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43 Cards in this Set
- Front
- Back
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Mode 1 |
Final D, Authentic, D to D, Reciting A |
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Mode 2 |
Plagal, Final D, A to A, Reciting F |
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Mode 3 |
Authentic, Final E, E to E, Reciting C |
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Mode 4 |
Plagal, Final E, B to B, Reciting A |
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Mode 5 |
Authentic, Final F, F to F, Reciting C |
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Mode 6 |
Plagal, Final F, C to C, Reciting A |
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Mode 7 |
Authentic, Final G, G to G, Reciting D |
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Mode 8 |
Plagal, Final G, D to D, Reciting C |
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Antiphon |
Chant sung before and after pslams and canticles (poetic passages from the bible); mode determines psalm tone; simple and syllabic; biblical or newly composed text |
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Psalm Tone |
More complex than the recitation tone; Made up of Intonation, Tenor, Mediant, and Termination (Intimate); used as formulas in the chanting of Psalms in the Office; 1 psalm tone for each mode; more elaborate variants of psalm tones used for canticles and psalm tones |
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Hymn |
Some of the most 'melodic' chants composed; strophic (the only one); neumatic |
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Mass Antiphons |
Introit and Communion; More elaborate than the Office counterparts; Communion is a single antiphon; Introit is an antiphon, psalm verse, Lesser Doxology, and reprise of the antiphon |
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Mass Responsorials |
Gradual, Offertory, Tract, and Alleluia; G, A, and O are melismatic; A has a response on Alleluia and psalm verse; O is just the response; Tract is the longest and is reserved for special feasts |
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Trope |
The addition to existing chants--adding new words and music, adding more text (prosula), or adding more notes (melismas) |
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Prosula |
The addition of text to an existing chant |
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Versus/Conductus |
Music set to new melodies rather than existing chants; V is Latin song, has rhymed poetry with a pattern of accents, and is normally sacred; C is a serious Latin song with rhymed, rhythmical text; Monophonic |
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The Divine Office |
Matins, Lauds, Mass, Vespers, and Compline; observances of psalms throughout the day; important in monasteries and convents |
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The Mass Ordinary |
Kyrie, Gloria, Credo, Sanctus, Agnus Dei; K is repetitive (3-fold) and melismatic; G has no set form, is neumatic or syllabic; C is the longest and is syllabic; S has a 3-part form and is neumatic; AD has 3 statements of pray with different last endings and is neumatic |
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7th-11th Century |
Mostly monophonic music; plainchant; most music for the church |
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Troubadour |
South France (Langue D'Oc) in 2nd half of 12th century; poets and musicians (Minstrel); had collections of songs and poetry in chansonnier books and biographies (Vidas) |
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Trouvere |
North France (Langue D'Oil); mainly composers; wrote songs to the Virgin Mary; repetition and unification |
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Canso |
South France; most important and popular song type; mainly about courtly love; simple rhyme scheme; ends with a half-stanza called a tornada |
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Alba |
South France; song type about lovers parting at dawn; incorporated a refrain |
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Courtly Love |
Love from afar, unattainable ideal woman; both joyful and sorrowful; knightly behavior; feudal terminology |
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Joglar |
South France; early minstrels; skilled in music and poetry; seen as celebrities/same social class as knights or royalty |
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12th Century |
Still mostly monophonic; not as centered around religion; music used for entertainment |
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Aquitanian Polyphony |
Discant and Florid Organum; new and more orate style of polyphony from France; Discant occurs when both parts move about the same rate (1-3 notes in upper part per 1 note in the lower voice); Florid Organum occurs when the upper voice sings notegroups of varying lengths above each note of the lower voice (lower moves slower than upper); simple |
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Tenor |
Lower voice; holds the principal melody
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Notre Dame Polyphony |
Discant, Organum, Copula; Discant is non-rhythmic; Organum has rhythm; Copula has a long note in the tenor, a moving added voice in unmetered music; complex |
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Rhythmic Modes |
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Leonius |
Duplum (upper voice of two lines); no rhythmic notation; uses discant and organum polyphony |
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Perotinus |
Used substitute clausulae in discant style; preferred discant style (rhythm) rather than organum; wrote in three (triplum) or four (quadruplum) voices; repetition of phrases, voice exchange; music much more grandiose than Leonius's |
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Clausulae |
A self-contained section of an organum, setting a word or syllable from the chant and closing with a cadence |
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Polyphonic conductus |
Closely related to monophonic conductus; rhymed, rhythmic, strophic Latin poems, rarely taken from the liturgy though usually on a sacred or serious topic |
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Motet |
Addition of text to existing clausulae/organum/polyphonic music; used both in church and for entertainment; early versions in Latin; later versions in vernacular languages |
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13th Century |
Rise of elaborate polyphony and invention of first rhythmic modes |
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14th Century |
Structural and stylistic innovations; main focus on grander pieces and motets (in France) |
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Ars Nova |
"New Art"; increase in sophistication and intellectualism in art; complication of motets; grander/weightier pieces |
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Guillaume de Machaut |
One of the most important composers/poets of the 14th century; composed La Messe de Nostre Dame (motet based on the Mass Ordinary); one of the first to compile completed works and to write about his methods of work) |
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Phillipe de Vitry |
One of the first composers to exemplify Ars Nova style; used isorhythm in his motets |
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Isorhythm |
Series of rhythmic and melodic repetitions within a motet (2+ voices) |
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Color |
Repetition of melodic fragment |
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Talea |
Repetition of rhythmic fragment |
