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101 Cards in this Set
- Front
- Back
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5 Contributions of Greeks to Music
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1) Education
2) Philosophy 3) Ethos - effects behavior 4) Theory system (modes, rudimentary notation) 5) Instruments (flutes, aulos) |
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Aulos
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Double reed instrument - associated with Dionysus
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Lyre
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stringed instrument - associated with Apollo
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Dionysus
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god of wine/ revelry (Aulos)
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Apollo
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god of healing and medicine (Lyre)
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Pythagoras
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Ratio system in music (P8 = 2:1)
Discovery/ development of the overtone series. |
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Aristotle
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“Music has a power of forming the character, and should therefore be introduced into the education of the young.”
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Plato
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“Music is a moral law. It gives soul to the universe, wings to the mind, flight to the imagination, and charm and gaiety to life and to everything.”
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Ethos
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"character"
Certain music effects behavior |
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Greek Modes of Music
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Mixolydian, Lydian, Phrygian, Dorian, Hypolydian, Hypophrygian, Hypodorian
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Skolion of Seikilos
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Oldest surviving example of a complete music composition.
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Boethius
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De Institutione Musica (The fundamentals of Music)
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Sources of Early Christian Music
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Judaic Influence
Chanting/ Singing rituals/ psalms |
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Plainsong/ Gregorian chant
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body of chants used in liturgies of the Catholic Church
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Office
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Canonical Hours
Vespers (evening service) Order of services of the Benedictine order |
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Mass Proper
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Day specific
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Mass Ordinary
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Everday
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Parts of the Ordinary Mass
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Kyrie
Gloria Credo Sanctus Agnus Dei |
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St. Gregory
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Organized Liturgy
Gregorian Chant |
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Syllabic
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One note per syllable
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Nuemes
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notes written in plainchant
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Neumnatic
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In between many notes per syllable and one note.
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Melismatic
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Many notes per syllable
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Antiphonal
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Responsive music between choir and congregation
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Introit
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part of the opening of the liturgical celebration of the Eucharist
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Form of the Kyrie
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(ABA) ternary form
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Tropes
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Expand existing chant with new words/ music
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Sequence
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hymn-like
syllabic multiple verses follow the Alleluias |
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Liturgical Drama
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scene acted out
stages with scenery, costumes + actors from clergy |
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Hildegard Von Bingen
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Ordo Virtutum "Play of the Virtues"
Mystic, songe writer, poet |
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Ordo Virtutum
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"Play of the Virtues"
Liturgical Play Morality play All sung plainchant except Devil |
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8 modes (Plainsong)
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Built on finalis
Not absolute pitches Authentic: Dorain, Phrygian, Lydian, Mixolydian Plagal: Hypodorian, Hypophrygian, Hypolydian, Hypomixolydiian |
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Guido de Arezzo
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Creator of Guidonian Hand
wrote out 8 modes 4 line staff pointed to places on hand to teach intervals to vocalists |
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Goliard
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Traveling student musician in Renaissance who stayed + composed music for teachers
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Jongleurs
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traveled alone/ small groups
at the musical service of a Lord |
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Troubadors/ Trouveres
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Poet composers 12-13 centuries
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Ventadorn
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troubador
developed chansons |
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Minnesingers
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German "Love Singer"
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Music Enchiriadis
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anonymous music treatise from 9th c.
First surviving attempt to establish a system of rule for polyphony. *paved way for early polyphony* |
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Parallel Organum
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Melody followed in parallel motion in plainchant
*paved way for early polyphony* |
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Free Organum
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not parallel intervals
Oblique Motion *paved way for early polyphony* |
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Florid (Melismatic) Organum
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Aquitanian Organum
2-6 notes sung over a sustained note in the tenor *paved way for early polyphony* |
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Notre Dame Organum
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Rhythmic Modes
Discant Style Leonin + Perotin Magnus Liber Organum "The Great Book of Organum" Clausula - Decorated opening of chant *paved way for early polyphony* |
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Gothic Influence
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Ornate Gregorian chant - considered holy
*paved way for early polyphony* |
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Medieval Motet
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Mot = "word"
mixture of sacred/ secular Tenor - "to hold" : holds chant melody |
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Franco of Koln
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Franconian notation
Important step in notation duple/ triple divisions faster notes syncopation *paved way for early polyphony* |
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Phillipe de Vitry
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treatise
organization of music complex rhythms |
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Isorhythm (Isorhythmic Motet)
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"equal rhythm"
talea - repeating rhythmic unit color - reoccurring melodic segment helped singers grasp shape of music |
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Guilluame de Machaut
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(sacred and secular)
leading composer/ poet 14th c. 23 motets Missa de Notre Dame |
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Missa de Notre Dame
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"Mass of our Lady"
First polyphonc mass isorhythm hocket |
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Background of 14th c.
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Hypocrisy in church
people began questioning church "The Great Schism" Unrest/ Peasant revolts High point of Gothic Style Countries developing own identities "apocalyptic time" |
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Hocket
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"HIccup"
2 voices alternating rapidly |
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Chanson
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lyric-driven French Song
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Under-third cadence
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Landini candence
Upper voice brought closer to the fifth before landing on the octave |
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Trecento
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beginning of the Renaissance in art history
emphasis on secular song |
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Francesco Landini
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leading composer of Trecento
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Caccia
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strict cannon
set to lively, graphically discriptice works "hunt" pursuit of one voice after another |
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English Musical Style of the late Middle Ages
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Wider ranges
imitation choir schools guilds protected education of instrumentalists Rules competed for best musicians focused on: Consonance, clarity, appeal, natural declamation of words, tuneful + simple |
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Background of Renaissance
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End of 100 yrs war
Fall of Constantinople to Ottomans Larger ships/ better equipment Economic stability Long distance trading Access to literature/ philosophy Humanist movement Church supported thinkers Naturalistic paintings |
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Rota
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round
cannon |
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Sumer is icumen in
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oldest example of traditional English round
counterpoint. |
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John Dunstable (1390-1453)
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leading English composer
12 Isorhythmic motets allowed word accentss to determine form Worked under Duke of Bedford during 100 yrs war |
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Binchois
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Served Duke Philip the Good
rarely traveled 50+ chansons (fine amour; rondeau) De plus en plus "More and more" |
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Dufay
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traveled - blended styles
Malatesta Court (Italy) Chanson/ Sacred Motets (3 voices) Missa Se la face ay pale "If my face is pale [the cause is love]" |
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Fauxbourdon
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Under melody
3 sonorities tenor moves in parallel sixths middle voice = unwritten always ends on open 5th/ 8va |
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Missa Se la face ay pale
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"If my face is pale [the cause is love]"
layered texture carefully controlled consonance/ dissonance |
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Cantus Firmus/ Tenor Mass
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contructing each movement around same borrowed melody.
4 new voices (contratenor bassus, tenor, contratenro altus, discantus) |
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Humanism
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focuses on human values and concerns
affirms some notion of human nature |
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Johannes Gutenburg
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mechanical movable type inventor
Music for the masses |
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Petrucci
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Harmonice Musices Odhecaton A - 96 pieces of printed music
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Ocheghen
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13 masses
named masses after modes canon (inversion, retrograde, regular) |
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Chanson
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imitative counterpoint
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Josquin de Prez
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works dedicated to him
motets music communicate meaning of text Ave Maria... virgo serena (Musica Reservata <homophony+sacred text>) |
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Musica Ficta
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describe any pitches that needed to be altered to avoid certain dissonances like tritones
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A cappella
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no accompaniment
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Text painting
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writing music that reflects the literal meaning of the song.
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Frottola
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predominant type of Italian popular, secular song
predecessor to the madrigal |
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Madrigal
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16th c.
through composed short poem vocal chamber music simple social settings |
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Arcadelt
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Early
homophonic 4-parts love |
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De Rore
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Middle
"Golden Age" extensive more contrapuntal 5-parts text painting |
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Marenzio
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Late
chromaticism professional singer text painting experimentation |
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Petrarch
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"Father of Humanism"
Italian scholar and poet humanist works inspired many songs |
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Chanson: Sermisy
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printed for decades
made into dance melodies/ psalm tunes |
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Nicholas Yonge
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Musica transalpina (Music from across the Alps)
Italian Madrigal Collection Translated to English (accelerated popularity) |
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Ballett
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simple homophony, repeated sections, Fa-la-la
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Elizabethan Era
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Madrigal
Church Keyboard Lute Songs Shakespeare Dance |
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Weelkes
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The Triumphs of Oriana
Morely's 25 English Madrigal Collection dedicated to Queen Elizabeth I |
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John Dowland
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Lute Songs
personal lute<melody |
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Babylonian writings about music
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1
(1800 b.c.e.) |
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Boethius, De institutione musica
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(500) |
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Earliest notated manuscripts of Gregorian Chant
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3
(9th cent.) |
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Musica Enchiriadis
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4
(9th cent.) |
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Guido of Arezzo
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5
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Hildegard von Bingen, Ordo Virtutum
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6
(ca. 1151) |
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Beginnings of Notre Dame Polyphony
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7
(ca. 1180) |
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Perotinus at Notre Dame
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8
(ca. 1200) |
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Adam de la Halle
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9
(ca. 1240) |
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Ars Nova treatise on rhythm
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10
(ca. 1320) |
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Missa de Notre Dame
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(ca. 1364) |
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Dufay, Missa Se la face ay pale
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12
(ca. 1453) |
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Yonge, Musica transalpina
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13
(ca. 1588) |
