Chapter 5-Medieval

Front 1

Painchant

Back 1

monophonic setting of sacred text for use in the liturgy or Office; aka Gregorian chant or plainsong.

Front 2

Syllabic

Back 2

In the setting of text to music, refers to the use of a one-to-one relationship between syllables and notes – one note per syllable or word.

Front 3

Neumatic

Back 3

In the setting of text to music, a treatment where 5 to 6 notes per syllable or note are used.

Front 4

Melismatic

Back 4

In the setting of text to music, refers to the use of many notes on a given syllable or word, typically for musical or expressive emphasis of that text.

Front 5

Mode

Back 5

musical scales based on Greek theoretical models that tied musical various ways of dividing the octave with different emotional affects; our “major” and “minor” scales are also modal modifiers for different diatonic collections.

Front 6

Goliards

Back 6

lower class musicians who sang about lewd and lascivious acts, often wandering about performing for food.

Front 7

Polyphony

Back 7

A texture consisting of two or more simultaneous lines of independent melody, as opposed to music with just one voice (monophony) or music with one dominant melodic voice accompanied by chords (homophony). A canon, fugue, and organum are all examples of polyphony.

Front 8

Organum

Back 8

early polyphony in which a line of chant was improvised a fifth above (duplum) and identical to a preexisting chant; was eventually expanded to three (triplum) and four (quadruplum) voices. Later, voices moved more freely in relation to the original chant.

Front 9

Motet

Back 9

secular vocal polyphony in the Middle Ages that was either Latin or French, usually three voices, and frequently combined different texts simultaneously; instruments may also have accompanied.

Front 10

Mode ending in D

Back 10

Dorian

Front 11

Mode ending in E

Back 11

Phrygian

Front 12

Mode ending in F

Back 12

Lydian

Front 13

Mode ending in G

Back 13

Mixolydian