Music History Middle Ages- Baroque Period

Front 1

Pitch

Back 1

Relative highness and lowness of a sound

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Dynamics

Back 2

Degrees of loudness or softness in music

Front 3

Tone Color (Timbre)

Back 3

Quality of sound that distinguishes one instrument or voices from another

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Beat

Back 4

regular, recurrent pulsation that divides music into equal units of time

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Meter

Back 5

Organization of beats into groups

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Rhythm

Back 6

Ordered follow of music through time; the pattern of durations of notes and silences in music

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Melody

Back 7

Series of single nots taht add up to a recognizable whole

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Harmony

Back 8

How chords are constructed and how they follow each other

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Gregorian chant

Back 9

Melodies set to sacred Latin texts, sung without accompanient

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Church modes

Back 10

Scales contanging seven tones with an eighth tone duplicating the first an octave higher

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Measured Rhythm

Back 11

Rhythmic group set off by bar lines, containing a fixed number of beats

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Monophony

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Single melodic line without accompainment

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Polophony

Back 13

Performance of two or more melodic lines of relatively equal interest at the same time

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mass ordinary

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Church text that stayed the same from day to day

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Five parts of mass

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Kyrie, Gloria, Credo, Sanctus, Agnus Dei

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Guillaume de Machaut

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Musician, poet. Born in French provence of Champagne. Served royal families. His work had survived. He studied theology

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Hilledgard von Bingen

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Gregorian Chant. She was a nun. One of the first female composer. Rupertsburg. Diplomatic affairs

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Leolin and Perotin

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creation of measured rhythm. School of Notre Dame. They used rhythm and pitches.

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Renaissance music

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composers wrote muusic to enhance emotiona and meaning. Polyphonic 4,5,6 parts. fuller than medieval music. pitch ranges from 4 octaves. easy to sing because less large leaps.

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Middle age Music

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Most musicians were priests. women not allowed to sing. vocal. Organ very important. music only in church.

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Word Painting

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Musical represtentation of specific poetic image

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a cappella

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Choral music without instrumental accompaniment

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motet

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Polyphonic choral work set to a sacred Latin Text other than that of the mass

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madrigals

Back 24

Compostion for several voices set to a short secular poem, usually about love

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Josquin des Prez

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Flemish. Served for the dukes in Italy. Mases, Motets and secular. Influenced by other composers.

Front 26

Palestrina

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Italian. catholic church music.Music director of st. Peters basilica. 104 masses and 450 other sacred works. Council on church music.

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Weelkes

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English madrigal. He used word painting.

Front 28

Barogue music

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Handel and Bach. Homophonic texture. Major and minor scales. Emotion in songs. The orchestra evolved into groups based on the instruments in the violin family. 10-40 players.

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Basso Continuo

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Baroque accompiant made up of a bass part usaually played by two instruments

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terraced dynamic

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alternation between loud and soft dynamic levels

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Concerto Grosso

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several instrumental soloists and small orchestra

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ritornello

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refrain. repeatedsection of music in orchestra's or Tutti

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Tutti

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Large group of musicians contrasting with a small group

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Solo

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small group of musicians in contrast with the larger group

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Movement

Back 35

peices that sound fairly complete and independent but is part of a larger compostion

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Fugue

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Polyphonic compostion based on one main theme or subject.

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The school of Notre Dame

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Birth place of Measured Rhythm. Home of Perotin and leolin