the organum.
Clausula
44
New Clausulae sections that could replace old ones. Written for popular clausulae.
Substitute Clausula
45
What kind of piece could a Motet be?
Sacred or Secular
46
Newly composed additions usually in neumatic style to antiphonal chants of the proper
Trope
47
Kinds of tropes
1. New words and music added to a regular chant.
2. Extending melismas or adding new ones.
3. Adding text only to existing melismas.
48
The new art. French musical style of the first half of the 14th century
Ars Nova
49
Ancient Art. Musical activity before the 14th century
Ars Antiqua
50
French Song
Chanson
51
a singer or writer of chansons, especially a cabaret performer who specializes in songs that are a combination of melody and rapid spoken pattern.
Channsonniers
52
Clausula sections that became independent pieces to be performed during a Church service.
By the Ars Nova, the Motet could be either a sacred piece or a secular piece.
Motet
53
What are these characteristics from?
1. Non-imitative counterpoint between the lines
2. Dissonance between the parts.
3. Each line was complete and independent on its own. As long as one resolved at the correct spots, the ear would accept the dissonance along the way.
4. Preference for a HETEROGENEOUS texture (independence of parts, non- imitative counterpoint).
Motet
54
Contains two or more voices overlapping each other. These different voices can mean both male and female voices, different languages, or a combination of the two. Written with a lively free, speech-like rhythm for Triplum.
Polytextual Motet
55
Poet-composers who flourished in Northern France
Trouveres
56
Poet-composers who flourished in Southern France
Troubadours
57
Female version of troubadours
Trobairitz
58
People that traveled town to town singing the songs of the Trouveres and Troubadours
Jongleurs
59
German traveling musicians
Spielleute
59
German Song
Lied
60
Footloose clerics who migrated from one school to another. Their vagabond way of life, scorned by respectable people, was celebrated in their songs.
Goliards
61
The ensemble that performed instrumental music
Consort
62
(Also known as the flauto) a wind instrument with no reed, still in existence today.
The Recorder
63
A double reed instrument that evolves into the oboe.
The Shawm
64
A double reed instrument with a bag filled with air, allowing the performer to take a breath while the sound continued through a series of pipes, usually tonic and dominant. It reverts to being primarily a folk instrument associated with Ireland and Scotland.
The Bagpipe
65
A double reed instrument that evolves into the bassoon.
The Racket/Dulcet
66
A brass instrument with a slide and mouthpiece that evolved the Trombone.
The Sackbut
67
A double reed instrument with a curved bell. (Krum means curved). It has a nasal buzzy sound, closer to a Kazoo. It will not survive as an instrument.
Crummhorn (Krumhorn)
68
A hunting instrument that could only play the OVERTONE SERIES, and therefore, could not perform in Church music or secular music.
Horn
69
Like the horn, played only the overtone series, and was used for royalty and warfare.
The Trumpet
70
Wind instrument that dates from the Medieval, Renaissance and Baroque periods, popular from 1500 to 1650. (sounds like a lose trumpet)
Cornetto, cornett or zink
71
Types of Viols
Viola da gamba and Viola da braccia
72
- Played between the legs
- 6 strings tuned in 4ths with 3d in middle Fretted
- Flat back and curved sloping shoulders
- The sophisticated string instrument in the Church and aristocracy
- They begin to lose popularity in the Baroque period
Viola da gamba
73
- Played on the arm tuned in 5ths
- Unfretted
- Rounded back and curved shoulders
- Peasant instrument
- They rise in popularity in the Baroque period, and survive today as the violin, viola and cello
Viola da braccia
74
Could have a variety of strings, depending on the size of the instrument. With tuning pegs on the top of the frame, could be re-tuned to allow it to play in a variety of modes.
The Harp
75
Six-string instrument from India
The Sitar
76
Five-string instrument
The Pentar
77
Four-string instrument which later became the guitar.
The Chitarre
78
Most prized string instrument that came from the Mid-East. Also known as the OUD.
The Lute
79
Organ and Harpsichord
Name the most common keyboard instruments
80
Keyboard instrument that was popular in the court system and for home entertainment.
The Harpsichord
81
For use in church and the portative version (a small portable instrument with a small keyboard. One hand played monophonic music on the keyboard while the other hand pumped the bellows to provide the air needed.
The Organ
82
Percussion instruments
There is a wide variety of percussion instruments used in the Medieval period, and a great amount of iconography illustrating them. There are no percussion parts, however, as they were improvised, usually for standardized rhythmic patterns for military and dance music.
83
The earliest notation dance music to survive, a dance from Southern France.
Estampie
84
Famous for her prophetic powers and revelations
All her music is monophonic
Hildegard von Bingen
85
Most famous work is Ordo Virtutum
Hildegard von Bingen
86
Italian music theorist from the town of d’Arezzo who invented a system known as Solmization
Guido d’Arezzo
87
Most famous work is Micrologus
Guido d’Arezzo
88
Considered to be the greatest composer of the Ars Nova
Guillaume de Machaut
89
Most famous work is Mass of Notre Dame
Guillaume de Machaut
90
Used hockets and double leading tone cadence
Machaut
91
French poet-composer trouvère. Among the few medieval composers to write both monophonic and polyphonic music
Adam de la Halle
92
Most famous work is Jeu de Robin et Marion
Adam de la Halle
93
He proposed that duple division of note values should be allowed with triple and invented new notation practices to satisfy the demands of the new music.
Philip de Virty
93
Jeu de Robin et Marion is an example of which type of piece?
Pastourelle
94
Most famous work is Ars Nova Musicae
Philip de Virty
95
The most revered and influential authority on music in the Middle Ages.
Boethius
96
Most famous work is De Institutione Musica
Boethius
97
It was at Notre Dame that two of the earliest composers for which we have information, who were writing music and contributing to the development of polyphony. Their music became associated with what history has termed the Notre Dame School of Polyphony. It’s with these two composers that we can begin to trace the modern roots of modern Western music.
Leonin and Perotin
