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55 Cards in this Set

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(1) A LITURGICAL CHANT that precedes and follows a PSALM or CANTICLE in the OFFICE. (2) In the MASS, a chant originally associated with ANTIPHONAL PSALMODY; specifically, the COMMUNION and the first and final portion of the INTROIT.
adjective describing a manner of performance in which two or more groups alternate.
Latin, "new art") Style of POLYPHONY from fourteenth-century France, distinguished from earlier styles by a new system of rhythmic NOTATION that allowed duple or triple division of NOTE values, SYNCOPATION, and great rhythmic flexibility
Ars Nova
(Latin, "more subtle art") Style of POLYPHONY from the late fourteenth or very early fifteenth centuries in southern France and northern Italy, distinguished by extreme complexity in rhythm and NOTATION.
Ars Subtilior
Medieval MONOPHONIC song in Spanish or Portuguese.
(Latin, "fixed melody") An existing MELODY, often taken from a GREGORIAN CHANT, on which a new POLYPHONIC work is based; used especially for MELODIES presented in long NOTES.
cantus firmus
(French, "songbook") Manuscript collection of secular songs with French words; used both for collections of MONOPHONIC TROUBADOUR and TROUVèRE songs and for collections of POLYPHONIC songs.
(Latin rhetorical term for ornament, particularly repetition, pronounced KOH-lor) In an ISORHYTHMIC COMPOSITION, a repeated MELODIC pattern, as opposed to the repeating rhythmic pattern (the TALEA).
(Latin, "singing apart") (1) Twelfth-century style of POLYPHONY in which the upper voice or voices have about one to three NOTES for each note of the lower voice. (2) TREBLE part.
"refined love"; pronounced FEEN ah-MOOR; fin' amors in Occitan; also called courtly love) An idealized love for an unattainable woman who is admired from a distance. Chief subject of the TROUBADOURS and TROUVèRES.
fine amours
(French, "fixed forms"; pronounced form FEEX) Schemes of poetic and musical repetition, each featuring a REFRAIN, used in late medieval and fifteenth-century French CHANSONS; in particular, the BALLADE, RONDEAU, and VIRELAI.
formes fixes
System of NOTATION described by Franco of Cologne around 1280, using noteshapes to indicate durations.
Franconian notation
(from Latin gradus, "stairstep") Item in the MASS PROPER, sung after the Epistle reading, comprising a RESPOND and VERSE. CHANT graduals are normally MELISMATIC in style and sung in a RESPONSORIAL manner, one or more soloists alternating with the CHOIR.
The repertory of ecclesiastical CHANT used in the Roman Catholic Church.
Gregorian Chant
In an early form of NOTATION, NEUMES arranged so that their relative height indicated higher or lower pitch. Also called DIASTEMATIC neumes.
heighted neumes
1) A set of six pitches. (2) In medieval and RENAISSANCE SOLMIZATION, the six NOTES represented by the syllables ut, re, mi, fa, sol, la, which could be transposed to three positions: the "natural" hexachord, C-D-E-F-G-A; the "hard" hexachord, G-A-B-C-D-E; and the "soft" hexachord, F-G-A-B-C-D. (3) In TWELVE-TONE theory, the first six or last six notes in the ROW.
(French hoquet, "hiccup") In thirteenth- and fourteenth-century POLYPHONY, the device of alternating rapidly between two voices, each resting while the other sings, as if a single MELODY is split between them; or, a COMPOSITION based on this device.
Song to or in honor of a god. In the Christian tradition, song of praise sung to God.
idée fixe (French, "fixed idea") term coined by Hector Berlioz for a MELODY that is used throughout a piece to represent a person, thing, or idea, transforming it to suit the mood and situation.
The first NOTES of a CHANT, sung by a soloist to establish the pitch for the CHOIR, which joins the soloist to continue the chant.
(from Greek iso-, "equal," and rhythm) Repetition in a voice part (usually the TENOR) of an extended pattern of durations throughout a section or an entire COMPOSITION.
Dialogue on a sacred subject, set to music and usually performed with action, and linked to the LITURGY.
liturgical drama
The prescribed body of texts to be spoken or sung and ritual actions to be performed in a religious service.
(German, "singer of love"; also pl.) A poet-composer of medieval Germany who wrote MONOPHONIC songs, particularly about love, in Middle High German.
(from French mot, "word") POLYPHONIC vocal COMPOSITION; the specific meaning changes over time. The earliest motets add a text to an existing DISCANT CLAUSULA. Thirteenth-century motets feature one or more voices, each with its own sacred or secular text in Latin or French, above a TENOR drawn from CHANT or other MELODY. Most fourteenth- and some fifteenth-century motets feature ISORHYTHM and may include a CONTRATENOR. From the fifteenth century on, any polyphonic setting of a Latin text (other than a MASS) could be called a motet; from the sixteenth century on, the term was also applied to sacred compositions in other languages.
(Latin, "feigned music") (1) In early music, NOTES outside the standard GAMUT, which excluded all flatted and sharped notes except B< flat >. (2). In POLYPHONY of the fourteenth through sixteenth centuries, the practice of raising or lowering by a semitone the pitch of a written note, particularly at a CADENCE, for the sake of smoother HARMONY or motion of the parts.
musica ficta
A sign used in NOTATION of CHANT to indicate a certain number of NOTES and general MELODIC direction (in early forms of notation) or particular pitches (in later forms)
Style of POLYPHONY from the late twelfth and thirteenth centuries, associated with the Cathedral of Notre Dame in Paris.
octatonic scale (or octatonic collection) A SCALE that alternates WHOLE and HALF STEPS.
Notre Dame Polyphony
(from Latin ordinarium, "usual") Texts of the MASS that remain the same on most or all days of the CHURCH CALENDAR, although the tunes may change.
Ordinary of the Mass
(from Latin proprium, "particular" or "appropriate") Texts of the MASS that are assigned to a particular day in the CHURCH CALENDAR.
Proper of the Mass
A MELODIC formula for singing PSALMS in the OFFICE. There is one psalm tone for each MODE.
psalm tone
A poem of praise to God, one of 150 in the Book of Psalms in the Hebrew Scriptures (the Christian Old Testament). Singing psalms was a central part of Jewish, Christian, Catholic, and Protestant worship.
(Latin, "quadruple") (1) In POLYPHONY of the late twelfth through fourteenth centuries, fourth voice from the bottom in a four-voice TEXTURE, added to a TENOR, DUPLUM, and TRIPLUM. (2) In NOTRE DAME POLYPHONY, an ORGANUM in four voices.
RESPONSORIAL CHANT used in the OFFICE. Matins includes nine Great Responsories, and several other Office services include a Short Responsory.
Pertaining to a manner of performing CHANT in which a soloist alternates with a group.
System of six durational patterns (for example, mode 1, long-short) used in POLYPHONY of the late twelfth and thirteenth centuries, used as the basis of the rhythmic NOTATION of the Notre Dame composers.
rhythmic modes
(from Latin sequentia, "something that follows") (1) A category of Latin CHANT that follows the ALLELUIA in some MASSES. (2) Restatement of a pattern, either MELODIC or HARMONIC, on successive or different pitch levels.
A method of assigning syllables to STEPS in a SCALE, used to make it easier to identify and sing the WHOLE TONES and SEMITONES in a MELODY.
(Latin, "cutting"; pronounced TAH-lay-ah) In an ISORHYTHMIC COMPOSITION, an extended rhythmic pattern repeated one or more times, usually in the TENOR. Compare COLOR.
(from Latin triplus, "triple") (1) In POLYPHONY of the late twelfth through fourteenth centuries, third voice from the bottom in a three- or four-voice TEXTURE, added to a TENOR and DUPLUM. (2) In NOTRE DAME POLYPHONY, an ORGANUM in three voices.
Addition to an existing CHANT, consisting of (1) words and MELODY; (2) a MELISMA; or (3) words only, set to an existing melisma or other melody.
(from Occitan trobar, "to compose a song") A poet-composer of southern France who wrote MONOPHONIC songs in Occitan (langue d'oc) in the twelfth or thirteenth century.
(from Old French trover, "to compose a song") A poet-composer of northern France who wrote MONOPHONIC songs in Old French (langue d'oïl) in the twelfth or thirteenth century.
In POLYPHONY, technique in which voices trade segments of music, so that the same combination of lines is heard twice or more, but with different voices singing each line.
voice exchange
(2) In particular, one of the eight scale or melody types recognized by church musicians and theorists beginning in the Middle Ages, distinguished from one another by the arrangement of WHOLE TONES and SEMITONES around the FINAL, by the RANGE relative to the final, and by the position of the TENOR or RECITING TONE.
Church modes
The three levels of rhythmic DIVISION in ARS NOVA NOTATION. Mode is the division of LONGS into BREVES; time the division of breves into SEMIBREVES; and prolation the division of semibreves into MINIMS.
mode, time, and prolation
De ma dame vient/Dieus, comment porroie/Omnes
Adam de la Halle
Sumer is icumen in
In arboris/Tuba sacre fidei/virgo
Phillipe de Vitry
La Messe de Nostre Dame: Kyrie
Guillaume de Machaut
Foy Porter
Guillaume de Machaut
Rose, liz, printemps, verdure
Guillaume de Machaut
En reminrant vo douce pourtra
Philippus de Caserta
Non al suo amante
Jacopo da Bologna
Tosto che l'alba
Gherardello da Firenze
Non avra ma pieta
Francesco Landini