Norton History Of Western Music 1 Midterm

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Epitaph of Seikilos

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Hellenic Asia Minor 1st century CE
The only surviving complete piece of ancient Greek music.
setting of an epigram preserved on a tombstone with melodic and rhythmic notation

Hint 1

fem voice accompanied by aulos or lyre
associated with mourning

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Euripides

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Athens, c. 480–406 B.C.
408 B.C. Papyrus, 7 lines, playwright, tragedy, stasimon, aulos double reed,

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Stasimon Chorus from Orestes (408 B.C.

a. chromatic interpretation
b. enharmonic interpretation

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ancient Greek concepts about music (theories, philosophies) survive into the Middle Ages

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but ancient Greek melodies, instruments, and performance practices did not

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Ancient Greek music notation was unusual even among the ancients

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In the Middle Ages only scholars knew its system

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it had little influence on the development of practical music notation in the Latin West.

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many writers use the names of ancient Greek modes (Dorian, Phrygian, etc.) for the scales associated with the modes of western music

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these names got mixed up in the Middle Ages and the two kinds of mode are not really comparable.

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Ancient Greek modes are scale-types; their model is the tuning of the lyre. The modes of western music are melodic types; their model is the flexible intonation of the singing voice.

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GREGORIAN CHANT AND ACCRETIONS

Mass Proper

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texts change according to the occasion.

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At Mass, for example, there is nearly always an Introit, and the Introit always proceeds according to the same formal sequence (Antiphon, Psalm Verse, Gloria Patri, Antiphon). The texts of the Antiphon and Psalm Verse of the Introit depend on the particular occasion, and this is why the Introit is classed as part of the Mass Proper.

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GREGORIAN CHANT AND ACCRETIONS

Mass Ordinary

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texts are the same throughout the year.

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just about every Mass has a Kyrie following the Introit, with the specific and unchanging text “Kyrie eleison. Christe eleison. Kyrie eleison” (Lord, have mercy. Christ, have mercy. Lord, have mercy). This same text is recited after the Introit on Christmas, Easter, and nearly every other day of the year.

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Additional and optional texts were often added to the liturgy during the Middle Ages.

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Many of these were tropes, segments of text or music added to an existing text.

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Most of the tropes that had accrued to the Roman Catholic liturgy over the course of the Middle Ages were suppressed after the Council of Trent (1545–63)

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genus (pl. genera):

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the broad category

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literally “family” (animal, e.g.)

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species (pl. species)

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division within the genus

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, literally “face, appearance” (man, e.g.)

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mode:

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a way of doing things

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especially according to measure; a cut or fashion
mutation: change of state or form

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Ambrosian chant

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the mode of signing or chanting introduced by St. Ambrose in the 4th century in old French poetry a poem containing five strophes of eleven lines each and a concluding stanza

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each of these six parts ending with a common refrain.

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antiphon

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An antiphon in Christian music and ritual is a responsory by a choir or congregation

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usually in the form of a Gregorian chant, to a psalm or other text in a religious service or musical work.

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antiphonal

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sung recited or played alternately by two groups

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.

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responsorial

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(of a psalm or liturgical chant) recited in parts with a congregational response between each part

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call and response

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Aquitanian polyphony

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Both the tenor and upper parts move at about the same rate

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in the end the upper part may have more notes thus producing a more melismatic passage at a cadence

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aulos

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greek simple double-reed woodwind

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2 notes in unison

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authentic mode

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odd-numbered modes

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gregorian

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plagal mode

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even-numbered modes

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has a range that includes the octave from the fourth below the final to the fifth above

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Bar form

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the structural pattern aab as used by the medieval German minnesingers and meistersingers who were poet-composers of secular monophonic songs

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the melody of a single stanza

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bard

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a professional poet

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employed by a patron such as a monarch or nobleman

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Byzantine chant

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monophonic or unison liturgical chant of the Greek Orthodox church during the Byzantine Empire (330–1453)

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.

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cadence

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a modulation or inflection of the voice

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a sequence of notes or chords comprising the close of a musical phrase

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canticle

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a hymn

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psalm or other song of praise taken from biblical texts other than the Psalms

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cantor

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the chief singer and usually instructor

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employed in a cathedral or monastery with responsibilities for the ecclesiastical choir and the preparation of the divine services in the context of a secular or monastic liturgy

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cauda

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characteristic feature of songs in the Conductus style of a cappella music which flourished between the mid-12th and the mid-13th century

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came at the penultimate syllable of each verse. It takes the form of a lengthy section of counterpoint - where several simultaneous melodies are combined into one - slurred over the one syllable. The cauda was repeated in each verse.

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chanson de geste

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genre of Old French epic poems celebrating heroic deeds

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11th to the 14th centuries

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chansonnier

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a manuscript or printed book which contains a collection of chansons

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or polyphonic and monophonic settings of songs

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choir

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a musical ensemble of singers

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.

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clausula

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a 13th-century polyphonic genre featuring two strictly measured parts notable examples are the descant sections based on the Gregorian chant melisma

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.

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conductus

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type of sacred but non-liturgical vocal composition for one or more voices

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.

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copula

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the linking of notes together to form a melody

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a particular type of polyphonic texture similar to organum but with modal rhythm

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consonance

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a harmony chord or interval considered stable

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.

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dissonance

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considered unstable (or temporary transitional)

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.

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diastematic

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a musical notation in which the pitch of a note is represented by its vertical position on the page

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.

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diatonic

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the division of the tetrachord from which the modern diatonic scale evolved

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its largest interval is about the size of a major second chromatic upper interval of a minor third. The two middle notes of the tetrachord were movable while the two outer notes were immovable

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enharmonic genera

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Its characteristic interval is a ditone (or major third in modern terminology)

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.

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discant

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style of organum that includes a plainchant tenor part

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a "note against note" upper voice moving in contrary motion

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doxology

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short hymn of praises to God in various Christian worship services often added to the end of canticles psalms and hymns

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.

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drone

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Drone music is a minimalist musical style that emphasizes the use of sustained or repeated sounds or notes

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.

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duplum

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11th- and 12th-century organum added a simple second melody (duplum) to an existing plainchant melody

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.

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triplum

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added third melody

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.

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quadruplum

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added fourth melody

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.

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echos

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Byzantine

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octoechos (eight-mode system)

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estampie

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popular instrumental style of the 13th and 14th centuries

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consists of four to seven sections called puncta each of which is repeated in the form aa bb cc etc

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ethos

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greeks

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power of music to influence its hearer's emotions behaviours and even morals

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final

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coming at the end of a series

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.

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florid organum

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Aquitainian or melismatic organum

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twelfth-century polyphonic composition based on plainchant in which a new ornate voice is added above the original voice moving faster than the original plainchant line

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gamut

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a complete scale of musical notes; the compass or range of a voice or instrument.

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Greater Perfect System

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basic musical scale unit of ancient Greece was the tetra chord meaning literally four strings

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Gregorian chant

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central tradition of Western plainchant, a form of monophonic, unaccompanied sacred song of the western Roman Catholic Church

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harmonia

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the union of parts in an orderly whole

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heighted neumes

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In an early form of NOTATION, NEUMES arranged so that their relative height indicated higher or lower pitch. Also called DIASTEMATIC neumes.

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heterophony

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Music or musical TEXTURE in which a MELODY is performed by two or more parts simultaneously in more than one way, for example, one voice performing it simply, and the other with embellishments.

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hurdy-gurdy

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stringed musical instrument that produces sound by a crank-turned rosined wheel rubbing against the strings.

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hymn

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Song to or in honor of a god. In the Christian tradition, song of praise sung to God.

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intonation

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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.

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isorhythm

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a musical technique that arranges a fixed pattern of pitches with a repeating rhythmic pattern.

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jongleur

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A wandering minstrel, poet, or entertainer in medieval England and France

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jubilus

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term for the long melisma placed on the final syllable of the Alleluia as it is sung in the Gregorian chant

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kithara

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Ancient Greek instrument, a large LYRE.

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liturgical drama

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In the Middle Ages, type of play acted within or near the church and relating stories from the Bible and of the saints.

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liturgy

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The prescribed body of texts to be spoken or sung and ritual actions to be performed in a religious service.

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lute

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can refer generally to any string instrument having the strings running in a plane parallel to the sound table

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lyre

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Plucked string instrument with a resonating soundbox, two arms, crossbar, and strings that run parallel to the soundboard and attach to the crossbar.

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Mass

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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 AGNUS DEI. In this book, as in common usage, the church service is capitalized (the Mass), but a musical setting of the Mass Ordinary is not (a mass).

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melisma

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the singing of a single syllable of text while moving between several different notes in succession

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meter

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A specific rhythm determined by the number of beats and the time value assigned to each note in a measure.

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Minnelied, Minnesinger

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One of the German lyric poets and singers in the troubadour tradition who flourished from the 12th to the 14th century.

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minstrel

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A minstrel was a medieval European bard who performed songs which lyrics told stories of distant places or of existing or imaginary historical events.

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monophonic

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Consisting of a single unaccompanied MELODIC line.

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motet

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A polyphonic composition based on a sacred text and usually sung without accompaniment.

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mousikē (Greek)

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muse, 9 goddeses, music was one, poetry etc.

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musica mundana, humana, instrumentalis

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Three kinds of music identified by Boethius (ca. 480-ca. 524), respectively the 'music' or numerical relationships governing the movement of stars, planets, and the seasons; the 'music' that harmonizes the human body and soul and their parts; and audible music produced by voices or instruments.

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neume

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A sign used in NOTATION of CHANT to indicate a certain number of NOTES and general MELODIC direction (in early forms of notation) or particular pitches (in later forms).

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notation

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A system for writing down musical sounds, or the process of writing down music. The principal notation systems of European music use a staff of lines and signs that define the pitch, duration, and other qualities of sound.

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Notre Dame polyphony

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Polyphonic composition developed from the twelfth to the middle of the 14th centuries, and the best organum came from the Cathedral of Paris, Notre Dame. Leonin and Perotin were both composers of this style.

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Office

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A series of eight prayer services of the Roman church, celebrated daily at specified times, especially in monasteries and convents; also, any one of those services.

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Old Roman chant

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A repertory of ecclesiastical CHANT preserved in eleventh- and twelfth-century manuscripts from Rome representing a local tradition; a near relative of GREGORIAN CHANT.

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ordinary

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Texts of the MASS that remain the same on most or all days of the CHURCH CALENDAR, although the tunes may change.

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organum

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a plainchant melody with at least one added voice to enhance the harmony, developed in the Middle Ages.

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parallel organum

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A polyphonic composition based on plainchant in which the new voice is added below the original voice and the two voices move in parallel or oblique motion, emphasizing parallel fourths or fifths

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plainchant, plainsong

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A unison unaccompanied song, particularly a LITURGICAL song to a Latin text.

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polyphonic

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texture consisting of two or more simultaneous lines of independent melody, as opposed to music with just one voice

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portative organ

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a small pipe organ that consists of one rank of flue pipes, sometimes arranged in two rows, to be played while strapped to the performer at a right angle. The performer manipulates the bellows with one hand and fingers the keys with the other.

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Psalm

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A poem of praise to God, one of 150 in the Book of Psalms in the Hebrew Scriptures (the Christian Old Testament). Singing psalms was a central part of Jewish, Christian, Catholic, and Protestant worship.

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psalm tone (recitation formula for psalms)

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A MELODIC formula for singing PSALMS in the OFFICE. There is one psalm tone for each MODE.

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refrain

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A phrase, verse, or group of verses repeated at intervals throughout a song or poem, especially at the end of each stanza.

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rhythmic modes

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Notation to indicate patterns of long and short notes developed during the twelfth and early thirteenth centuries. By about 1250, these were codified as the six rhythmic modes, identified by number from I-VI.

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rite

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The set of practices that defines a particular Christian tradition, including a CHURCH CALENDAR, a LITURGY, and a repertory of CHANT.

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scale

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A series of three or more different pitches in ascending or descending order and arranged in a specific pattern.

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solmization

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A method of assigning syllables to STEPS in a SCALE, used to make it easier to identify and sing the WHOLE TONES and SEMITONES in a MELODY.

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strophic

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having identical or related music in each verse

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substitute clausula

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Clausulae with definite and stylized rhythmic patterns used by Perotin to replace older clausulae.

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tenor of recitation tone

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is a fifth above the final of the scale

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termination (EUOUAE)

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used in medieval music to denote the sequence of tones in the "seculorum Amen" passage of the lesser doxology, Gloria Patri, which ends with the phrase In saecula saeculorum, Amen

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tetrachord

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In Greek and medieval theory, a SCALE of four NOTES spanning a perfect fourth. (2) In modern theory, a SET of four pitches or PITCH-CLASSES. (3) In TWELVE-TONE theory, the first four, middle four, or last four notes in the ROW.

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Tract

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Item in the MASS PROPER that replaces the ALLELUIA on certain days in Lent, comprising a series of PSALM VERSES.

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trope

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in medieval church music, melody, explicatory text, or both added to a plainchant melody. Tropes are of two general types: those adding a new text to a melisma (section of music having one syllable extended over many notes); and those inserting new music, usually with words, between existing sections of melody and text.

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troubadour/trobairitz

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a composer and performer of Old Occitan lyric poetry during the High Middle Ages (1100–1350)

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vielle

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European bowed stringed instrument used in the Medieval period, similar to a modern violin but with a somewhat longer and deeper body

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Vespers

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A worship service held in the late afternoon or evening in many Western Christian churches.

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Al-Andalus

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medieval Muslim state occupying at its peak most of what are today Spain, Portugal, Andorra and part of southern France

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Ambrose of Milan

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The first Latin church father from a Christian family

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Aristoxenus

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Greek Peripatetic philosopher, and a pupil of Aristotle

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Augustine of Hippo

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Saint Augustine or Saint Austin, was an early Christian theologian whose writings are considered very influential

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Benedictine Rule

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is a book of precepts written by St. Benedict of Nursia (c.480–547) for monks living communally

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Boethius

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Anicius Manlius Severinus Boëthius, commonly called Boethius, was a philosopher of the early 6th century

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Gregory I

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Pope Gregory I, commonly known as Saint Gregory the Great, was the head of the Western or Catholic Church from 3 September 590 to his death in 604

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Guido of Arezzo

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a music theorist of the Medieval era. He is regarded as the inventor of modern musical notation (staff notation) that replaced neumatic notation; his text, the Micrologus, was the second-most-widely distributed treatise on music in the Middle Ages

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proper

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Texts of the MASS that are assigned to a particular day in the CHURCH CALENDAR.

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Hildegard of Bingen

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Saint Hildegard, and Sibyl of the Rhine, was a German writer, composer, philosopher, Christian mystic, Benedictine abbess, visionary, and polymath.[1] Elected a magistra by her fellow nuns in 1136, she founded the monasteries of Rupertsberg in 1150 and Eibingen in 1165. One of her works as a composer, the Ordo Virtutum, is an early example of liturgical drama and arguably the oldest surviving morality play

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Mass for Christmas Day (Gregorian chant, 8th–9th century C.E.)

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a. Introit: Puer natus est
b. Kyrie
c. Gloria
d. Gradual: Viderunt omnes
e. Alleluia: Dies sanctificatus
f. Credo
g. Offertory: Tui sunt caeli
h. Sanctus & Benedictus
i. Agnus Dei
j. Communion: Viderunt omnes
k. Dismissal: Ite, missa est

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Psalm Dixit Dominus with Antiphon Tecum principium

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Gregorian chant), from Office of Vespers on Christmas Day. Performance: Antiphon (or its intonation only), Psalm and Gloria Patri sung to psalm tone, Antiphon (complete).

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Gregorian Hymn Christe redemptor omnium

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. Strophic; last verse a doxology, Amen as coda

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Wipo of Burgundy (11th century), Victimae paschali laudes

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(Sequence for Easter)
NAWM 6: Tropes on Puer natus (late 10th century): Texted trope (liturgical drama) before the Antiphon, untexted (melismatic) trope at end [psalm verse, Gloria patri, Antiphon repeat]

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Hildegard of Bingen (German, 1098–1179), Chorus from Ordo virtutum (c. 1151

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Sacred (but not liturgical) drama with music

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SECULAR MUSIC OF THE MIDDLE AGES

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Comtessa de Dia (Occitan/Aquitanian, 12th–13th centuries) A chantar m’er (Canso, late 12th century)
Walther von der Vogelweide (German, 12th–13th c.) Palästinalied (Crusade song, c. 1228?)
Le quarte estampie royal, from Le manuscript du roi (Northern France, late 13c)

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ORGANUM, CONDUCTUS, and early MOTET

Back 119

.

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Organa from Musica enchiriadis

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(9th-century Frankish music treatise)

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Jubilemus, exultemus:

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: organum trope on Office dismissal Benedicamus Domino (Aquitaine, ca. 1100)

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Leoninus (active Paris, second half of 12c.),

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organum duplum on Gradual Viderunt omnes

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NAWM 18a: Anonymous (Paris, 12c? early 13c?),

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Substitute clausula on Dominus, melisma of Gradual Viderunt omnes

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Perotinus (active Paris, 12–13c), Viderunt omnes

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organum quadruplum, ca. 1198)

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NAWM 20: Conductus Ave virgo virginum (anonymous, 13c)

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NAWM 20: Conductus Ave virgo virginum (anonymous, 13c)

Hint 125

NAWM 21a–d: Motets on Tenor Dominus (anonymous, 13c)

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FRENCH AND ITALIAN MUSIC IN THE 14TH CENTURY

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NAWM 24: Philippe de Vitry (French, 1291–1361), In arboris/Tuba sacre fidei/Virgo sum (motet, c. 1320)
NAWM 25: Guillaume de Machaut (French, c. 1300–1377), La Messe de Nostre Dame, Kyrie
(c. 1364)
NAWM 27: Machaut, Rose, liz, printemps, verdure (rondeau, mid-14th century)
NAWM 31: Franceso Landini (Northern Italian, c. 1325–1397), Non avrà ma’ pietà
(ballata, last quarter of 14th century)

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Viderunt Omnes

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traditional Gregorian chant of the 11th century. Viderunt Omnes is based on an ancient gradual of the same title, which was previously expanded upon by Notre Dame composers such as Léonin. This organum, thought to be written for Christmas Day, would have retained the same purpose as the original gradual.