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57 Cards in this Set
- Front
- Back
Organum
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adding another melodic line to an existing chant melody
(began between 700-900 AD) |
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Parallel Organum
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P4 and P5 intervals below or above principle voice
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Principle Voice
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original chant melody (tenor)
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Organum voice
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added melody in parallel organum
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Mixed parallel and oblique organum
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contains 2nds and 3rds, but only in passing
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Musica Enchiriadis
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music textbook-parallel organum
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Scolica Enchiriadis
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music textbook-anthology-parallel organum
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Organum Occursus
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at the conclusion of a phrase in chant, the two lines merge to end on same note
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Ad organum faciendum
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(how to make an organum) by this time new melody was completely independent of the original chant melody, things started being written down instead of improvised
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Aquitanian Organum
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Florid vs Discant
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Anonymous IV
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first written description of polyphony; describes two composers (Perotin and Leonin); wrote about Paris music etc.; rhythmic notation began about the time of Perotin and not much before
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Organum Purum
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Notre Dame-same as Florid...melismatic
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Discant
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melismatic chant set in discant style-Notre Dame
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Clausula
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section of organum in discant style-Notre Dame
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Ligature
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series of notes linked together like a neume; number of notes determined rhythmic mode
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De musica mensurabilis
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Johannes de Garlandia described rhythmic mode in this book; system of 6 modes based on French and Latin poetry, these units based on 3 parts using longs and breves.; longs were twice as long as breves;
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perfectio
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in rhythmic modes, the # 3 was considered to be a perfect number
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Léonin
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wrote Magnus liber organi (Great book of organum)
organum duplum, triplum |
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Pérotin
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acc. to An. four, a better composer than Leonin.
3 and 4 part polyphony played around with motives in many voices |
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Polyphonic Conductus
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-mostly sacred, mostly non-liturgical, strohpic, Latin poem set in discant style
-earliest type of completely original composition (in all voices) -Tenors were newly composed, instead of taken from chants |
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Cauda/ae
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– extended melismatic passages. “tail”
conductus simplex – no cauda conductus cum caudae – has cauda at beginning, end, or both. |
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Motet
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composers took clausulae and added additional text to upper voices.
Motetus – voice above tenor |
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Franconian Motet
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-Franco of Cologne
-each upper voice had its own rhythm, text, and melody Ars cantus mensurabilis -art of measurable music for the first time, relative durations were signified by note shapes -with exception of longest note and shortest note, everything was divided by 3 (Perfection) |
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Petronian Motet
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-Petrus de Cruce
In double motet, triplum is most complex, duplum is less complex, and tenor is same -Triplum almost acts as a solo above accompaniment. -Similar to architecture of Notre Dame -Could have lower voices played with instruments as an accompaniment. -Performance format as it's written moved from score format to choir book format to save expensive parchment |
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sarum reicht
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um
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English music
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rhythmic mode 1 (long short)
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Rota
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English music: perpetual canon or round at the unison
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Rondellus
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piece using voice exchange
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Pes
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foot, or ground of melody
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Ars Nova
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"new art"; begn 14th cent
Old music: "ars antigua" most significant part was rhythm, mensuration signs |
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Philippe de Vitry
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wrote treatise "Ars nova"
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Prolation
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division of semibreve
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time
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division of breve
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Le Roman de Fauvel
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-a series of poems that criticize corruption in politics and the church.
-one version had songs and motets between poems and is thought that they are written by de Vitry -this was a main source of late 13th, and early 14th century music |
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Isorhythm
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arranging durations in a pattern that repeats (indicated by roman numerals in scores)
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Talea vs Color (isorhythm)
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Talea-repeating rhythmic
Color-repeating melodic Color most often longer, but could be same length |
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Hocket
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passing of a melody back and forth; one voice rests while the other sings
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Guillame de Machaut
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-greatest composer of Ars Nova
-composed 23 isorhythmic motets (all double motets) -so standard that isorhythmic motets became their own genre -began to add fourth voice under the tenor line called the contratenor and had the same range as the tenor |
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Notre Dame Mass
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Machaut’s most famous composition
-earliest surviving polyphonic setting of complete mass ordinary by a single composer whom we know |
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Formes fixes
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“A” – text and music repeat
“a” – text is different and music is same -fermata was originally a phrase mark showing the end of a section |
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Rondeau(x)
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– AbaAabAB
-upper case refers to refrain and lower refers to different text |
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Ballade
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– aab [C]
-similar to bar form |
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Virelais
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– AbbaA(bbaAbbaA)
-“A” acted as a connector -could be used as a single stroph or as several in a row. |
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Ars Subtilior
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“more subtle art
-subtle –one who makes what they do look easy -was almost as important visually as it was aurally -example of late medieval mannerism |
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mannerism
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- phenomenon that occurs toward the end of a lifespan of a style when artists seems to have attained such great facility with the techniques of the style that indulgence of technique becomes an
end in itself. |
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Trecento
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1300s, Italy
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Squarcialupi Codex
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-Most famous manuscript collection, work of art, and music
-354 pieces thought to be best/most representative of the trecento |
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-3 most popular forms of Trencento
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1. Madrigal-musical setting of an Italian poem consisting of 2-3 stanzas.
-Each stanza has three lines plus a refrain of two lines, often in a contrasting metor. -aab-similar to French ballade and German bar form -ritornello – Italian for refrain (return) 2. Caccia (chase, hunt) – portrays hunts or outdoor scenes, dogs barking, horn calls, etc. -can be a “pun” – 2 voice cannons one voice chases the other -England-catch, France-chase 3. Ballata – AbbaA -similar to French virelais |
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Francesco Landini
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-greatest composer of trecento-he was blind
-composed no sacred music, only secular |
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Under-Third Cadence
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– Tenor descends to the lower neighbor, upper voice descends by
step then leaps up by a third. |
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typical medieval cadence
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– interval of a 6th to an octave
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Leading Tone Cadence
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– interval of a 6th (one voice is raised) going to an octave
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Double Leading Tone Cadence
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– same as L.T. cadence, only with an added voice in the middle that is also raised to become a leading tone
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Phrygian Cadence
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– lower voice descends by semitone, upper voice ascends by wholetone
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Musica Ficta
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“false music”
-composers began using chromatic pitches (outside of Guidonian Hand) 3 reasons: 1. to avoid tritones 2. to make melodic line smoother 3. to make cadence formulas more interesting -cause pulchritudinis “for the sake of beauty” -performers did not always have music, therefore chromaticism was decided upon by the performer. |
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Medieval instruments
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-scoring of specific instruments was not a medieval musical practice
-only classification was haut and bas haut – “high” loud, used outdoors bas – “low” soft, used indoors -instrumental selection was based on function and volume as opposed to timbre |
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Under-Third/Double Leading Tone Cadence
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– landini cadence with leading tones
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