Chant To Beethoven Cumulative Final

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antiphon

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a short prose sung sentence inserted before or after a psalm and sometimes between its individual verses, sung in alternation by two halves of the choir

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Cantillation

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the chanting of a text by the soloist

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Gregorian Chant

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the monophonic and traditionally unaccompanied music of Eastern and Western Christian liturgy, its texts are predominantly taken from psalm verses, named after Pope Gregory

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hexachord

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has to do with Guido of Arezzo (11th century)

ut re mi fa sol la

basis of musical theory through the Ren.

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hymn, hymnody

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metrical song of praise, pop songs of their time

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Marian antiphon

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devotional setting of Latin prose text in praise of Mary

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occursus

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in two and three part organum, ending on the same note of all parts (unison)

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offices

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eight daily services that featured the psalms

spaced roughly every three hours

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Proper vs. Ordinary

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Proper changes depending on liturgical calendar

Ordinary is always the same

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organum

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earliest form of western polyphony

melody in tenor

second voice improvises over chant

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psalm tone

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chant formula for singing psalm

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solmization

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mnemonic device in which intervals were associated with syllables to aid in the learning of melody (solfeggio)

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trope

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insertion of new text and corresponding music; amplified "original" texts not from Bible

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Boethius

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*wrote the most-studied early treatise, De institutione
musica.
*lays out the premise of abstract music in a doctrine of ethos: In ascending order of significance, these are:

musica instrumentalis (audible music),

musica humana (music of human constitution)

musica mundana (music of the cosmos)

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St. Gregory

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Credited with creating the musical repertory of the Roman church; taught the sacred chants by the Holy Spirit, in the form of a dove.

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Mass Order, P or O

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1.) Introit (P)

2.) Kyrie (O)

3.) Gloria (O)

4.) Gradual (P)

5.) Alleluja (P)

6.) Credo (O)

7.) Offertory (P)

8.) Sanctus (O)

9.) Agnus Dei (P)

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Hildegard of Bingen

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(1098–1179), nun, composed vocal works

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Troubadors

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mostly monophonic music, fin d'amours, canso, southern France

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Trouvères

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mostly monophonic music, secular, Northern France

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William IX

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The first troubador,

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canso

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love song of troubador, venerates woman of higher status, unattainable woman

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ballade

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One of the formes fixes, three structuraly identical stanzas, with same refrain line (aab[C])

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cantus firmus

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chant melody in tenor part of a polyphonic piece

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clausula

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little discant sections inserted into Medieval polyphonic organum

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conductus

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polyphonic medieval music practiced at Notre Dame, syllabic setting of a contemporary Latin poem

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contrafactum

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a vocal piece in which the original text is replaced by a new one

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duplum

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medieval coposition for two voices; then, seconf voice itself placed above the tenor

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fin' amors

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courtly love, self professed subject of troubador love song (canso)

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formes fixes

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1.) ballade

2.) virelai

3.) rondeau

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ligature

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a single neume representing two or more pitches in Medieval chant and polyphony

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Minnesang

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German for "love song"; modeled after the troubador courtly love songs

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motet

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began as vocal polyphony with many texts, Latin in tenor

After Josquin "Ave Maria, Virgo Serena", became vocal polyphony in SATB with one text

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pastorela

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a troubador song; mocking popular style; conversation with a shepherdess

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rondeau

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French dance song set to two particular musical phrases, one of the three formes fixes

ABaAabAB

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triplum

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medieval song in three parts; later the voice part above the duplum and next but one above the tenor

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tenso

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debate-song of troubador tradition, often a dialogue between two persons about love and other subjects

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trobar clus

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"closed form", dense form and meaning, elevated speech

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vida

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breif troubador and trobairitz biographies contained in their song collections (chansonniers)

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virelai

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one of the three formes fixes, two clear sections (AbbaA), Medieval and early ren.

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Adam de la Halle

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1307, the first trouvere, formes fixes

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St. Martial

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monastery in 12th century; development of new polyphony, organum?

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Notre Dame Polyphony/Organum

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developed 1150-1250, tenor chant discant upper voices

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Anonymous 4

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English student, studied at Notre Dame School 1270-1280 wrote about music in treatise (On rhythmic music and discant)

"Perotin is better than Leoninus"

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Perotin

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Badass, best discantor

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Leoninus

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Perotin's elder, best organista, not as cool as Perotin

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“Franconian” Notation

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Significant because:

It used different notehead shapes to indicate rhythmic notation..

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Montpillier Codex

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Important collection of early motets

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Ars Nova

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"new art" 14th century, main theorist was Phillipe de Vitry, enabled notation of duple rhythms

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Ars Subtilior

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"subtle art" highly complex rhythmic and metrical relationships 1370-1390

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ballata

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Medieval secular song in AbbaA form, Italian

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caccia

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13th century type of madrigal, comprised f 2 sections (terzetti, ritornello); three voice texture (cantus over untexted tenor), subject matter often involves the hunt

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chanson

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lyric-driven French secular song polyphony, up to around 1600

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color

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repetition of a pitch sequence without regard to changing rhythmic values

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cyclic mass

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setting of major unchanging elements of RCatholic liturgy, as single musical unit, unified by cantus firmus modes moives or other compositional procedures; a leading musical genre of 15th and 16th centuries

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isorhythm

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term used by scholars to describe the use of recurrent nonsynchronous rhythmic and pitch patterns as a main structural component in late Medieval music

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Landini Cadence

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late medieval phrase ending for 2 voices, lower voice moves down from second degree to first degree, upper voice starts on raised seventh and drops to sixth before jumping to eighth to form concluding octave

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musica ficta

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latin for "false music", refers to accidentals or chramatic alterations by the performer outside of the medieval notational system

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prolation

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the number of subdivisions (2 or 3) per mensural whole-note (Semibreve)

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talea

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the repetition of rhythmic values without regard to pitches used

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Phillipe de Vitry

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main theorist of Ars Perfecta

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Guillame de Machaut

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leading composer of Ars Nova, the last trouvere, composed masses chansons and motets; known for Messe de Nostre Dame arguable first cyclic mass

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Francesco Landini

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leading composer of the ballata, dance song with same form as French virelai (AbbaA), melody for Landini cadence is 7-6-1 to close on octave between two voices

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Guillame Du Fay

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1397-1474, wrote motets, symbolic power of numbers

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bergerette

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15th century French song identical in structure with the virelai, but with only one stanza

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Caput Masses

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a group of masses, many of which are anonymous, based on a cantus firmus, which unified all of the movements

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emulation

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honoring a model through imitation; a simultaneous homage to and attempt to surpass that model, conforming to it while distinguishing itself from it in a conspicuous way

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Eton Choir Book

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a richly illuminated manuscript collection of English sacred music composed during the late 15th century; one of few Latin to survive reformation

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faburden

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late Medieval English technique of harmonizing melodies at sight by producing a series of parellel 6/3 chords

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fauxbourdon

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choral technique of singing improvised polyphony in which a false bass a fourth below is added to melody

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la contenance anglaise

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15th century style of English polyphony based on the 3rd and 6th

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L'Homme Arme

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anonymous song used as the cantus firmus of or melodic resource for more than 40 masses by Renaissancecomposers from Dufay to Palestrina

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Old Hall Manuscript

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earliest largely intact and decipherable English source of polyphonic church music (70%) represents state of music ca. 1370-1420

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rota, round

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short, circular canon at the unison or octave, normally for as many unaccompanied voices as its melody allows; each voice enters successively, then continues

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John Dunstable

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musician for the Duke of Bedford, (1390-1453), over 50 surviving pieces attributed to Dunstable, made 3rds and 6ths consonant on the European continent, brought British conventions to the mainland, faburden

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Guillame Du Fay

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1420s, employed fauxbourdon in response to Dunstables faburden. Made hexachord mutations, leading song composer of generation with Binchois

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Johannes Ockeghem

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1410-1497, pupil of Binchois, worked for Charles VII and Louis XI, made great $, low compositions with organ, Burgundian Court

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Antoine Busnoys

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1430-1492, Ockegham's counterpart in Burgundian court, earliest leading composer from whom autograph manuscripts survive, wrote motets

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Johannes Tinctoris

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famous theorist, 1435-1511, wrote the first dictionary of musical terms (theDiffinitorium musices)

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Ottaviano Petrucci

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famous printer of sheet music, introduced printing press with moveable type in 1501, 1466-1539

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Heinrich Issac

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Fleming worked in Florence, 1445-1506, also worked in Maximillian I Holy Roman Austrian Court, Masses motets and songs, new settings

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cori spezzati

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"split choirs", the division of musical forces into distinct groups, both musically and somewhat spatially, in concertato style

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Council of Trent

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an emergency legislative body of the Roman Catholic Church that first convened in 1545 to to stem the tide of the Protestant Reformation that was perceived as posing a threat to the Church

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humanism

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the study of the ancient texts on linguistics and rhetoric that informed the ideals of the Renaissance; importance of the individual

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Imitation Mass

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a Mass setting that borrows motifs, points of imitation, or two or more parts from a preexisting piece of music, such as a sacred motet or a secular chanson, as the basis for the new composition

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metrical psalm

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a psalm translated into rhyming, strictly metrical verse in a vernacular, composed and sung as a hymn and collected in a psalter; developed for the worship services of John Calvin and his successors

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point of imitation

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in contrapuntal music, an operning motif in one voice that is subsequently imitated by other voices; in fugal writing, this pattern may recur (in diff. keys) as needed; applicable to instrumental AND vocal music

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ricercare

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a contrapuntal instrumental genre modeled on the ars perfecta vocal style; in the Baroque, a kind of strict fugue with short thematic subjects

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soggetto cavato dalle vocali

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a pre-compositional technique of Josquin de Prez in which solmization syllables were mapped onto names to produce a cantus firmus theme; Bach did this with his name (BACH Bflat A C Bnatural)

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stile antico

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composing in the style of Palestrina, that is, acceptable to the Roman Catholic CHurch at the Council of Trent, and the model for subsequent papal chapel composers

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Josquin de Prez

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(1450-1521), legend in his own time, "creator of ars perfecta", Petrucci popularized his works, hired by Duke of Ferrara over Issac because better composer, "Ave Maria... Virgo Serena"

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Gioseffo Zarlino

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codified the "ars perfecta", (1517-1590), wrote treatise Le Istitutioni harmoniche (1558) "aka elements of harmony", triad is perfect harmony/full-fledged consonance

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Adrian Willaert

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Zarlino's teacher, "the new Pythagoras" (1490-1562), one of the last Flemings in Italian court music, hugely influential teacher huge legacy, choirster at St. Mark's Cathedral

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Jacques Buus

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(1500-1565), pupil of Willaert, 1540s worked as Willaert's organist at St. Mark's, compositions included ricercare

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Giovanni Pierluigi da Palestrina

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(1525-1594), Papal composer (for more than 10 popes), had to revise the Catholic Church's liturgical music , over 100 Masses attributed to him,

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Johann Joseph Fux

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Gradus ad Parnassum (1725); first counterpoint text, updated stile antico as a pedgogical style, discussed rhythmic and dissonance treatment

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William Byrd

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(1543-1623); Catholic in Protestant reformation, wrote in secret, masses for small choirs written in secret, creative use of dissonance give commentary on situation

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toccata

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from Italian toccare "to touch", after 1500, a virtuosic keyboard piece displaying dexterity and skill

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partita

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a Baroque suite, typically for solo instrument or chamber ensemble

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passacaglia

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improvisational set of triple meter variations on cadential patterns, developed by early Baroque guitars; later composed for solo instruments or chamber ensembles; eventually interchangeable with the chaconne

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oratorio

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a large scale dramatic work based on a religious topic, neither liturgical nor theatrical in intent, but performed in a concert setting

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tragedie lyrique

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French equivalent of Opera Seria; seriousness of tone, focus on preservation of textwhen set to music and the frequent presence of dance interludes

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Jean-Baptiste Lully

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(1632-1687) court composer for King Louis XIV, wrote in tragedie lyrique style

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Henry Purcell

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Pupil of Locke, (1659-1695), chiefly employed as an organist, wrote English semi-opera, excellent settings of English language to music.

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Monteverdi

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(1567-1643), the man who "made" opera, spokesman of the seconda practice

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Augenmusik

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German for "eye music", refers to Madrigals, describes graphical features of scores that, when performed, are inaudible to the listener

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basso continuo

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in Baroque music, an independent bass line part written out as one line, but with shorthand numerical instructions (figures) to indicate the full harmony; a solo instrument performs the bass line while a keyboard instrument or lute realizes the harmony

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chanson

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applicable to any French language song from the Medieval era on; specifically, a lyric-driven polyphonic secular song, up to around 1600

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chorale

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strophic unison Lutheran hymn based on Gregorian chant or original melody; also, the harmonization of such a hymn

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chorale prelude

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a single-stanza setting with which the organist might cue the congregation to sing or to provide an accompaniment to silent meditation

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concertato style

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from late Ren and on, features alternation between different combinations of voices and instruments, with emphasis on short range contrast; calls for specific instruments (introduces idea of orchestrations), evolved into concerto with increased interest in long range continuity and focus on soloists and groups of soloists

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counter-reformation

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Roman Catholic response to Reformation; reforms to Church structure, religious orders, spiritual movements, and political dimensions

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frottola

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syllabic, homophobic songs for three or more voices in Italian of a lighter character, popular around 1500, predecessor to the Ren Madrigal

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madrigalism

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in Ren vocal music especially, use of illustrative devices such as word painting to reflect musically the literal or figurative meaning of the text though pitch direction, texture, range, or other means

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Giovanni Maria Artusi

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critical of Monteverdi and seconda practica

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Carlo Gesualdo

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wrote "moro, lasso" in 1611 to peak chromatic artifice

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Jacques Arcadelt

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wrote "Il bianco e dolce cigno" in 1539, the century's single most famous reprinted song, madrigal

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Orlando di Lasso

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(1532-1592) unclassifiable figure , very versatile, very cosmopolitan writer, wrote secular and Latin music

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Petrach

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(1304-1374) father of humanism, rediscovery of Cicero'sletters catalyst for 14th century Ren.

Poet/writer

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Baroque

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a term used to encompass the music of the period roughly from 1600 to 1750 that is from the time of the first Italian operas to the death of JS Bach

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Camerata

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a group of humanists, musicians, poets, and intellectuals in late Ren Florence who gathered under the patronage of Count Giovanni de Bardi to discuss and guide trends in the arts, especially music and drama

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intermedio

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short, musical-dramatic items performed between acts of a Renaissance theatrical production

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monody

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a style of song for one voice and basso continuo; the first characteristic Baroque genre and the basis of early opera

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prima practica vs. seconda practica

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Prima Practica (ars perfecta); music controls the words

Seconda Practica "make the words the mistress of the harmony, not the servant" Words control the music

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recitative

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a style of delivery (much used in operas, oratorios, and cantatas) in which a singer is allowed to adopt the rhythms of ordinary speech. Became synonymous with stile rappresentativo

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stile concitato

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Italian for agitated style; one of Claudio Monteverdi's genere, usually expressed by rapidly articulated repeated notes

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agréments

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French for embellishments; a crucial stylistic element of French Baroque music, extensive series of ornaments that worked in tandem with the bass harmony to punctuate the lines and to enhance the rhetorical projection

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cantata

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a Baroque vocal piece with instrumental accompanimeny; originally for solo voice, later a liturgical work in several movements often involving a choir

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chorale concerto

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a work for mixed instruments and voices based on a religious text; aka sacred concerto

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consort music

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in the 16th and 17th centuries, an early form of polyphonic instrumental chamber music, scored for group of similar or mixed instruments, designed for domestic use.

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French overture

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in French Baroque music characterized by entrance with dotted note rhythm, followed by fast imitative section

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suite

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1.) an ordered set of instrumental or orchestral pieces, frequently based on dance movements, performed in a concert setting

2.) a set of extracts taken from a stage work, for concert performance, often intended to encourage performanes of the entire work

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virginal

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a smaller member of the harpsichord family, in which sound is produced by a plucking mechaniusm when a key is pressed down; the strings are plucked close to the middle of their sounding length, giving the instrument a distinctly plangent tone

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Class of 1685

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Handel, J.S. Bach, Scarlatti

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subject

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the single main theme of a fugue

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answer

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in a fugue, the entrance of the second voice that comes in playing the subject "at the fifth"

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countersubject

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the counterpoint with which the original voice accompanies the answer in a fugue

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episode

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1.) a solo section for an instrument within a concerto

2.)a non-thematic section within a fugue

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stretto

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a foreshortening device in a fugue in which the voices anticipate their predicted entries on the subject and answer

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allemande

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German, slow, stately song in quadruple movement

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courante

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a grave triple meter notated in 3/2 with many lilting hemiola effects caused by patterns cutting across the pulse

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sarabande

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lively triple meter song-dance originating in New Spain 16th century

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gigue

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an up-tempo dance with dotted rhythms , in baroque, a standard movement of the instrumental suite

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rococo

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pre-classical eighteenth century, emphasis on elegance, wit, and delicacy, French solo and chamber music like galant

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Handel's "borrowings"

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recycled older compositions, often copied Scarlatti

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Domenico Scarlatti

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(1685-1787) composer, friend of castrato Farinelli, both worked in royal chapel

in Madrid

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ballad opera

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an English form of theatrical entertainment consisting of spoken play with many interpolated short songs, the music for which was borrowed from popular songs of the time

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empfindsamer Stil

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"sensitive style" WF Bach, early Classical compositional style developed in mid-eighteenth century Germany, intended to express "true and natural feelings" and featuring sudden contrasts of mood

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empfindsamkeit

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musical aesthetic that aimed not at a more objective depiction of a character's feelings, as in opera seria, but rather at the expression

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galant style

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a homophonic reaction to Baroque equal voiced contrapuntal texture; emphasis on pleasant, easily absorbed melody with light accompaniment

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Christoph Willard Gluck

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(1714-1787) worked in Habsburg court at Vienna, brought about the practical reform of opera's dramaturgical practices with a series of radical new works in the 1760s, among them Orfeo ed Euridice and Alceste,

broke the stranglehold that Metastasian opera seria had enjoyed for much of the century.

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classical style

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a musical style that prevailed from around 1750 to the 1820s embodied in the works of by Haydn, Mozart, and Beethoven

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Querelle des Bouffons

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comic opera vs. serious opera, in 1752

enlightenment reforms of opera to align with ideals

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reform opera

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opera style championed by Gluck, counter the opera seria and coloratura, tried to embody sensibility, true-to-real-life

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W.F. Bach

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Bach's eldest son, Wilhelm Friedemann (1710-1784), organist and cantor as well as composer, his melodic design is far more removed than his father's, emphasized balance and contrast, periodic phrasing

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C.P.E. Bach

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Carl Phillip Emmanuael, middle son, empfindsamkeit, wrote treatise "The True Art of Playing Keyboard Instruments", play from the soul, changeability of human emotions

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J.C. Bach

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third son, travelled to London and Italy, successful opera and sonatas, contrasting dynamics

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Giovanni Battista Pergolesi

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(1710-1736) composed "La Serva Padrona", earliest opera company in standard repertory

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concert spirituel

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the earliest significant European concert series, organized in Paris by Anne Danican Philidor in 1725-1790

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divertimento

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light entertainment music for a combination of solo instruments

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minuet and trio

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the tri[ple meter form used in most third movements of the four-movement Classical sympony

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string quartet

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a chamber ensemble of 4 string players- 2 violinists, a cellist, and a violist- also, a piece written to be performed by such a group

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Sturm und drang

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German for "storm and stress", an aesthetic movement with literary origins in the latter 18th century in which the goal was to depict violent emotional changes in the most dramatic way possible

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Jean Jacques Rousseau

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(1712-1778), one of the leading enlightenment figures, ridiculed high minded tragedies lyriques performed by royal music establishment as stilted, devoid of naturalness, ugly in harmony, and ungainly in text-setting