Music History Test 2

Front 1

Organum

Back 1

adding another melodic line to an existing chant melody
(began between 700-900 AD)

Front 2

Parallel Organum

Back 2

P4 and P5 intervals below or above principle voice

Front 3

Principle Voice

Back 3

original chant melody (tenor)

Front 4

Organum voice

Back 4

added melody in parallel organum

Front 5

Mixed parallel and oblique organum

Back 5

contains 2nds and 3rds, but only in passing

Front 6

Musica Enchiriadis

Back 6

music textbook-parallel organum

Front 7

Scolica Enchiriadis

Back 7

music textbook-anthology-parallel organum

Front 8

Organum Occursus

Back 8

at the conclusion of a phrase in chant, the two lines merge to end on same note

Front 9

Ad organum faciendum

Back 9

(how to make an organum) by this time new melody was completely independent of the original chant melody, things started being written down instead of improvised

Front 10

Aquitanian Organum

Back 10

Florid vs Discant

Front 11

Anonymous IV

Back 11

first written description of polyphony; describes two composers (Perotin and Leonin); wrote about Paris music etc.; rhythmic notation began about the time of Perotin and not much before

Front 12

Organum Purum

Back 12

Notre Dame-same as Florid...melismatic

Front 13

Discant

Back 13

melismatic chant set in discant style-Notre Dame

Front 14

Clausula

Back 14

section of organum in discant style-Notre Dame

Front 15

Ligature

Back 15

series of notes linked together like a neume; number of notes determined rhythmic mode

Front 16

De musica mensurabilis

Back 16

Johannes de Garlandia described rhythmic mode in this book; system of 6 modes based on French and Latin poetry, these units based on 3 parts using longs and breves.; longs were twice as long as breves;

Front 17

perfectio

Back 17

in rhythmic modes, the # 3 was considered to be a perfect number

Front 18

Léonin

Back 18

wrote Magnus liber organi (Great book of organum)
organum duplum, triplum

Front 19

Pérotin

Back 19

acc. to An. four, a better composer than Leonin.
3 and 4 part polyphony
played around with motives in many voices

Front 20

Polyphonic Conductus

Back 20

-mostly sacred, mostly non-liturgical, strohpic, Latin poem set in discant style
-earliest type of completely original composition (in all voices)
-Tenors were newly composed, instead of taken from chants

Front 21

Cauda/ae

Back 21

– extended melismatic passages. “tail”
conductus simplex – no cauda
conductus cum caudae – has cauda at beginning, end, or both.

Front 22

Motet

Back 22

composers took clausulae and added additional text to upper voices.
Motetus – voice above tenor

Front 23

Franconian Motet

Back 23

-Franco of Cologne
-each upper voice had its own rhythm, text, and melody

Ars cantus mensurabilis
-art of measurable music
for the first time, relative durations were signified by note shapes
-with exception of longest note and shortest note, everything was divided by 3 (Perfection)

Front 24

Petronian Motet

Back 24

-Petrus de Cruce
In double motet, triplum is most complex, duplum is less complex, and tenor is same
-Triplum almost acts as a solo above accompaniment.
-Similar to architecture of Notre Dame
-Could have lower voices played with instruments as an accompaniment.
-Performance format as it's written moved from score format to choir book format to save expensive parchment

Front 25

sarum reicht

Back 25

um

Front 26

English music

Back 26

rhythmic mode 1 (long short)

Front 27

Rota

Back 27

English music: perpetual canon or round at the unison

Front 28

Rondellus

Back 28

piece using voice exchange

Front 29

Pes

Back 29

foot, or ground of melody

Front 30

Ars Nova

Back 30

"new art"; begn 14th cent
Old music: "ars antigua"
most significant part was rhythm, mensuration signs

Front 31

Philippe de Vitry

Back 31

wrote treatise "Ars nova"

Front 32

Prolation

Back 32

division of semibreve

Front 33

time

Back 33

division of breve

Front 34

Le Roman de Fauvel

Back 34

-a series of poems that criticize corruption in politics and the church.
-one version had songs and motets between poems and is thought that they are written by de Vitry
-this was a main source of late 13th, and early 14th century music

Front 35

Isorhythm

Back 35

arranging durations in a pattern that repeats (indicated by roman numerals in scores)

Front 36

Talea vs Color (isorhythm)

Back 36

Talea-repeating rhythmic
Color-repeating melodic
Color most often longer, but could be same length

Front 37

Hocket

Back 37

passing of a melody back and forth; one voice rests while the other sings

Front 38

Guillame de Machaut

Back 38

-greatest composer of Ars Nova
-composed 23 isorhythmic motets (all double motets)
-so standard that isorhythmic motets became their own genre
-began to add fourth voice under the tenor line called the contratenor and had the
same range as the tenor

Front 39

Notre Dame Mass

Back 39

Machaut’s most famous composition
-earliest surviving polyphonic setting of complete mass ordinary by a single composer whom we know

Front 40

Formes fixes

Back 40

“A” – text and music repeat
“a” – text is different and music is same
-fermata was originally a phrase mark showing the end of a section

Front 41

Rondeau(x)

Back 41

– AbaAabAB
-upper case refers to refrain and lower refers to different text

Front 42

Ballade

Back 42

– aab [C]
-similar to bar form

Front 43

Virelais

Back 43

– AbbaA(bbaAbbaA)
-“A” acted as a connector
-could be used as a single stroph or as several in a row.

Front 44

Ars Subtilior

Back 44

“more subtle art
-subtle –one who makes what they do look easy
-was almost as important visually as it was aurally
-example of late medieval mannerism

Front 45

mannerism

Back 45

- phenomenon that occurs toward the end of a lifespan of a style when artists seems to have attained such great facility with the techniques of the style that indulgence of technique becomes an
end in itself.

Front 46

Trecento

Back 46

1300s, Italy

Front 47

Squarcialupi Codex

Back 47

-Most famous manuscript collection, work of art, and music
-354 pieces thought to be best/most representative of the trecento

Front 48

-3 most popular forms of Trencento

Back 48

1. Madrigal-musical setting of an Italian poem consisting of 2-3 stanzas.
-Each stanza has three lines plus a refrain of two lines, often in a contrasting metor.
-aab-similar to French ballade and German bar form
-ritornello – Italian for refrain (return)
2. Caccia (chase, hunt) – portrays hunts or outdoor scenes, dogs barking, horn calls, etc.
-can be a “pun” – 2 voice cannons  one voice chases the other
-England-catch, France-chase
3. Ballata – AbbaA
-similar to French virelais

Front 49

Francesco Landini

Back 49

-greatest composer of trecento-he was blind
-composed no sacred music, only secular

Front 50

Under-Third Cadence

Back 50

– Tenor descends to the lower neighbor, upper voice descends by
step then leaps up by a third.

Front 51

typical medieval cadence

Back 51

– interval of a 6th to an octave

Front 52

Leading Tone Cadence

Back 52

– interval of a 6th (one voice is raised) going to an octave

Front 53

Double Leading Tone Cadence

Back 53

– same as L.T. cadence, only with an added voice in the middle that is also raised to become a leading tone

Front 54

Phrygian Cadence

Back 54

– lower voice descends by semitone, upper voice ascends by wholetone

Front 55

Musica Ficta

Back 55

“false music”
-composers began using chromatic pitches (outside of Guidonian Hand)
3 reasons:
1. to avoid tritones
2. to make melodic line smoother
3. to make cadence formulas more interesting
-cause pulchritudinis
“for the sake of beauty”
-performers did not always have music, therefore chromaticism was decided upon
by the performer.

Front 56

Medieval instruments

Back 56

-scoring of specific instruments was not a medieval musical practice
-only classification was haut and bas
haut – “high” loud, used outdoors
bas – “low” soft, used indoors
-instrumental selection was based on function and volume as opposed to timbre

Front 57

Under-Third/Double Leading Tone Cadence

Back 57

– landini cadence with leading tones