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90 Cards in this Set
- Front
- Back
Pitch
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the highness or lowness of a musical sound; determined by the rate of vibration
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Interval
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the distance between two pitches; start with the first one and go up to the highest one (an interval of an eighth is called an octive).
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Dynamics
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(or dynamic level) how loud or soft a pitch is.
pp-p-mp-mf-f-ff pp-pianissimo (very soft) p-piano (soft) mp-mezzo piano (medium soft) mf-mezzo forte (medium loud) f-forte (loud) ff-fortissimo (very loud) |
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Crescendo
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<(to gradually get louder)
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Decresendo/Diminuendo
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>(to gradually get softer)
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Tone Color/timbre
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(tamber) distinctive quality of sound that distinguishes one instrument from another
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Voices
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Soprano
Alto Tenor Bass |
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Strings
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Violin
Viola Cello Bass “Violent Vampires Can Bite” |
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Pizzicato
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plucking the strings instead of using a bow
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Vibrato
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subtly changing the pitch, giving a fuller and richer sound; slight rapid motion in the hand
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Woodwinds
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Flute
Oboe Clarinet Bassoon “Flutes Often Clear Boredom” |
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Reed
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a thin piece of cane that vibrates by the stream of air being blown in
Saxophone belongs in the woodwind category |
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Brass
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very important to hold lips tight
Trumpet Horn (French) Trombone Tuba “Trumpets Have Top Tones” |
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Percussion
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one that you strike or shake
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Definite Pitch
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a definite can be played (chimes, xylophone, and tympani)
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Tympani
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big large copper bowls with calfskin across it; if you tighten it you raise the pitch, if you loosen it you lower the pitch
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Indefinite Pitch
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snare drum, symbols, triangle, tambourine
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KeyBoard
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a little hammer hits the string
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Tape studio
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recorded sounds were reproduced to make new sounds
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Synthesizers
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generate, modify, and control sounds; the composer has complete control over everything
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Computers
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used to tell the synthesizer what to do; composer can generate music much easier
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Rhythm
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the flow of music through time(only existing in time); organization the music in time
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Beat
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an underlying, regular pulse divides music into equal units of time; we perceive them in groups called measures (like your heart beat is the pulse)
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meter
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the organization of the beats into regular groups; some beats are more regular than others; groupings of stressed and unstressed beats; find the underlying beat and figure out how it is organized
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duple
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two beats to a measure (Mary had a little lamb)
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Triple Meter
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three beats to a measure; generally the first one is stressed (My Country Tis’ of Thee)
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Quadruple
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four beats to a measure
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Syncopation
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related term for rhythm; this is a stressed beat or accented note where it is unexpected; (the rhythm is a little out of sync—it creates interest in music)
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tempo
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the speed of the beat
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adagio
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slow tempo
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Andante
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Moderate tempo
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Allegro
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lively, fast tempo
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Ritardando/retard
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to slow down the tempo
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Melody
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a cohesive series or line of pitches which add up to a recognizable whole
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Conjuct
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what we use to describe a melody; a melody that moves by small intervals or steps
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Disjunct
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the melody moves by larger intervals or leaps!
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Range
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the distance between the highest and lowest notes (a narrow range or a wide range)
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Phrase
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a dependent idea within a melody
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Sequence
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when a melodic pattern is repeated at a higher pitch level or a lower pitch level; a way that a composer can expand the melody
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Cadence
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punctuation in music; a resting place a the end of a phrase (a deceptive cadence is what we wouldn’t expect)
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Theme
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a main melody
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Harmony
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simultaneous sounding of pitches (at least two); it gives the depth; other notes beneath melody
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Chord
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three or more notes sounded together
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Consonance
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It sounds resolved; a feeling of rest; you’ve arrived
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Dissonance
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tension in the music and it sounds like it needs to be resolved
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Tonic (I)
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the central tone of a melody; the pitch that the main cord is built on; first tone in the scale that the melody is based on; all notes in the scale relate to the king tonic note; it is also the name of the key (“in the key of C”). The chord is built on the tonic. VERY IMPORTANT: greatest importance of the notes in a piece. In a longer piece, it serves as the home base that one might gravitate from for a while, but it will be the home base. A composer will create interest and tension by changing keys and tonics.
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Dominant (V)
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built on the fifth note of the scale
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Arpeggio
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broken chord
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Tonality
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tonality = key; system of harmony based on the idea that you have a tonic and dominant
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Scale
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series or pattern of whole steps and half steps; the distance between any adjacent keys is a half step and between every two keys is a whole step
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Major scale (I)
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whole step; whole step; half step; whole step; whole step; whole step; half step (the same pattern creates a major scale starting on any note on the piano)
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Minor Scale (i)
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whole step; half step; whole step; whole step—major difference is that it goes right to a half step right after the first whole step.
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Chromatic scale
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every single little interval is a half step
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Modulation
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to change from one key or one tonic to another (temporarily); always will begin and end in the main tonic key
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Musical texture
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how the vertical and horizontal relate; relationship b/n melody and harmony
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Monophonic Texture
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monophonic (or monophony): a single melodic line without a compliment; there is no harmony [Gregorian chant or folk music; ring tones]
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Homophonic Texture
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one main melody plus accompaniment (ask if you are hearing just one main melody)
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Polyphonic texture
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two or more melodic lines performed at the same time (two distinct melodies; your ears are being stretched to listen two melodies at the same time)
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Counterpoint
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synonymous with polyphony (not on test)
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imitation
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a melodic idea that is presented in one voice or line of music; a line of music is imitated by another musician in the same piece.
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Musical form
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“an element shared by art people”; an organization of the musical elements; the structural outline
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Repitition
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gives unity
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Contrast
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gives variety
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Theme and variations
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(a type of form) a main melody played in a series; some features of the main melody are retrained and some are changed.
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Ternary
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A-B-A (start with an idea; go to a different idea; go back to the beginning)
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Binary
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A-B (don’t have to be the same length; one that falls naturally into two halves)
--Sometimes A:I:B (AA-BB) |
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Medium
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the artist physical materials
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Line
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expressive significance
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Horizontal Line
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repose and stability
Leonardo da Vinci (1452-1519): Last Supper (1495) |
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Vertical Line
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strength
Grant Wood (1892-1942): American Gothic (1930) |
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Diagonal Line
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tension and action
Marcel Duchamp (1887-1968), Nude Descending a Staircase, No. 2 (1912) Theodore Gericault (1791-1824), The Raft of the Medusa (1818-1819) |
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Space
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three dimensional volume that signifies depth and space
Duccio de Buoninsegna (active 1278-1318/9), Christ Entering Jerusalem (1309-1311) |
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Linear Perspective
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objects farther away are smaller
Raphael (1483-1520), School of Athens (1511)—arches continue to get smaller; often they have a vanishing point |
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Aerial Perspective
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a sense of depth is created by imitating the effects of the atmosphere whereby objects that are farther away appear pale, blue, or purple
Raphael, Madonna of the Meadows (1505) |
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Color
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experience of reflected light
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Hue
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equivalent of color, focusing on the primary colors
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Intensity
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(means the same thing as saturation)—refers to the relative purity or vividness of a color. The redest red has the highest saturation.
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Value
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the amount of black or white in a color. The more white the higher the value; the more black, the lower the value.
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FOrm
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what is the basic outline; unity and variety (enough unity so it hangs together; enough variety so it isn’t boring).
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Focal Point
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the point of emphasis (very purposeful by the artist)
Raphael (1483-1520), School of Athens (1511) Jacques-Louis David (1748-1825), Oath of the Horatii (1784) |
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Raphael
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Sistine Madonna (1513)
Focal point __Madonna and child______ Balance ___Good balance: people, curtains Medium: oil on canvas Line: Vertical (strength and solidity) Space: knee, hand, little bits of depth Colors: blue, red, white, green, gold Intensity: low intensity Value: Low value Balanced composition |
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Romanesque Architecture
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came from ideas in Rome; the Roman Basilica
-horizontal orientation; modest height—not very tall -arches: round arches –very distinct feature giving it away! -walls: thick walls; very few windows -interior: very little light; dark Ideas of solidity and repose Three doors to represent the triune God (Romanesque and Gothic feature) |
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Gothic architecture
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dubbed Gothic in derogatory manner by those in the Renaissance
-vertical orientation; soaring height -arches: pointed -walls: thinner ; flying buttresses—helped support thinner walls-- -interior: many beautiful windows, letting in lots of light; also has pointed arches A Gothic cathedral in the Middle Ages: Became to them like a bible in stone because they didn’t have their own copy of God’s word; eyes drawn heavenward. 1. Focal point of the community life; A community –built very tall; the entire village was established at a site 2. Most took over a century to build 3. A place of worship and biblical teaching—the beautiful sunlight through the stained glass reminded them of heaven; the rocks reminded them of their strong foundation in Christ; ornateness talked of the wealth of God. |
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Gregorian Chant
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Gregory—Pope Gregory I (organized it)
Rhythm—flexible (didn’t write rhythm specifically) Ecclesiastical (church/sacred music) Gentlemen (usually sung by men) mOnophonic (only one voice) Range—narrow (between highest and lowest pitches) I—in Latin A—A cappella (without accompaniment) N—Not regular scales = modes (play up one whole major scale and play no black keys—no sharps or flats) |
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-troubadours
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nobels, knights; altogether cultured person from France in 12th and 13th centuries (more distinct rhythm than Gregorian; sounds more cultured)
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estampie
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medieval dance; very different instruments (almost sounds like Lord of the Rings)
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development of polyphony (primitive
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parallel organum: Gregorian chant with another melodic line; almost like adding a layer to a cake; paralleling the Gregorian chant at an interval of a fourth or a fifth.
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School of Notre Dame
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First two composers that we know by name.
2 similar lines of music (Gregorian was sung on the bottom and the other lines became more independent). Later, the second line became more independent. Further development with addition of a third voice. |
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Guillaume de Machaut
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very important man in history
-Ars Nova—new art; moving toward the Renaissance -Notre Dame Mass (Mass ordinary): Machaut wrote the first surviving complete mass ordinary. |
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Four voices become added in late middle ages. Polyphonic texture
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KYRIE—Lord have mercy, Christ have mercy, God have mercy
GLORIA—Glory to God in the highest CREDO—Creed SANCTUS—Sanctified AGNUS DEI—Lamb of God have mercy |