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76 Cards in this Set
- Front
- Back
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Mass
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: from the Latin word Missa (1) the most important service in the Roman Church (2) A musical work setting the texts of the ORDINARY of the mass (typically KYRIE, GLORIA, CREDO, SANCTUS, and ANGUS DEI)
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Oratorio
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GENRE of dramatic music that originated in the 17th century, combining narrative, dialogue and commentary through ARIAS, RECITATIVES, ENSEMBLES, CHORUSES and instrumental music, like unstaged OPERA. Usually on a religious or biblical subject. (Handel’s Messiah)
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Cantata
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(Italian meaning “sung”) A medium-length narrative or descriptive piece of music with vocal solos and usually a chorus and orchestra. (Nun komm, der Heiden Heiland, BWV 62 – BACH)
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Opera
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(Italian meaning “work”) Drama with continuous or nearly continuous music, staged with cenery, costumes and action. (La Griselda)
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Opera Seria
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(Italian meaning “serious opera”) 18th century genre of Italian opera, on a serious subject but normally with a happy ending, usually without comic characters and scenes. (Handel’s late operas, Hasse: featres da capo arias, noble characters, elaborate scenery, virtuosic singing)(L’Orfe, La Griselda, Armide Excerpts)
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Opera Buffa
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: (Italian meaning “ comic opera” 18th century genre or Italian comic opera, sung throughout.
- La Serva Padrona, Pergolesi 1733 - French opera comique: - Le Devin du Village, Jean-Jaques rousseau 1752 - English ballad opera: - The Beggar’s Opera, John Gay 1728 |
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Recitative
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A passage or section in an OPERA, ORATORIO, CANTATA, or other vocal work in RECITATIVE STYLE. (Dido and Aneas)
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Monody
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(1) An accompanied solo song. (2) The musical texture of solo singing accompanied by one or more instruments
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Concerto
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(1) Beginning in the 17th century, ENSEMBLE of instruments or of voices with one or more instruments, or a work for such ensemble. (2) COMPOSITION in which one or more solo instruments (or instrumental group) contrasts with an ORCHESTRAL ENSEMBLE.
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Concerto Grosso
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Instrumental work that exploits the contrast in sonority between a small ENSEMBLE of solo instruments (concertino), usually the same forces that appeared in the TRIO SONATA, and a large ENSEMBLE.
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Prelude
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: Introductory piece for solo instrument, often in the style of an IMPROVISATION, or introductory MOVEMENT in a multi-movement work such as an OPERA or SUITE.
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Fugue
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(Italian meaning “flight”) Composition or section of a composition in strict IMITATIVE COUNTERPOINT that is based on a single SUBJECT and begins with successive statements of the subject at contrasting pitches.
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Harpsichord
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: Keyboard string instrument in use between the 15th and 18th centuries. It was distinguished from the CLAVICHORD ND THE PIANO by the fact that its strings were plucked (by a quill or jack set into motion by depressing a key, not struck)
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Suite
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: A set of pieces that are linked together into a single work. During the BAROQUE, a suite usually referred to a set of stylized DANCE pieces.
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Ritornello
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(1) A short instrumental refrain or interlude in a vocal work (2) A recurring tutti section in a concerto
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Toccata
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: (Italian meaning “touched”) Piece for keyboard instrument or LUTE resembling an IMPROVISATION that may include IMITATIVE sections or may serve as a PRELUDE to an independent FUGUE
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Chorale
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STROPHIC hymn in the Lutheran tradition, intended to be sung by the congregation in German
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Sonata
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(Italian meaning “sounded”) A classical composition for an instrumental soloist, often with a piano accompaniment. It is typically in several movements with one (esp. the first) or more in sonata form
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Basso ostinato
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(Italian meaning “persistant bass”) or grounded bass. A pattern in the BASS that repeats while the MELODY above it changes.
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Basso continuo
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: (Italian meaning “continuous bass”) (1)Bass line written out and one or more players of keyboard, lute, or similar instruments gill in the harmony with appropriate CHORDS or IMPROVISED MELODIC lines. (2) the bass line itself
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Figured bass
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A form of BASSO CONTINUO in which the BASS line is supplied with numbers or flat or sharp signs to indicate the appropriate INTERVALS to be played above the bass.
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Courtly Love
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: An ideal love for an unattainable woman who is admired from a distance. Chief subject of the TROUBADOURS and TROUVERES.
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Gregorian Chant or Plainchant
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: Mass for Christmas Day (Kyrie, Agnus Dei)
- the repertory of ecclesiastical CHANT used in Roman Catholic Church - written in “square notations” - gets its name from the influential Medieval Pope Gregory I who confided and disseminated liturgical chants throughout Europe • MONOPHONIC (one melody line) • NONMETRIC (no time signature) • MODAL (based on 8 modes) • NUEMATIC (notates on a staff with only 4 lines – group notes together according to text) |
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Melismatic
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of a MELODY having long MELODIC passages sung to a single syllable of text) (Kyrie)
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Syllabic
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when one note is sung for every syllable (Quam pulchra es)
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Nuematic
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a few notes sung per syllable (Kyrie)
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Monophonic
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consisting of a single UNACCOMPANIED MELODIC LINE – Mass for Christmas Day (Kyrie)
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Liturgy
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TEXT TO BE SPOKEN OR SUNG and RITUAL ACTIONS to be performed in a RELIGIOUS SERVICE (La Messe de Nostre Dame)
- Readings that make up the liturgy are at the core of the TWO PRICIPLE TYPES OF SERVICE: the OFFICE and the MASS (began in the 10th century in the monistic communities) |
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THE OFFICE
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Saint Benedict founded the monastic movement and developed a “Rule” of life (The Rule of Saint Benedict) – consists of 8 prayer services observed at specified times around the clock by the members or the religious community
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- Counsel of Trent
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was a catholic body of a repose that decided what had to do with catholic material (they removed different times of the day from the offices)
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THE MASS
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from the Latin word Missa (1) the most important service in the Roman Church (2) A musical work setting the texts of the ORDINARY of the mass (typically KYRIE, GLORIA, CREDO, SANCTUS, and ANGUS DEI) (La Messe de Nostre Dame
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Ordinary mass
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refer to the fixed parts of the mass which remain the same on different calendar days (La Messe de Nostre Dame)
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Proper mass
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refers to the mass that changes on different calendar days
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Sequence
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from the Latin word 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.
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Doxology
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a formula of PRAISE to the TRINITY. TWO FORMS are used in GREGORIAN CHANT: The Greater Doxology (Gloria) OR The Lesser Doxology (used in PSALMS and other chants) (Messe de Nostre Dame
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HILDEGARD VON BINGEN (1098 – 1179)
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- Well known for her liturgical drama
- She was an abyss - Composed music (chants) - Composed the “Sacred Music Drama” (in 1151) in the Phrygian mode - The range of the “Sacred Music Drama” is expanded in range and goes all the way up to a G - More exploratory musically - Very nuematic (a few notes per syllable) |
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Introit
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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 (Agnus Dei – Mass for Christmas Day)
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Antiphon
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) 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 final portion of the INTROIT (Mass for Christmas Day)
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Ars Nova
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A new approach to notation (syncopation) allowed composers to represent more complex rhythms and polyphonic textures (means “new art” in Latin) (Messe de Nostre Dame)
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Ars Antiqua
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(Latin for “Ancient Art”) originated, in fact, with the Ars Nova theorists, some of whom spoke of the “Ancient Art” with praise, others with contempt. All of them, however, agreed upon a marked difference between the two styles, a difference rooted primarily in the profound rhythmic innovations of the Ars Nova.
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Organum
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(Latin) (1) one of several styles of early POLYPHONY from the 9th through the 13th centuries, involving the addition of one or more voices to an existing CHANT. (2) A piece, whether IMPROVISED or written, in one of those styles, in which one voice is drawn from a CHANT,. The plural is organa.
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Notre Dame Polyphony
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style of POLYPHONY from the late 12th and 13th centuries, associated with the Cathedral of Notre Dame in Paris.
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Motet
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– POLYPHONIC VOCAL COMPOSITION the specific meaning changes over time. The earliest motets add a text to the existing DISCANT CLAUSULA. (Quam pulchra es)
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Isorhythm
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(Greek for “equal rhythm”) Repetition in a voice part (usually TENOR) of an extended PATTERN OF DURATIONS throughout A SECTION or the entire COMPOSITION (Quam pulchra es)
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Fauxbourdon
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Continental style of POLYPHONY in the early RENNAISANCE, in which TWO VOICES are WRITTEN, moving mostly in PARALLEL 6ths and ending each phrase on an OCTAVE, while a 3rd unwritten voice is sung in PARALLEL PERFECT 4ths below the upper voice. (
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Cantus Firmus
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(Latin for “fixed melody”) An existing MELODY, often taken from a GREGORIAN CHANT, on which a new POLYPHONIC work is based; used especially got MELODIES presented in long NOTES. (Missa se la face ay pale)
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Rhythmic Modes
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System of 6 durational patterns (for example, mode 1, long-short) used in POLYPHONY of the late 12th and 13th centuries, used as the basis of the RHYTHMIC NOTATION of the Notre Dame composers. (Se la face ay pale)
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Discant
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the melody written above the CF (counterpoint) – sometimes played by an instrument, vocalized without words, sacred text or non-sacred text/mixture of languages (French, Latin, Occitan)
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Clausula
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a piece taken from a part of the discant (look up in back of textbook – a section of organum “cut loose”
- French or Latin words were added to the second part of the duplum (motets) - Early motets developed over time. Rhythmic modes were appropriated to new text and things were reworked rhythmically. (Rhythmic modes are divided into 3s rhythmically – related to the holy trinity) |
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Cantiga
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Medieval MONOPHONIC song in SPANISH or PORTUGESUE
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Troubadours
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– (Occitan for trobar, which means “to compose a song”) A poet composer of SOUTHERN FRANCE who wrote MONOPHONIC songs in OCCITAN in the 12th and 13th centuries.
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Trouvères
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(Old French for trover, which means “to compose a song”) A poet composer of NORTHERN FRANCE who wrote MONOFONIC songs in OLD FRENCH in the 12th and 13th centuries.
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Parody Mass
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POLYPHONIC MASS in which each movement is based on the same polyphonic model, normally a CHANSON or MOTET, and all voices of the model are used in the mass, but none is used as a CANTUS FIRMUS
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Paraphrase Mass
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POLYPHONIC MASS in which each MOVEMENT is based on the same MONOPHONIC MELODY, normally a CHANT, which is PARAPHREASED in most or all voices rather than behind used as a CANTUS FIRMUS
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Cantus Firmus Mass
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: POLYPHONIC mass in which the same CANTUS FIRMUS is used in each MOVEMENT, normally in the tenor (Missa “Se la face ay pale)
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Chorale
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STROPHIC HYMN in the Lutheran tradition, intended to be sung by the congregation in GERMAN
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Hymn
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Song to or in honor of God. In the Christian tradition, song of praise sung to God.
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Motet
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(comes from the French word “mot”, meaning “word”) Motet is a multiple part choral composition on a sacred text usually without instrumental accompaniment.
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Lutheranism
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relating to the branch of the Protestant Church adhering to the views of Luther
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Madrigal
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: (Italian meaning “song in the mother tounge”) A part-song for several voices, typically arranged in elaborate counterpoint and without instrumental accompaniment. (As vesta was)
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Chanson
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(French meaning “song”) Secular song with French words; used especially for POLYPHONIC songs of the 14th through the 16th centuries. (Tant que vivray)
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Lied
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: (German meaning “song”) Art song with German words, whether MONOPHONIC, POLYPHONIC, or for voice with accompaniment; used especially for polyphonic songs in the RENAISSANCE and songs for voice and PIANO in the 18th and 19th centuries.
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Triumphs of Oriana
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is a book of English madrigals, compiled and published in 1601 by Thomas Morley, which first edition has 25 pieces by 23 composers
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Basse Danse
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(French meaning “low dance”) Type of stately couple DANCE of the 15th and 16th early centuries. (Dances from Danserye: Basse danse La morisque)
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Pavane
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16th century dance in LOW DUPLE METER with 3 repeated sections (AABBCC). Often followed by a GALLIARD (Dances from Danserye: Pavane La dona)
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Galliard
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16th century dance in FAST TRIPLE METER, often paired with the PAVANE and in the same form (AABBCC) (Dances from Danserye: Galliard la dona)
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Viol
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(Viola de gamba) Bowed, fretted string instrument popular for 3 voices in a rustic HOMOPHONIC style.
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Recorders
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End-blown wind instrument with a whistle mouth piece, usually made of wood.
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Lute
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Plucked string instrument popular with resonating sound box, 2 arms, crossbar, and strings that run parallel to the soundboard and attach to the crossbar.
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Virginal
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Type of HARPSICHORD, that is small enough to place on a table, with a single keyboard and strings running at right angles to the keys rather than parallel with them as in larger harpsichords.
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Counterpoint
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The combination of 2 or more simultaneous MELODIC lines according to a set of rules.
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Homophony
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Musical TEXTURE in which all voices move together in essentially the same RHYTHM, as distinct from POLYPHONY and HETEROPHONY
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Imitation
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The device of repeating (imitating) a MELODY or MOTIVE announced in one part in one or more other parts, often at a different pitch level and sometimes with minor MELODIC or rhythmic alterations.
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Word Painting
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(Text depiction) Using music genres to reinforce or suggest images in a text, such as rising on the word “ascend”
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Through-composed
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Composed throughout, as when each stanza or other unit of a poem is set to new music rather than in a STROPHIC manner to a single subject
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Strophic
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Of a poem, consisting of 2 or more stanzas that are equivalent in form and can each be sung to the same MELODY; of a vocal work, consisting of a strophic poem set to the same music for each stanza
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