First Music History Quiz Of Too Many

Front 1

Mass for Christmas Day

Back 1

Composer: Gregorian Chant
Date:?
Movements:Introit, Kyrie, Alleluia, Credo
Genre: Gregorian Chant Mass parts

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Vespers for Christmas Day

Back 2

Composer: Gregorian Chant
Date:?
Movements: antiphon, psalm, hymn
Genre: Gregorian Chant Office

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Victimae paschali laudes

Back 3

Composer: Wipo of Burgundy
Date: 1030
Genre: Sequence

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tropes on Puer natus: Quem queritis in presepe

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Composer:?
Date: late 10th century
Genre: Liturgical Drama

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Ordo virtutum: In Pricipio omnes

Back 5

Composer: Hildegard of Bingen
Date: 1151
Genre: Sacred music drama

Front 6

Can vei la lauzeta mover

Back 6

Composer: Bernart de ventadorn
Date 1170
Genre: canso (troubadour song)

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A chantar

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Composer: Comtessa de Dia
Date 1170
Genre: Canso (troubadour song)

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Robins m'aime

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Composer: Adam de la Halle
Date 1284
Genre: Musical play

Front 9

La quarte estampie royal

Back 9

Composer:?
Date: 1280
Genre Estampie

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Plainchant

Back 10

a body of music composed for the liturgy and mass. Unison song with melodies for prescribed text

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Centonization

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from "cento" meaning patchwork. The process of combining standard formulas and motives to make a new melody. Some motives were for a particular melodic style, type of chant, beginning/middle/end of a chant or connecting figures. Made learning melodies easier for large bodies of people to sing-it was easy to catch on.

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Gregorian Chant

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the codification of liturgy and music under roman leaders, helped by Frankish king Pepin the Short-- during the reign of pope Gregory the first. Schola Cantorum (School of Singers) was founded around this time and was the group that helped celebrate mass with Gregory. During the 7th and 8th centuries, this group standardized work around the Empire. Chant and liturgy was used politically and religiousy to unite the empire. Charlegmagne, Pepin's son, expanded the empire but continued with this chant, sending people North to teach. Holy Roman Empire

Front 13

Solesmes

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Solemus monks prepared modern editions of the chant, proclaimed in 1903 by Pope Pius X to be the official chants. 4 lines with C or F clef

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Neumes

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note or group of notes. One neume has one syllable of text. Composite neumes represents multiple pitches and are sung left to right, down to up. Oblique neumes indicate 3 notes. Diamond notes are for visual space. Two same pitch notes can be tied or pulsed.

Front 15

Church Calendar

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advent starts 4 weeks before Christmas.
Christmas-Dec. 25 and 12 days after
Epiphony
Pre-Lent= 9 weeks before Easter Sunday (Carnival) Goes until Mardi Gras
Lent= 6 Sundays before Easter; lasts 3 days : Thurs, Good Friday, Holy Saturday
Easter- 1stSunday after full moon after March 21 + 40 days of rejoicing
Pentecost- 50th day after Easter
The time between Pentecost and Advent is filled with feasts dedicated to specific saints

Front 16

Modes

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For Hypo- the reciting tone is a third below the authentic reciting tone.

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Dorian

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authentic D/A
8va D-D

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Hypodorian

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Plagal D/F
10th G-Bb

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Phrygian

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Authentic E/C
8va E-E

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Hypophrygian

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Plagal E/A
10th A-C

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Lydian

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Authentic F/C
8va F-F

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Hypolydian

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Plagal F/A
9th C-D

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Mixolydian

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authentic G/D
8va G-G

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Hypomixolydian

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Plagal D-D

Front 25

Proper of the Mass

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changes according to the day
Usually older than ordinary
derived from psalm singing
Introit, Gradual, Alleluia, Offertory, Communion

Front 26

Mass for Christmas Day: Introit

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Anonymous
Antiphon, psalm, lesser Doxology, Antiphon
First part of mass when Priest processes in
Proper
Gregorian chant from Mass
700
Issued 1952
Text setting: antiphon=neumatic
everything else=syllabic
Melody is Mixolydian, Mode 7
ABB'A
Phrases are shaped like an arch
Performed antiphonally

Front 27

Mass for Christmas Day: Kyrie

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Only chant whose text is in greek
AAA BBB CCC'
Kyrie eleison, Christe eleison, Kyrie eleison
Performed antiphonally
Mode 1: Dorian
Ends on the reciting tone: A

Front 28

Mass for Christmas Day: Alleluia

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Proper
Responsorial
Soloist sings the psalm verse and the choir responds with Alleluia
Musical high point along with the gradual of the Gregorian Mass
ABA'
Alleluia for Christmas Day is one of the oldest
Mode 2=hypodorian
Melismatic with a jublius at the end

Front 29

Mass for Christmas Day: Credo

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Formulaic (centonization)
Ordinary
Last item to be added to the standard form of the mass
Mode 4: Hypophrygian
Melodies are syllabic and simple
Statement of faith that summarizes the central doctrines of the Catholic Church
No standard pattern of repetition
Marks the end of the first main division of the Mass

Front 30

Office

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8 services held in monestaries
Midnight, sunrise, 9, 12, 3, 6, 9
6 pm is the vespers, sunset service (one of the most important)

Front 31

Chants from Christmas Day Vespers

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First Psalm with Antiphon: Tecum Principium
simple, mostly syllabic
Mode 1:Dorian


Psalm: Dixit Dominus
Sung in psalm tone
Mode 1

Hymn: Christe Redemptor omnium
Hails the arrival of the Savior on this day of his birth
Hymns are strophic
Has 7 stanzas of 4 lines each, 8 syllables per line
Simple with no more than 2 notes, Neumatic
Conjunct
Mode 1

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Psalm tone

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a simple melodic formula designed to accommodate verses of any length

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Strophic

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the # of lines, the syllable count, and the structure of all the stanzas are the same

Front 34

Victimae paschali laudes

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Composer: Wipo of Burgundy
1030
Form: Sequence
Associated with Easter
# of syllables increases through the first 3 verses and recedes to the mean
A BB CC. . . N
Syllabic
Mode 1
Primarily conjunct
One of only 5 sequences to survive

Front 35

Quem queritis in presepe

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Trope on Puer Natus
Anonymous
Late 10th century
Liturgical drama
Precedes the Introit of Mass for Christmas day
Mode 7
Musical rhymes at cadences
extended melisma at end

Front 36

Ordo virtutum: In principio omnes

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Composer: Hildegard of Bingen
1151
Sacred music drama
drone
Morality play with music
unusual for its time b/v it is not a supplement to the Mass of a certain feast
Sung in plainchant
16 female virtues, happy/unhappy soul, devil
neumatic with some melismas
Final chorus serves as an epilogue
mode 3

Front 37

Can vei la lauzeta mover

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Composer: Bernart de ventadorn
1170
Canso (troubadour song)
Secular
Strophic: 8 lines 8 syllables
Rhyme scheme: ababcdcd
Mode 1
Conjunct
Lover complaining
Syllabic with ornamentation

Front 38

A chantar

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Composer: Comtessa de Dia
1170
Canso (Troubadour song)
Strophic
ababcdb
Syllabic/ neumatic
Only known surviving troubadour song

Front 39

Robins m' aime

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Composer: Adam de la Halle (Trouvere)
Poetic form
1284
Musical play
Mode 5
Rondeau: dance song with 2 refrains
Instrumental accompaniment
ABaabAB
Syllabic
Conjunct

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La quarte estampie royal

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Anonymous
1280
Genre: estampie
Phrase, open cadence, same phrase closed cadence. . . etc
Estampie
Instrumental
Sounds like mode 6, but doesn't fit neatly into church modes

Front 41

Liber Usualis

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Book of prayers, lessons, and chants for the Roman Catholic services of the mass
First issued in 1896
Compiled by Benedictine monks of Solesmes, France

Front 42

Ordinary of the Mass

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Kyrie, Gloria, Credo, Sanctus, Agnus Dei)
Sung in all or most masses
Organized into cycles
More like composed melodies
Little recitation
Frequent stepwise motion

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Responsorial, antiphonal, direct

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Soloist alternates singing with a choir or congregation, two groups or halves of a choir alternate, no alternation

Front 44

Syllabic, neumatic, melismatic

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one, many, 1-6 notes

Front 45

Psalm tones

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formulas for singing psalms in the Office. Designed so they can fit any psalm.

Front 46

Euouae

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a particular antiphon that is an abbreviation for the last six syllables of the doxology. ssaEcUIOrUm AmEn. Thus, the psalm tone needs not close on the final, but this does

Front 47

Strophic

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several stanzas that are all sung to the same melody. Stanzas are equivalent in form

Front 48

Jubilus

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a drawn out melisma extended from the end of alleluias. Often became quite long and sometimes elaborate. The predecessor to the trope

Front 49

Trope

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extension of an existing chant in one of three ways
1. new words and music before the chant and often between phrases
2. melody only, extending melismas or adding new ones
3. text only (prose) set to existing melismas

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Sequence

Back 50

probably began from the jubilus melisma following an alleluia, is a musical genre syllabically set to text in cuplets after the alleluia. Most were new compositions adding to the mass. Most sequences follow the following A BBCCDD. . . N structure

Front 51

Liturgical drama

Back 51

sometimes dialoged tropes; usually very long that elaborated to the liturgy but eventually became separate from the church. Liturgical drama gave rise to the use of music becoming common outside of mass

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Courtly love

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a subject of song where a character, usually male, admires an unattainable beauty, often of another man. It is eloquent and refined, and fore runs the later pieces about unfulfilled romantic love. Since eloquence and refinement were requirements of success in aristocratic circles, however, the poetry was mostly fiction, and was rewarded by social status, not love. Women also adopted this language but it was more real and direct

Front 53

estampie

Back 53

most common form of surviving medieval instrumental dances. Several section, each played twice with 2 endings. Open cadence, then closed. The same cadence is usually used in all sections. French estampies are short in triple meter, late on Italian estampies were in duple or compound, with longer sections and more repititions.

Front 54

Development of pitch notation

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Oral transmission
Simple melodies memorized and passed like chants
Formulas were created

Early notation
Neumes were signs above words giving guidance but not specific notes
By the 10th century scribes places stem heights to give relative interval size
A single line sometimes oriented neumes
Guido of Arezzo 11th century derived another system
Red for F, Yellow C
Developed into a 4 line staff
Although specific notes were indicated, no sense of absolute pitch

Solesmus chant
1903 Pope Pius X decreed solesmes edition the official edition

Front 55

Troubadour and Trouvere Song

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French aristocrats cultivated courtly song by poet-composers who composed in two vernacular languages

In the southern region, the language was Occitan and the poet composers were called troubadours

In the northern region, the language was Old French and the poet composers were called trouveres

The root words trobar and trover meant "to compose a song"

The central theme was fin' amors (Occitan) or fine amour (French)

Translated as "courtly love" or "refined love"

Idealized love that refined the lover

Love from a distance, with respect and humility

The object was a real woman, usually another man's wife

The woman was unattainable, making unrewarded yearning a major theme

WHen women wrote poetry, they focused on the woman's point of view

The artistry of the poems demonstrates the poets' refinement and eloquence

Melodies: Strophic with every stanza being set to the same melody; text setting is syllabic with occasional groups of notes, especially on a line's penultimate syllable. RANGE IS NARROW, WI