Music History Chapters 5-7

Front 1

Identification of a mode

Back 1

Made by its range dominant and final

Front 2

Plagel scale

Back 2

Begins a perfect 4th below its final

Front 3

Guido d'Arezzo

Back 3

Recognized the didactic value of using a staff notation to designate definite pitches

Front 4

Earliest surviving manuscripts showing efforts to notate a melody with hooks or curved lines above or below the text (century)

Back 4

9th

Front 5

Earliest date an organ is known to be in the church

Back 5

C. 800

Front 6

The lute was brought to Spain around 700 A.D by

Back 6

Arabs

Front 7

Early organum

Back 7

Improvised

Front 8

Two of the earliest treatises describing and giving directions for organum are

Back 8

Scholica enchiriadis and musica enchiriadis

Front 9

The style of organum in the alleged magnus liber organi by Leonin

Back 9

Wolfenbuttle and Florence manuscripts

Front 10

Anonymous treatise written ca 1100 reveals that by the end of the 11th century composition improvisation in the formation of organum

Back 10

Ad organum faciendum

Front 11

The treatise musica enchiriadis stated the creation of organal voice was permitted at 3 levels of consonance

Back 11

4th 5th and octave

Front 12

Music from St martial exhibits 2 basic styles of polyphonic writing

Back 12

Mellismatic organum and discant

Front 13

organum that contains many notes in the organal upper voice are written against a single note of the original chant (lower voices)

Back 13

Florid

Front 14

Manuscripts from St. Martial from the richest surviving collection of west frankish tropes, sequences and versus

Back 14

Aquiatan

Front 15

In aquitanian polyphony the voice with the original chant melody, formerly called the vox principalas

Back 15

Tenor

Front 16

Manuscripts from St. Martial form the richest surviving collection of west frankish tropes sequences and versus

Back 16

Aquitanian

Front 17

A newly composed setting of a Latin sacred poem of scannable rhymed verse

Back 17

Versus

Front 18

Style of writing in which a text was set syllablicaly in note against note polyphony

Back 18

Discant

Front 19

Century containing the oldest surviving manuscripts containing aquitanian polyphony

Back 19

12th

Front 20

Our knowledge about 12 and 13th century Paris Notre dame school is based on a treatise of the time by

Back 20

Anonymous IV

Front 21

Developed discant produced a text setting that was not purely syllabic and allowed for

Back 21

Neume against Neume setting of text in organum

Front 22

Leonin Magnus liber organi contains

Back 22

Mainly solo parts of the polyphony for the liturgical year

Front 23

Considered the best composer of discant (Optimus discantor)

Back 23

Perotin

Front 24

Best composer of organum (Optimus organista)

Back 24

Leonin

Front 25

What theorists called the threefold unit of measure for each rhythmic mode

Back 25

Perfectio

Front 26

The polyphonic sections of a chant sung in discant style

Back 26

Clausulae

Front 27

Valuable BC of their ability to alter the amount of time consumed by a service

Back 27

Substitute clausulae

Front 28

In polyphony for 4 voices assigned names if the voices bottom to top

Back 28

Tenor, duplum, triplum, quadruplem

Front 29

A majority of 13th century motets were based on

Back 29

Sacred Latin tenors derived from chant

Front 30

The motet that became standard during the second half of the 13th century

Back 30

3 voice polytextal

Front 31

Important manuscripts containing 13th century motets

Back 31

Montpellier Codex

Bamburg Codex

Las Hueglas Codex

Front 32

The date of origin of the motet

Back 32

C. 1200

Front 33

The polyphony used in liturgical music from the late 9th century to c.1250

Back 33

Organum

Front 34

Arts Antiqua

Back 34

Early gothic and high gothic eras

Front 35

Franco of cologne

Back 35

Ars cantus mensurabilis

Front 36

Leonin

Back 36

Magnus liber organi

Front 37

Perotin

Back 37

Viderunt omnes and suderent principes

Front 38

Franconian motet

Back 38

Puclete-je languis-domino

Front 39

Petronian motet

Back 39

The triplum, like a solo, moves much faster than the lower voices

Front 40

Boethis

Back 40

De institutione musica

Front 41

Musica enchiradis

Back 41

Scholica enchiradis

Front 42

Santiago De compostella

Back 42

Liber sancti jacobi

Front 43

Winchester troper

Back 43

Copied in England but containing music from France

Front 44

Even after polyphony was cultivated for a time it was only used

Back 44

Choral portions of the liturgy

Front 45

Not creators of music but provided entertainment for the people of a lower standing

Back 45

Jongleurs and minstrels

Front 46

The NORTHERN French medieval poet composers with noble or aristocratic background

Back 46

Trouveres

Front 47

The greatest of the trouveres

Back 47

Adam de la Halle

Front 48

The counterparts of the French troubadour and Trouveres in Germany

Back 48

Minnessinger

Front 49

Germanic poet composers used AAB known as

Back 49

Bar form

Front 50

Germanic people who belonged to the guilds that regulated and promoted the composition and performance of songs

Back 50

Meistersinger

Front 51

Troubador- trouvere songs

Back 51

Strophic and usually have refrain