Music History I Unit Ii

Front 1

Motet

Back 1

three different voices with different style?

Front 2

Incipit

Back 2

chant quotation such as "ky-ri-e" held for a long time by an instrument.

Front 3

Franconian Motet

Back 3

France of Colon, saught to make each voice independent and unique

Front 4

Petronian Motet

Back 4

lively, free, speechlike

Front 5

Harmonic Vocabulary

Back 5

used chords as dissonance, and used parrallell fifths instead of fourths

Front 6

Hocket

Back 6

"Hiccup" melody divided between two groups?

Front 7

Franco of Cologne

Back 7

developed the most modern notation.
Double Long-long box & stem
Long- half box & stem
Breve- half box no stem
Semi-breve-diamond no stem

Front 8

Battle For The Pope

Back 8

14th century Europe was an unstable time to live in; two popes were trying to reign in France & Italy. The Avignon Papacy- Avignon a city in Rome, a batlle for the pope seat in france.

Front 9

Philippe de Vitry

Back 9

inovator of the new art

Front 10

Ars Nova

Back 10

New art

Front 11

Roman de Fauvel

Back 11

satirical poem set to music about the six deadly sins: By Phillipe de vitry

Front 12

Six Deadly Sins

Back 12

Flattery, Greed, Villany, Fickleness, Envy, Cowardess

Front 13

Isorythmic Motet

Back 13

2 voices accompanied by a tenor
2 seperations of pattern-
1.)Talea- rythmic motion; repeating
2.)Color- succession of pitches that keep repeating

Front 14

Guillaume de Machaut (ca 1300-1377)

Back 14

great composer, last of the trouveres. Leading composer of Ars nova. (Clergy) made top voice dominant and lower voice less. Used lots of 3rds and 6ths for his music. "Compose from your soul and don't conterfeit your work"

Front 15

(Secular) Works of G. de Machaut

Back 15

1.)23 motets- traditional texture; tenor w/ 2 upper voices singing diff. texts; usually dealing w/ love. hocket; isorythmic techniques.2.)monophonic songs- continuation of trouveres tradition. 3.)19 Lais and 25 Vielais (ABBA Form)
4.)Baladdes- song in which treble voices dominant & only voices sang; 2 lower voices on instruments. 5.)Rondeau- 3 musical phrases & refrain. 2 voice framework singing same text & a tenor with slow contour. 6.)Messe de notre dame- one of the first polyphonic ordinaries for the mass.

Front 16

Polyphonic Mass

Back 16

unwanted in the church setting; was thought to be of a secular nature.

Front 17

Madrigal

Back 17

song based on love poems written for two voices with 3 line stanzas followed by a pair of lines

Front 18

Ritornello

Back 18

to return in a different meter

Front 19

Caccia

Back 19

Canon(hunt or chase) one voice follows as the other voice sings

Front 20

Ballata

Back 20

form of the ballade (italian version)

Front 21

Francesco Landini (ca 1325-1397)

Back 21

blind organist, contracted smallpx; virtuoso in composition and music theory
Works included:
1.) 90 2-part ballates
2.) 42 3-part ballates
3.) 1 caccia
4.) 10 madrigal

Front 22

motet

Back 22

a piece with words

Front 23

Incipit

Back 23

section of a text

Front 24

Perotin

Back 24

made 4 voice parts
1.) Duplum (Soprano)
2.) Triplum (Alto)
3.) Quadruplum (Tenor)
4.) Tenor (Bass)

Front 25

Polyphonic Conductus

Back 25

sounds and looks like gregorian chant, but it is non liturgical.

Front 26

caudae

Back 26

"tail" portion of a piece, with no words. Untexted passage at the end of a polyphonic conductus

Front 27

clausula

Back 27

section in which the textless contrapunal part proceeds in strict rythym along the note of the chant melody in which the organum is based.

Front 28

Ligatures

Back 28

used to designate modes.

Front 29

Musica Ficta

Back 29

unwritten practice of raising or lowering certain notes by a half step

Front 30

Ars Subtilior

Back 30

applies to music of the late 1300's in france...rythmically complex

Front 31

Cadences

Back 31

a.) Strict Modal Forms
b.) Chromatically altered forms
c.) Form with double leading tones
d.) Modal (phrygian) cadence on E

Front 32

Two Accidental Types

Back 32

Soft-(looks like a flat) lower half step
Hard-(looks like a boxey b) raise a half step
Used to avoid tritones and avoided notes that werent on the guidonian hand.

Front 33

Franconian note values

Back 33

Perfect-Triple
imperfect- Duple
Mode(Long)
Time(Hald Mode)
Prolation(Half Time)

Front 34

minum

Back 34

looks like a quater note

Front 35

Semi Minim

Back 35

looks like and eight note

Front 36

9/8 (Circle with a dot)

Back 36

Perfect time and mojor prolation

Front 37

3/4 (Circle... no dot)

Back 37

pefrect time and minor prolation

Front 38

6/8 (Half Circle and Dot)

Back 38

imperfect time and mojor prolation

Front 39

2/4 (Hald Circle...no dot)

Back 39

imperfect time and minor prolation

Front 40

Haut

Back 40

= Loud instruments
Shawms
Cornetts
Sackbuts

Front 41

Bas

Back 41

= Soft instruments
Harps
Vielles
Lutes
Psalteries
Portative Organs
Transverse Flute
Recorders

Front 42

Percussion

Back 42

Kettle Drums
Small bells
Cymbals

Front 43

English Music in 1400's

Back 43

composers prefered their own style (conservative)

Front 44

Sarum rite-Salisbury Cathedral

Back 44

developed melodies simlilar to the gregorian chants

Front 45

Worchester Fragments

Back 45

14th century music which contains tropes, motets, and rondellus

Front 46

Rondellus

Back 46

a motet using voice exchange

Front 47

Fauxbourdon

Back 47

(French for False Bells) elaboration of chant which creates a chain of parrallel 6 chords

Front 48

Old Hall Manuscript

Back 48

chief collection of 15th century english music

Front 49

John Dunstable (ca 1390-1453)

Back 49

foremost composer for english in the 1400's. 70 known compositions.
Worked under henry V

Front 50

15th cenury motet

Back 50

is not considered sacred instead of secular.

Front 51

Carol

Back 51

stylized 2 or 3 part setting of a religious poem in poplular style in english or both with rythmic text

Front 52

Music In Burgundian Lands

Back 52

Gurgundy (supported by england and france)
Included:
Phillip the Good (1419-67)
Charles the Bold (1467-77)
St. Joan of Arc (Morbid Loser)
Guillame du Fay (1397-1474)

Front 53

Gilles Binchois

Back 53

served for Grand Dukes- wrote "song" chanson: de plus en plus (treble dominated; very melodic)
-born in Cambrai (Sang as a choir boy)
-In the cathedral, worked in italian courts; malatesta family, and Papal Chapel
-Worked for courts or Burgundy and savoy
-Canon at cathedral of Cambrai and received the special honor of the pope.

Front 54

Works of Binchois

Back 54

(began the octave jumps at cadences)
1.) over 80 chansons
-almost always love songs
-s line refrains
2.) 13 isorythmic motets & Hymns (Non Mass)
90 sacred motets- outside ordinary of the mass
3.) Magnificats
4.) 8 complete masses/ 6 pairs of mass movements (most important compositions)

Front 55

Ballade

Back 55

any polyphonic setting of a secular poem

Front 56

15th century mass types

Back 56

Cantus Firmus Mass- uses a preexisting melody as a basis of polyphonic composition. gregorian chant melody as the basis.
2.) Plainsong Mass
3.) Motto Mass- all begin the same
4.) Missa L'Homme Armi- (Armed man about to fight demons)

Front 57

polyphony

Back 57

2 or more voices together where each voice holds its own individuality

Front 58

Organum

Back 58

each note of Gregorian chant melody was doubled by another note

Front 59

magnus liber organi

Back 59

composed by leonin, the collection of chantlike music
created at the notre dame cathedral.

Front 60

Italian Trecento Composers

Back 60

Francesco Landini, and Jacopo de Bologna.