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48 Cards in this Set
- Front
- Back
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St. Augustine (25,59)
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Lived from (345-407), was a church leader that rejected some aspects of ancient practice, known as one of the “church fathers”, was so deeply moved by singing of psalms that he feared the pleasure that it gave him, while approving its ability to stimulate devout thoughts
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Plato(4,12,13,15,18,21,25)
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Had some of the most writings on the uses of music (Republic and Timaeus). In Republic he describes Melos as the blend of text rhythm and harmonia. He also created the idea of the Harmony of the planets. He harbored the idea that musical conventions must not be changed and that beautiful things exist to remind us of divine beauty
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Ethos(13,14,18,20,21,25)
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One’s ethical character or way of being and behaving. It is based on Pythagorean view of music and math). It present the idea that the human soul is a composite whose parts were kept in harmony by numerical relationships
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Tetrachords(15,16,43)
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“Four strings”, 4 notes spanning a P4, Types include: Diatonic (WWH), Chromatic (m3 H H) and Enharmonic (M3 H ½H). They are conjunct if they share the same not and disjunct if theyre seperated by a wholetone
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Liturgy(26)
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Body of text and ritual actions assigned to a service
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Charlemagne(30-31, 46,69-70,72)
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“Charles the Great”, conquest expanded his territory throughout modern-day France, Belgium, the Netherlands, western Germany, Switzerland and northern Italy. Snt singers from Rome to teach chant in the north. Unified European music land. His empires was the political and cultural center of western Europe. Promoted learning and artistic achievement, and education
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Neumes(33,34,36-37,39,71)
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One of the earliest methods of notation, mean “gesture”, placed above words to indicate melodic gesture for each syllable, including the number of notes, whether the melody ascended/descended, or repeated pitch. Melodies still had to be learned by ear.
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Musica mundana
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“Music of the universe”, the numerical relation controlling the movement of stars and plants, the changing of the season and the elements.
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Solmisation(43-44,46)
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A set of syllables corresponding to the pattern of tones and semitones in the succession C-D-E-F-G-A. “Ut queant laxis”.
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Musica humana
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“Human music”, which harmonizes and unifies the body and soul of their parts.
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Musica instrumentalis
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“Instrumental music”, audible music produced by instruments or voices which exemplifies the same principles of order, especially in the numerical ratios of musical intervals
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Mass proper(49,57-61)
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Part of the church mass that vary from day to day; 1.Introit, 4.Gradual, 5.Alleluia, 7.Offertory, 10.Communion
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Ordinary proper
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Part of the church mass that do not change, although the melodies may vary; 2. Kyrie, 3.Gloria, 5.Credo, 6.Sanctus,8.Agnus Dei, 11.Ite Missa est
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Antiphon(51)
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A chant sung before and after the psalms
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Responsories
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lessons with musical responses
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Canticles
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poetic passages from parts of the Bible other than the book of Psalms
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Psalm tone(54-55)
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Psalm tone(54-55):
A formulas for singing psalms in the Office. They are designed so they can be adapted to fit any psalm. There is one for each of the eight modes, using the modes reciting tone as a note for reciting most of the text; a ninth, a very ancient formula has 2 reciting notes, earning it the name Tonus peregrinus (wandering tone). Theses are still used today in the catholic church. |
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Intonation
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a rising motive used only for the first verse
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Mediant
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a cadence for the middle of each verse
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Termination
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a final cadence for each verse
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Jubilus(59)
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[The Final syllable of “alleluia”] a effusive melisma. St. Augustine and others described it as such a long melismas as an expression of a joy beyond words, making them especially appropriate for Christmas Day Mass
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Troping(62,64,84,89,102)
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Expands an existing chant in one of 3 ways by adding:
(1) new words and music before the chant and often between phrases (2) melody only, extending melismas or adding new one (3) text only (usually called prosula, or “prose”), set to existing melismas |
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Occtian(73-74)
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“langue d’oc”, language from Southern France
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Fin’amors(75-76,79
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“refined love”, chatars, an idealized love through which the lover was himself refined. The object was a real woman, usually a another man’s wife, but she was adored from a distance, with discretion, respect and humility. The lady depicted as so lofty and unattainable that she would step out of character if she condescended to reward her faithful lover
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Formes fixes(126-28, 129,143,160)
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All 3 add a refrain to a stanza in AAB form. Each does so in a different way, resulting in distinctive form. In the ars subtilior era, this style of music flourished. These chansons were intended for an elite audience (ex: aristocrats, connoisseurs). This style fell out of fashion in the late 15th century.
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Ars antiqua (116-117)
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“ancient art”, was vigorously defended by the Flemish theorist Jacques de Liege in the late 13th century. Marked the first well-documented dispute since ancient times between advocates of newer and older styles
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Ars Subtilior(129-33)
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“The more subtle manner”, Named by music historian, Ursula Gunther, was derived from a treatise on notation attributed to Philippus de Caserta, a theorist and composer at the Avignon court. This complex type of notation would not be seen again until the 20th century. This style of music was intended for professional performers and cultivated listeners. Its formidable rhythmic and notational complexities were in fashion for only about a generation. Guilds of musicians from northern France created a simpler type of secular polyphony, which was ultimately more popular.
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Color(120-21)
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The recurring segment of melody in a motet tenor. Typically one 1 color will extend over 2,3 or more taleae, always beginning and ending together. In some motetes, the endings of the color and talea do not coincide, so that repetitions of the color begin in the middle of a talea. Upper voices may also be organized isorhythmically, in whole or part, to emphasize the recurring rhythmic patterns in the tenor.
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long, breve, semibreve, minim(118-119
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First notation since ancient Greece to indicate duration. Franconian notation
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Long
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Long notes
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Breve
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Short notes[1=2/3L]
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Semibreve
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Shorter note [1=2/3B]
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Minim
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Shortest note [1=2/3S]
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Tempus/Time(93, 106, 118)
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Basic unit of time in the rhythmic modes (6 basic patterns), Made at Notre Dame
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Double-leading tone cadence(141
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cadence used in musica ficta in which both upper notes resolve upward by a half step and it is a characteristic sound in 14th and 15th century music.
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Isorhythm(113,117,120-22,124,143)
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14th century, means “equal rhythm”, it is when the tenor is laid out in segments of identical rhythm. This extends the practice we observed in Notre Dame clausulae and 13th century motets, where the tenor often repeats a rhythmic pattern and may also repeat a segment of melody. Lasted only until late 15th century
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Phrygian cadence(142)
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A cadences in which the lower voice descends by a semitone and the upper voice rises a whole tone.
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Franconian notation(105-8,112,118-19)
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A new system designed by Franco of Cologne, in his Ars cantus mensurabilis,“The Art of Measurable Music”, written around 1280. Relative durations were signified by notes shapes. Longs, breves, semibreves and minims.
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Perfection
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Made up of 3 tempora, measure of 3 beats
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contratenor(124, 128, 131)
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“Against the tenor”, Part with in a Mass (Triplum, Motenus, Tenor, Contratenor), it resides in the same range as the tenor, sometimes above it, sometimes below it
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Ad organum faciendum(88)
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“On Making Organum” (ca. 1100), Book containing rules for improvising or composing in the new style free organum note-against or note organum,
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Anonymous IV(95,98,99):
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An englishman from the late 13th century that studied at the University of Paris, that wrote a treatise that associated Leonius and Perotinus as leading figures in the creation of Notre Dame polyphony.
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Mensuration(116,118,130-31)
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Symbols that are the ancestors of modern time signatures in Ars Nova developed by music theorist, Jehan des Murs. It allowed duple “imperfect” division of note values along with the traditional triple division. Allowed for much greater rhythmic flexibility.
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Prolation(118,119, 121, 131
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Together with tempus, corresponds roughly to the concept of time signature in modern music. Prolation describes whether a semibreve (whole note) is equal in length to two minims (half notes) (minor prolation or imperfect prolation; in Latin "prolatio minor") or three minims (major prolation or perfect prolation; in Latin "prolatio maior").
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Hocket(122, 124, 135)
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When 2 voices alternate in rapid succession, each resting while the other sings. Passages in hocket appear in some 13th century conductus and motets and are frequently used in 14th century isorhythmic works in coordination with recurrences of the talea, as in Vitry motet. Hockets could be performed either by voices or by instruments.
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Musica enchiriadis(40,85-86)
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“Music Handbook”, accompanied by the dialogue, Scolica enchiriadis (comments on the Handbook), it was directed at students who aspired to enteer clerical orders, both emphasize practical matters over theoretical speculation. It describes the 8 modes, provides exercises for locating semitones in chant and explains the consonances and treatise after Boethius was Guido of Arezzo’s Micrologus, a practical guide for singers, that covers notes intervals scales, the modes, melodic composition and improvise polyphony. [Mode ½ D ↓W ↑WH A/F ] [Mode¾ E ↓W ↑HW C/A] [Mode ⅚ F ↓H ↑WW C/A ] [Mode ⅞ G ↓W ↑WW D/C] [Dorian, Hypo, Phrygian, Hypo, Lydian, Hypo, Mixolydian, Hypo]
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Musica ficta(140,141-42,162):
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“feigned music”, A chromatic alteration throughout the 14th-16th centuries that often raised or lowered notes by a semitone to avoid the tritone F-B in a melody to make a smoother melodic line
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Magnus liber organi(94-95, 98,112)
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A treatise from 1285 written by Anonymous IV, which spoke about Leoninus and Perotinus. Little is known about perotinus, but he must have held an important position at the cathedral (he is referred to as master). In it, Anonymous IV calls Leoninus an excellent organisita, meaning a composer of organum and credits him with compiling a Magnus liber organi, “the great book of polyphony”
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