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60 Cards in this Set
- Front
- Back
The great Roman scholar Boethius discussed music in his influential treatise entitled |
De institutione musica |
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The Hebrews gave us these foundations for Western music: |
performance practice & the liturgical calendar |
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The basis of practical Greek music theory was the |
tetrachord |
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The doctrine of ethos dealt with music's |
ability to influence character and morals |
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In a(n) _________________ performance, sections of a musical work are sung by two groups of singers in alternation. |
antiphonal |
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The regional style of chant developed in Milano centered at Santa Ambroggio basilica is called |
Ambrosian |
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When a musical performance is divided between sections sung by a soloist and sections sung by a group, the performance is called |
responsorial |
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The early Christians rejected the use of instruments in worship. Why was this so? |
Instruments were associated with pagan worship |
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The parts of a Mass for which the words are always the same are classified as |
Ordinary |
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The prescribed order for the conduct of worship is called the |
liturgy |
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In the plainchant style, how are the most important words highlighted? |
With more notes |
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A ________________ may be defined simply as the addition of words or music or both to an existing chant. |
trope |
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_________________ advocated the standardization and codification of the Roman chants circa 660 A.D. |
Pope Gregory I |
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The _______________ contains the most frequently used chants (texts and music) for both the Mass and Offices. |
Liber Usualis |
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The Alleluia concludes with a textless melismatic coda known as the |
jubilus |
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The singing of several notes per syllable of text is identified as _______________ chant. |
melismatic |
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The Mass for the Dead is known as the _____________ Mass. |
Requiem |
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The first person who seemed to recognize the value of using a staff notation to designate definite pitches was |
Guido d'Arezzo |
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Which of the following Sequences is sung as part of the Requiem Mass? |
Dies Irae |
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This was the only accidental note used in chant. |
Bb |
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The historical roots of the liturgical dramas are found in dialogue tropes around the theme of |
Easter |
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Today's praise choruses actually began with processional songs sung by the flagellants during the plague which were called |
laude |
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Each of the voice parts in polyphony of the early Middle Ages was written to be consonant with |
the tenor but not necessarily with each other |
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The technique of creating two voice parts from one melodic line using rests is known as... |
hocket |
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This polyphonic song form set a rhyming Latin text in a strophic setting and is similar to modern part hymns with each voice part singing a similar rhythm. |
Conductus |
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One of the most significant contributions made by the Notre Dame School of Composers was the introduction of _________________ in church music. |
rhythm and change in texture |
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These were the hired musicians who performed the music of the troubadours. |
Minstrels and Jongleurs |
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The terms Ars Antiqua and Ars Nova were described in a musical treatise by this theoretician in the early 14th century. |
Philippe de Vitry |
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The two earliest steps in the development of polyphony in the West were manipulating chants in new, creative ways. These early steps were |
drone and round |
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Solmization (solfege singing) was invented by this teacher in a monastic music school for boys in Italy: |
Guido d'Arezzo |
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The troubadour tradition and chivalry began in Poitiers with Duke William IX. Who was responsible for introducing these traditions to Britain and Germany? |
Eleanor of Aquitaine |
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The troubadours wrote poetry based on classical traditions. What were the musical forms called as a group? |
Formes Fixe |
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Who is considered the greatest composer in Paris during the 14th century, and was called "the last trouvere"? |
Guillame de Machaut |
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Who is the best known composer of the Italian trecento? |
Francesco Landini |
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In music composed in the school of Notre Dame, composers indicated rhythms according to |
rhythmic modes |
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Isorhythm as used in compositions of the Ars Nova style involves the repetition of the same rhythm and melody throughout the piece. These two elements are called |
talea & color |
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One interesting aspect of organa (singular of organum) is that these little pieces are the first to include this type of variety in music. |
change in texture |
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This charming musical form includes two voices that chase each other and are usually hunting songs. |
caccia |
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In practice, Medieval music |
has doubled voice parts with instruments and added percussion instruments on occasion. |
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When did the Italian madrigal as a form begin? |
During the Trecendo |
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These troubadour songs consistently used the theme of a shepherdess in nature being wooed by a knight. |
Pastourelle |
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The knight-poet-musicians in Germany were called |
minnesingers |
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By the time we get to the Gothic era, polyphonic part songs became popular in France that featured a different text in each voice part. These pieces are called |
motets |
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The most popular Medieval dance forms were the |
estampie and carole |
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The terminology Organum Triplum indicates a piece |
with three parts |
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In secular songs of the Middle Ages, one group celebrated deeds of heroism. These songs were known as |
Chanson de Geste |
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In the Ars Antiqua practice, perfect rhythmic modes were organized in this meter. |
triple |
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In the Ars Nova practice, imperfect rhythmic modes were organized in this meter. |
duple |
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The first composer known by name who wrote the first full liturgical play, expanded the range of notes in a piece of chant, modulated from one mode to another, and added drone to chant melodies, introducing harmony to music. This person is |
Hildegard of Bingen |
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A medieval device used by Post-Modern composers in which notes are exchanged between two parts is known as |
stimmtausch |
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All voice parts basically move together on the same syllable at the same time even though they sing their own part using a strophic text. |
Conductus |
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A chant melody, called the tenor, is on the bottom, sung or played in long notes, creating a drone effect, while two or more parts over the top have their own melodies. The top parts move along in bouncy, rhythmic modes. |
Notre Dame organum |
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A three-part polyphonic song that has a tenor on the bottom and two parts over the top. The voice parts may each have their own poem, even in differing languages. |
Motet |
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A two or three part song in which the parts enter at different times "chasing" each other. |
Caccia |
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Hildegard of Bingen |
Ordo Virtutum |
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Guillame de Machaut |
Notre Dame Mass |
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Leonin |
Viderun Omnes (organum duplum) |
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Jacopo de Bologna |
Fenice fu |
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Philippe de Vitry |
Roman de Fauvel |
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Francesco Landini's works are found in the |
Squarcialupi Codex |