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55 Cards in this Set
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Mass for Christmas Day
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Composer: Gregorian Chant
Date:? Movements:Introit, Kyrie, Alleluia, Credo Genre: Gregorian Chant Mass parts |
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Vespers for Christmas Day
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Composer: Gregorian Chant
Date:? Movements: antiphon, psalm, hymn Genre: Gregorian Chant Office |
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Victimae paschali laudes
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Composer: Wipo of Burgundy
Date: 1030 Genre: Sequence |
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tropes on Puer natus: Quem queritis in presepe
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Composer:?
Date: late 10th century Genre: Liturgical Drama |
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Ordo virtutum: In Pricipio omnes
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Composer: Hildegard of Bingen
Date: 1151 Genre: Sacred music drama |
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Can vei la lauzeta mover
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Composer: Bernart de ventadorn
Date 1170 Genre: canso (troubadour song) |
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A chantar
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Composer: Comtessa de Dia
Date 1170 Genre: Canso (troubadour song) |
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Robins m'aime
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Composer: Adam de la Halle
Date 1284 Genre: Musical play |
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La quarte estampie royal
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Composer:?
Date: 1280 Genre Estampie |
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Plainchant
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a body of music composed for the liturgy and mass. Unison song with melodies for prescribed text
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Centonization
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from "cento" meaning patchwork. The process of combining standard formulas and motives to make a new melody. Some motives were for a particular melodic style, type of chant, beginning/middle/end of a chant or connecting figures. Made learning melodies easier for large bodies of people to sing-it was easy to catch on.
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Gregorian Chant
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the codification of liturgy and music under roman leaders, helped by Frankish king Pepin the Short-- during the reign of pope Gregory the first. Schola Cantorum (School of Singers) was founded around this time and was the group that helped celebrate mass with Gregory. During the 7th and 8th centuries, this group standardized work around the Empire. Chant and liturgy was used politically and religiousy to unite the empire. Charlegmagne, Pepin's son, expanded the empire but continued with this chant, sending people North to teach. Holy Roman Empire
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Solesmes
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Solemus monks prepared modern editions of the chant, proclaimed in 1903 by Pope Pius X to be the official chants. 4 lines with C or F clef
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Neumes
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note or group of notes. One neume has one syllable of text. Composite neumes represents multiple pitches and are sung left to right, down to up. Oblique neumes indicate 3 notes. Diamond notes are for visual space. Two same pitch notes can be tied or pulsed.
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Church Calendar
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advent starts 4 weeks before Christmas.
Christmas-Dec. 25 and 12 days after Epiphony Pre-Lent= 9 weeks before Easter Sunday (Carnival) Goes until Mardi Gras Lent= 6 Sundays before Easter; lasts 3 days : Thurs, Good Friday, Holy Saturday Easter- 1stSunday after full moon after March 21 + 40 days of rejoicing Pentecost- 50th day after Easter The time between Pentecost and Advent is filled with feasts dedicated to specific saints |
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Modes
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For Hypo- the reciting tone is a third below the authentic reciting tone.
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Dorian
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authentic D/A
8va D-D |
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Hypodorian
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Plagal D/F
10th G-Bb |
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Phrygian
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Authentic E/C
8va E-E |
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Hypophrygian
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Plagal E/A
10th A-C |
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Lydian
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Authentic F/C
8va F-F |
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Hypolydian
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Plagal F/A
9th C-D |
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Mixolydian
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authentic G/D
8va G-G |
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Hypomixolydian
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Plagal D-D
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Proper of the Mass
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changes according to the day
Usually older than ordinary derived from psalm singing Introit, Gradual, Alleluia, Offertory, Communion |
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Mass for Christmas Day: Introit
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Anonymous
Antiphon, psalm, lesser Doxology, Antiphon First part of mass when Priest processes in Proper Gregorian chant from Mass 700 Issued 1952 Text setting: antiphon=neumatic everything else=syllabic Melody is Mixolydian, Mode 7 ABB'A Phrases are shaped like an arch Performed antiphonally |
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Mass for Christmas Day: Kyrie
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Only chant whose text is in greek
AAA BBB CCC' Kyrie eleison, Christe eleison, Kyrie eleison Performed antiphonally Mode 1: Dorian Ends on the reciting tone: A |
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Mass for Christmas Day: Alleluia
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Proper
Responsorial Soloist sings the psalm verse and the choir responds with Alleluia Musical high point along with the gradual of the Gregorian Mass ABA' Alleluia for Christmas Day is one of the oldest Mode 2=hypodorian Melismatic with a jublius at the end |
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Mass for Christmas Day: Credo
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Formulaic (centonization)
Ordinary Last item to be added to the standard form of the mass Mode 4: Hypophrygian Melodies are syllabic and simple Statement of faith that summarizes the central doctrines of the Catholic Church No standard pattern of repetition Marks the end of the first main division of the Mass |
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Office
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8 services held in monestaries
Midnight, sunrise, 9, 12, 3, 6, 9 6 pm is the vespers, sunset service (one of the most important) |
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Chants from Christmas Day Vespers
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First Psalm with Antiphon: Tecum Principium
simple, mostly syllabic Mode 1:Dorian Psalm: Dixit Dominus Sung in psalm tone Mode 1 Hymn: Christe Redemptor omnium Hails the arrival of the Savior on this day of his birth Hymns are strophic Has 7 stanzas of 4 lines each, 8 syllables per line Simple with no more than 2 notes, Neumatic Conjunct Mode 1 |
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Psalm tone
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a simple melodic formula designed to accommodate verses of any length
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Strophic
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the # of lines, the syllable count, and the structure of all the stanzas are the same
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Victimae paschali laudes
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Composer: Wipo of Burgundy
1030 Form: Sequence Associated with Easter # of syllables increases through the first 3 verses and recedes to the mean A BB CC. . . N Syllabic Mode 1 Primarily conjunct One of only 5 sequences to survive |
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Quem queritis in presepe
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Trope on Puer Natus
Anonymous Late 10th century Liturgical drama Precedes the Introit of Mass for Christmas day Mode 7 Musical rhymes at cadences extended melisma at end |
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Ordo virtutum: In principio omnes
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Composer: Hildegard of Bingen
1151 Sacred music drama drone Morality play with music unusual for its time b/v it is not a supplement to the Mass of a certain feast Sung in plainchant 16 female virtues, happy/unhappy soul, devil neumatic with some melismas Final chorus serves as an epilogue mode 3 |
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Can vei la lauzeta mover
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Composer: Bernart de ventadorn
1170 Canso (troubadour song) Secular Strophic: 8 lines 8 syllables Rhyme scheme: ababcdcd Mode 1 Conjunct Lover complaining Syllabic with ornamentation |
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A chantar
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Composer: Comtessa de Dia
1170 Canso (Troubadour song) Strophic ababcdb Syllabic/ neumatic Only known surviving troubadour song |
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Robins m' aime
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Composer: Adam de la Halle (Trouvere)
Poetic form 1284 Musical play Mode 5 Rondeau: dance song with 2 refrains Instrumental accompaniment ABaabAB Syllabic Conjunct |
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La quarte estampie royal
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Anonymous
1280 Genre: estampie Phrase, open cadence, same phrase closed cadence. . . etc Estampie Instrumental Sounds like mode 6, but doesn't fit neatly into church modes |
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Liber Usualis
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Book of prayers, lessons, and chants for the Roman Catholic services of the mass
First issued in 1896 Compiled by Benedictine monks of Solesmes, France |
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Ordinary of the Mass
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Kyrie, Gloria, Credo, Sanctus, Agnus Dei)
Sung in all or most masses Organized into cycles More like composed melodies Little recitation Frequent stepwise motion |
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Responsorial, antiphonal, direct
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Soloist alternates singing with a choir or congregation, two groups or halves of a choir alternate, no alternation
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Syllabic, neumatic, melismatic
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one, many, 1-6 notes
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Psalm tones
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formulas for singing psalms in the Office. Designed so they can fit any psalm.
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Euouae
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a particular antiphon that is an abbreviation for the last six syllables of the doxology. ssaEcUIOrUm AmEn. Thus, the psalm tone needs not close on the final, but this does
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Strophic
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several stanzas that are all sung to the same melody. Stanzas are equivalent in form
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Jubilus
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a drawn out melisma extended from the end of alleluias. Often became quite long and sometimes elaborate. The predecessor to the trope
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Trope
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extension of an existing chant in one of three ways
1. new words and music before the chant and often between phrases 2. melody only, extending melismas or adding new ones 3. text only (prose) set to existing melismas |
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Sequence
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probably began from the jubilus melisma following an alleluia, is a musical genre syllabically set to text in cuplets after the alleluia. Most were new compositions adding to the mass. Most sequences follow the following A BBCCDD. . . N structure
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Liturgical drama
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sometimes dialoged tropes; usually very long that elaborated to the liturgy but eventually became separate from the church. Liturgical drama gave rise to the use of music becoming common outside of mass
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Courtly love
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a subject of song where a character, usually male, admires an unattainable beauty, often of another man. It is eloquent and refined, and fore runs the later pieces about unfulfilled romantic love. Since eloquence and refinement were requirements of success in aristocratic circles, however, the poetry was mostly fiction, and was rewarded by social status, not love. Women also adopted this language but it was more real and direct
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estampie
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most common form of surviving medieval instrumental dances. Several section, each played twice with 2 endings. Open cadence, then closed. The same cadence is usually used in all sections. French estampies are short in triple meter, late on Italian estampies were in duple or compound, with longer sections and more repititions.
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Development of pitch notation
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Oral transmission
Simple melodies memorized and passed like chants Formulas were created Early notation Neumes were signs above words giving guidance but not specific notes By the 10th century scribes places stem heights to give relative interval size A single line sometimes oriented neumes Guido of Arezzo 11th century derived another system Red for F, Yellow C Developed into a 4 line staff Although specific notes were indicated, no sense of absolute pitch Solesmus chant 1903 Pope Pius X decreed solesmes edition the official edition |
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Troubadour and Trouvere Song
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French aristocrats cultivated courtly song by poet-composers who composed in two vernacular languages
In the southern region, the language was Occitan and the poet composers were called troubadours In the northern region, the language was Old French and the poet composers were called trouveres The root words trobar and trover meant "to compose a song" The central theme was fin' amors (Occitan) or fine amour (French) Translated as "courtly love" or "refined love" Idealized love that refined the lover Love from a distance, with respect and humility The object was a real woman, usually another man's wife The woman was unattainable, making unrewarded yearning a major theme WHen women wrote poetry, they focused on the woman's point of view The artistry of the poems demonstrates the poets' refinement and eloquence Melodies: Strophic with every stanza being set to the same melody; text setting is syllabic with occasional groups of notes, especially on a line's penultimate syllable. RANGE IS NARROW, WI |