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38 Cards in this Set
- Front
- Back
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Ars Nova
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1320-1400
Book by Phillipe de Vitry 3 Popes Emphasis on Human Instead of Gd Roman de Fauvel-Mauchaut Isorhythm Secular Polyphony |
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Conductus
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Old:Monophonic
Accompany Semi Liturgical Procession Syllabic matches Poetry New:12th Cent (Magnus Liber) Song w/ Latin Text (Sec/Sac) Strophic Rhythmic Modes Monoph/Polyph (low voices=textless) cauda=melisma at beg/end |
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Consonance
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@Magnus Liber
Perfect:4,5,8 Imperfect:3 |
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Dissonance
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@Magnus Liber
Dissonance:2,6,7 Tritone:Lateral Only, Not Vertical |
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Cadences
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Notre Dame:6to8
Mauchaut: 2LeadTone(Up2,.5+,Ten-1) Half cadences:1-3,1-5,1-8 Whole:Unison |
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Florid Organum/Aquitanian Polyphony
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Florid Org:
Melismas over Tenor (notes/neumes) Penultimate Syllable & Last Line Aquitanian (1100-1200): Eleanor de Aquitain Discant:NEUME TO NEUME & 1:1 Through Composed |
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Formes Fixes
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Ballade, Virelai, Rondeau
Courtly Love=Fin Amor Secular Songs ALL 2 SECTIONS Ars Nova Period Mauchaut |
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Ballade
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Ballade:
aa(b+C) or aab(b+C) M wrote 40 7-8 lines per Stanza 1-4 voices (usually 2[old]-3[new]) top voice=text sometimes polytext/isorhythm very melismatic short melodic/rhythmic motifs MUSICAL RHYME melisma @ penultimate |
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Virelai
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most monophonic
AbbaAbbaAbbaA 6:8 but Mauchaut swings both ways! syllabic/clear verse 2 voices, text in cantus |
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Rondeau
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ABaAabAB
Adam de la Halle 8 lines, 1 stanza ALL POLYPHONIC cantus carries text old:cantus middle, newer:cantus top |
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Franconian Motet
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Franco de Cologne 1250-1280
fixed rhythmic values and note shapes tenor, motetus (crosses), triplum triplum 2-3 subbreves |
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Hocket
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Hiccup in Latin
Two voices in alternate notes ah-ah-ah Motets w/o words Usually tenor comes from chant Instrumental and Vocal Died quickly but HOCKETINE passages |
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Isorrhythm, Isorhythmic Motet,Talea, Color
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Ars Nova
upper voices in Latin mostly occurs in tenor sometimes new tenor melody occasional/ political satire more note lengths triple and duple PITCH AND RHYTHM INDPNDNT Color:Pitch Pattern Talea:Rhythmic Pattern not synced usually Rhythm Diminuition and Palindrome |
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Leonin aka Leoninus aka Master Leo
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born 1135
Notre Dame School Notre Dame Administrator Magnus Liber only changed graduales, alleluias&responsories cadences on perfect consonances cadences: 2 to 1 or 7 to 8 Historiae Sacrae Homoerotic Poetry |
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Perotin aka Perotinus
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nothing is known about him
Revised Magnus Liber wrote a lot of clausulae used rhythm |
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Messe de Notre Dame
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written by Mauchaut
first composer to write complete mass Sat at Marian mass in Rheims in honor of him and brothter John Endowment all proper parts of mass 4 voices duple&triple meter G&C conductus, syllabic sectional, strong cadences double leading tone CADENCE popular in the fourteenth and fifteenth centuries, in which the bottom voice moves down a WHOLE TONE and the upper voices move up a SEMITONE, forming a major third and major sixth expanding to an open fifth and octave. Kyrie AD, Sanctus motet musica ficta |
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Monophony, Polyphony, Homophony, Heterophony
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Mono=1 voice
Poly=many voices homo=1 voice multiple musicians hetero=homo with changes in some voices |
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Neumes
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Groups of 2-3 notes sung together to indicate melodic direction or specific direction
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Organum (Parallel, Oblique, Note-Against Note)
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Parallel-harmony below melody moved in pararallel motion usually 5ths
Oblique upper voice moves while vox princip sustains long tones Note against note-later can become neume against neume |
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Organum purum, copula, discant, clausula
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organum purum-neither part rhythmicized (free organum)
long tones on vox principales Leonin consonance determined note length penultimate long Organum duplum-purum melisma over sustained tones discant-old note against note new rhythmicized copula-bastard child of other two rhythm both melodic sequences on top bottom chant clausula-Perotinus chunk to be inserted into chant polyphonic 2-4 complex, repetition echoe manipulate tenor |
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Phillipe de Vitry
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wrote Ars Nova
poet, composer, music theorist administrator/advisor 3 french kings diplomat bishop wrote Roman de Fauvel with Gervais du Bus, and Chaillou de Pestain |
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Rhythmic Modes
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1=Ls
2=sL 3=L+sL 4=sLL+ 5=L+ 6=sss |
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Roman de Fauvel
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Phillipe de Vitry, Gervais du Bus, and Chaillou de Pestain
ass becomes king of the world Flattery, Avarice, Deceit, Variability, Eny, Cowardice 150+ compositions Latin/French mon/poly chant to isorythmic mote |
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Sequence
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rhyming couplets
syllabc began as melismatic trope to alleluia 850-1000: small groups, equal couplets w/o meter or rhyme first and last line single irregular rhythm each couplet=new music modal, ends on reciting or final NOTKER BALBULUS 840-912 1000-1150 w/ meter or rhym rigid rhythm recurring metrical patern short neumes/melodic motifs Adam of St. Victor 10801150 |
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Trope
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add music/music&words
introductions/interpolations like glossing sung by soloist interpolations echo or anticipate phrases which precede them |
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Troubadour/Trouveres/Trobaritz/Jongleur
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Troubadour-Southern France
1000-1150 composers all classes of society Bernart de Ventadorn Jongleurs-lower class very little of their stuff Old French 1100-1200 Trouveres/Troubaritz more stuff from them Adam de la Halle |
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Can vei la lauzeta mover
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Bernart de Ventadorn-duchess of normany to queen of England, monk
1140-1190 canso ababcdcdx7+t 8lines 8 syllables 7 stanzas in dorian simple melody stays mostly in lower 5th cadences on A neumes on first or penultimate divided half phrases D cadence t=tornada .5 stanza addressed to someone (tristan) lark |
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Viderunt Omnes (Leonin)
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organum duplum-purum
discant from magnus Liber 2 voices Gradual for Christmas and Circumcision |
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Viderunt Omnes (Perotin)
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4 voices
Gradual for Christmas and Circumcision quadrupla in copula and discant voice exchange shorter more regular phrases less modal fluctuation (mostly 1) top 3 parts in same rhythm with some modal subdivision repeat motifs at different pitches cadences on perfect consonances |
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Puer natus est
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Introit for Christmas Day
antiphone-psalm-lesser dox-antiphone antiphone-neumatic psalm/lesser dox-syllabic Mixolydian |
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Kyrie Cunctipotens Genitor
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3x each part (numerology)
melismatic Dorian sung antiphonally beginning with soloist |
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Viderunt Omnes Gradual
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Christmas Day
responsorial like all graduals soloist psalm choir respond Lydian |
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Alleluia Te Martyrum
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from Winchester Troper (~1000)
vox organalis below principalis but VOICE CROSSING more flexible (dissonances) Feast for Two Martyrs cadences on unison spread to up to V note against note organum |
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Alleluia Spiritus Sanctus
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sacred
responsorial PENTECOST Magnus Liber (Leonin) 1150-1200 intonation (organum) cadence on U,I,V 2 copulas Jubilus-choir Spiritus Sanctus-Org,Cop, Disc |
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Flos ut rosa florui
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Conductus
late 12th 13th cent NEWLY COMPOSED NO CONNECTION TO PLAINCHANT sacred (not liturgical) Christmas rhythmic mode 1 consonant intervals 2 voices move together melismatic cauda at end penultimate latin poetry 4 couplets |
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Aucun ont trouve/Lonc tans/ Annuntiantes
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Petronion Motet late 13th cent
attributed to Petrus de Cruce tenor mode 5+rests thematic theme courtly love tenor color twice but dimunition motetus-overlaps w/ tenor 2nd half very long phrases (no rests) triplum-fast 2-7 semibreves cadences-V,VIII top 2 voices texted |
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Douce playsence/ Garison selon nature/ Neuma quinti toni
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Phillipe de Vitry (1300-1350)
1320 Isorythmic Motet Mode 5 rhythmic interplay duple and triple Tenor:1 color:4 talea 4 cadences consonant except 3 a little isorhythm in top parts |
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Honte Paour Doubtance
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Ballade
3 voices cantus, tenor contratenor mid career |
