Music History

Front 1

Ite,Missa est

Back 1

Go, you are dismissed.
This phrase became the Latin name for the entire service
Missa=Mass

Front 2

Gregorian Chant

Back 2

Schola Cantorum standardized chant melodies.Pepin the Short and Charlemagne spread thoughout kingdom. Roman melodies with additions and changes by Franks.

Front 3

Mass Ordinary

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Parts of the Mass where the texts don't change, although melodies can. Kyrie Gloria Credo Sanctus Agnus Dei Ite, Missa Est

Front 4

Mass Proper

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texts vary from day to day
Introit Gradual Alleluia Sequence Offertory Communion

Front 5

Divine Office

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8 services where psalms were sung at regular times during the day
Matins Lauds Prime Terce Sext Nones Vespers Compline

Front 6

Ars Nova

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new French musical style initiated by Vitry in the 1310's through 1370's.
duple meter division of semibreve mensuration signs isorhythmic motets hockets greater use of thirds and sixths

Front 7

Guillaume de Machaut

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First composer to compile his works and discuss his working methods

Front 8

Messe de Nostre Dame

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Earliest polyphonic mass setting of Ordinary to be written by one composer and conceived as a unit. Similar in style and approach, some recurring motives, a tonal focus on D and F

Front 9

Tenor or cantus firmus Mass

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Constructing each movement of a Mass around the same cantus firmus, normally placed in the tenor. Originated in England

Front 10

Imitation or parody Mass

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Instead of using one voice as cantus firmus, composer borrows from all voices of the polyphonic work which it imitates.

Front 11

Paraphrase Mass

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Based on a monophonic chant paraphrased in all four voices, in whole or part, in each movement

Front 12

Josquin des Prez

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Renaissance composer known for text depiction (using musical gestures to reinforce image in music) and text expression (using music to convey emotions in textzzzzz0, knoen for motets, imitation and paraphrase masses, and chansons.

Front 13

Missa Pange lingua

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Josquin paraphrase mass

Front 14

The Palestrina style

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Melodies like plainchant-long-breathed, rhythmically varied, easily singable curved lines moving by step.
duple meters, consances except for suspensions and cambiatas, "chord inversions",
clear text, different combinations of voices, voice lines have independent rhythms, syncopatio to sustain momentum

Front 15

Pope Marcellus Mass

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A mass written by Palestrina supposedly to meet requirements of Council of Trent. Supposed to be cantus firmus, but freely composed (free mass). Doesn't end in mode it starts in. Agnus Dei in two parts rather than three.

Front 16

Gregorian chant

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8th and 9th centuries-established standard chant repetory. 10th cent. on-new chants, chants as the basis of new forms

Front 17

Tropes Sequences and Liturgical dramas

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Types of chant added after 9th century. Tropes extended an existing chant by adding new words and music before the chant and between verses, extending existing melismas and adding new ones, and adding text to exisitng melismas. Sequences-music that is set syllabically to a text mostly in couplets and sung after the Alleluia. Liturgical drama-not really part of liturgy, but linked to it by being recorded in liturgical books and being performed in church. Easter and Christmas plays most common.

Front 18

Paraliturgical

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Music not based on Gregorian chant, but based on sequences, tropes and conductus.

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Conductus

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Serious medieval songs, monophonic or polyphonic, setting a rhymed, rhythmic Latin poem.

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Why were cantus firmus masses written?

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Early way for composers to unify the five movements of the Mass. Private patrons and institutions commissioned settings of Mass Ordinary for specific occasions or devotional services. Lady masses, masses for dead, Golden Fleece

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Palestrina background and career

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Trained as choirboy and in music at Santa Maria Maggiore in Rome. Choirmaster and organists in Palestrina. Choirmaster-Julian Chapel in St.Peter's, St. John Lateran, Santa Maria Maggiore, singer in papal chapel. Taught music at Jesuit seminary. Revised chant books to conform to Council of Trent.

Front 22

Motet

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Any polyphonic composition on a Latin text, especially liturgiacal text, other than a Mass

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History of motet

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1200-polyphonic piece derived from discant clausula(setting a word or syllable from a chant with three notes in upper voice to one note in lower voice. 1200-1300-polyphonic piece with one or more upper voices, each with sacred or secular text in Latin or French, above tenor from chant or other source. 1300 - 1400-isorhytmic motet (tenor structured by isorhythm). 1400's on-Any polyphonc composition on a Latin text, especially litugical text, other than a Mass. 1500 on-Used for some polyphonic settings of sacred text in other languages.

Front 24

Council of Trent

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Church council that met in Trent Italy to discuss how to respond to Reformation. Reaffirmed doctrines and practices. Tried to purge church of abuses. Small portion devoted to music.