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a medieval musician who travelled around and sang, recited poetry, and told of news.
Sacred
religious
Secular
non-religious, popular
Gregorian Chant
proper
variable
cantus fimus
fixed melody
chanson
structure of composition
binary
A-B
ternary
A-B-A
tempo
speed of music
goliards
clergy who expressed dissension through song
jongleurs
minstrels
troubadours
court poet-musicians
minnesingers
german poet-musicians
chansons
wind instrument
guitarra moresca
4 string guitar
nakers
ars nova
a musical texture involving two or more simultaneously sounding lines; the lines are
often independent and create counterpoint.
Counterpoint
the harmonious opposition of two or more independent musical lines
Renaissance (1450-1600)
a cultural movement that began in Italy in the Late Middle Ages and
later spread to the rest of Europe.
Sacred music
music written for the Church with a sacred text in Latin, such as the motet
Motet
a composition for choir or larger chorus setting a religious text; often sung a cappella.
Secular music
a popular genre of secular vocal music that originated in Italy during the Renaissance, in
which usually four or five voices sing love poems.
Troubadour
a type of secular poet-musician that flourished in southern France during the 12th and
13th centuries.
Vocal music
a term applied to unaccompanied vocal music (performed by voices alone, without any
instrumental accompaniment.)
Instrumental music
music exclusively played by musical instruments (excluding the voice.)
Martin Luther
German religious reformer of the Renaissance era.
Council of Trent (1545-1563)
a two-decade-long conference at which the Catholic Church
undertook a reform, including its music
Imitation
a compositional procedure where one or more voices duplicate in turn the notes of a
melody
Soprano
the lower of the two female voice parts, the soprano being higher.
Tenor
Josquin Desprez
Reformer of music that wrote over 100 Masses in the conservative style of the CounterReformation.
Pavane
Earliest body of song preserved through notation. plainsong, plain chant. Different types: Ambrosian,
Cistercian, Mozarabic, Gallican, and Gregorian.
Gregorian chant
named after Pope Gregory I who organized appr. 3000 church melodies. Latin text that dictates the
rhythm and influences the contour of the melody. Set syllabically and melismatically. Monophonic and
typically sung acapella by male singers. No dynamics or accents. Sometimes with responsorial passages
and antiphonal sections. Modal, non-metric, monophonic, conjunct, Latin, used neumatic notation.
Constitutes the majority of the music of the Middle Ages.
Formes Fixes
forms that affected musical forms of song setting during 14th and 15 centuries. Involved complex
repetition patterns with a refrain. (Machaut) Virelais, Rondeau, Ballade
Virelais
one of the formes fixes, cultivated in the 13th ,14th, 15th centuries. Strophic. AbbaA
Rondeau
the most long-lasting of the Fr. Formes-fixes, cultivated in the 13th, 14th, 15th centuries. AbaAabAB
form (A and B are refrains)
Ballade
one of the French forms fixes of the 13th, 14th, 15th centuries. Strophic, typically of love.
Antiphonal psalmody
chanting of psalmodic texts by alternating choirs or soloists with the addition of 1 or more refrains
(antiphon/antiphona) after each verse.
Antiphon
section of chant sung as a REFRAIN to the verses of a psalm. Served as a frame to psalm verse (intro and
end).
Ars Nova
Transitional era (14th century) between Medieval and Renaissance. Musical centers in France and Italy.
Marked by developments in notation (Philippe de Vitry treatise, Ars Nova 1322). Use of isorhythm was
an important development and a key characteristic. Characterized by the use of duple and triple meter,
use of shorter note values, isorhythm, and harmonic development (use of open 5th for cadence point)
Increased secular music. Less use of cantus firmus. Simpler textures. Florid vocal style. (Started in
France, then Italy) (Beginnings of the madrigal). Major developments in secular music and in sacred
(not to the same degree). First mass cycles - thematically related sections of Mass Ordinary - Messe de
Notre Dame.
Isorhythm
Technique using a repeated rhythmic (talea) and melodic (color) pattern as a structural element.
Cantilena Style
Predominant vocal top line supported by less complex and usually instrumental tenor and countertenor
lines.
Carol
an English or Latin song with uniform stanzas with a refrain (after each stanza).
Ambrosian chant
Early chant repertory associated with Milan. Associated with St. Ambrose (1st century) who reorganized
singing and tonality in the Christian Church.
Antiphoner
Liturgical book of the Roman rite containing the chants of the Office Hours (Matins, Lauds, Prime,
Terce, Sext, None, Vespers, Compline).
Ars Subtilior
Musical style of the late 14th century/early 15th century. French vocal music. Intricate rhythms, exotic
harmonies. ('more subtle art') Isorhythmic motets and secular songs. Intricate notation.
Ballata
poetic and musical form in Italian secular songs (14th/15th centuries). Form: (A) ripresa, 2 (B) piedi, (a)
volta. AbbaAbbaA. Landini.
Caccia
14th century canonic piece with Italian text. Often dealing with hunting or nature. Hunting style.
Voices performed in strict canon with an underlying third part, followed by a ritornello. Often with
"animated" additions: horn calls, bird calls, dialogue.
Cantigas de Santa Maria
(Canticles of the Virgin Mary) - Collection of 420 songs about the Virgin Mary (1270-1290). Most in
the form of a virelai.
Carmina Burana
copied collection of music of Notre Dame school and troubadour music into 13th century German
manuscript.
Choirbook format
large format manuscript used by choirs. Allows everyone to read from the single book.
Clausulae
1. (Notre Dame) The concluding of a passage, similar to the idea of a cadence but not a harmonic tool).
2. A polyphonic composition based on part melismatic fragments of chants. Developed into the 13th
century motet and given words of its own.
Color
Melodic repetition in the tenors of medieval motets and organa. Term originated in rhetoric (meaning
repetition).
conductus
Metrical Latin sacred song originating in France in 12th century. Often written in the Notre Dame
school. Superseded in 13th century by the motet.
Chanson
a type of (12th/13th centuries) medieval polyphonic technique using a melismatic plainchant tenor.
Moves in a note-against-note, contrary movement between voices. Interchange of 5th, 4th, 8va. Used
rhythmic modes, and formally balanced phrase-shapes.
Gradual
melodically elaborated responsorial chant. Consists of a response and single verse.
Rhythmic Modes
rhythmic patterns governing performance of measured sections of Notre Dame organum, motets,
conductus. All patterns employ triple meter
Lai
an extended song form with several stanzas each using a different metrical form, rhyme scheme, and
melody (Lyrical Lai). Troubadours and trouveres repertory. Monophonic usually Machaut monophonic and polyphonic.
Liturgical drama
sung religious dialogues, ceremonies, and plays in Latin
Mass
the central rite of the church, celebrating a reenactment of the Last Supper. 2 series of prayers:
Ordinary and Proper. The Ordinary: Kyrie, Gloria, Credo, Sanctus, Agnus dei.
Mass Ordinary
a polyphonic genre in which the upper voice or voices are texted (different texts) and the bottom voice
(tenor) is untexted. Tenor is usually taken from a solo section of a chant and is set to rhythm and
manipulated. Early motets were religious but later included secular texts. Developed in the 13th century
from the Clausulae.
Jongleur
Fr. Professional entertainer (secular vocal music). Sang, played instruments, juggled, and acrobatics.
Goliard
chant sung with two distinct parts: melody (tenor) and harmony (duplum). Same melody separated by a
4th or 5th at first. (Beginning of polyphony and ultimately harmony.) As organum evolved, the duplum
obtained independence. The borrowed tenor line was augmented, maintaining the cantus firmus, while
the duplum became more active, ornamented, and florid. Notre Dame played a key role in the
development of it in the 12th/13th centuries - 2 to 4 parts.
Modified organum
addition of a voice a 4th or 5th above melody.
Modified parallel organum
allowed the pattern to be broken at the beginning and ending of phrases.
Free Organum
contrary motion within a phrase.
Florid/Melismatic Organum
consists of a series of notes in the upper voice that are sung over longer notes in the lower voice (cantus
firmus).
Panisorhythm
(Balbulus, composer) following early Medieval Era. Plainsong, plainsong mass, passion, Sequence Trope,
organum, liturgical drama, conductus.
St. Martial
Former monastery at Aquitaine in SW France. Important repertoire of polyphonic and monophonic
music associated with it.
Trecento
Trouvere
N. France. Nobility who composed secular songs. Adam de la Halle important. Wrote Le Jeu de Robin et
Marion
Worcester Fragments
more than 100 anonymous polyphonic compositions between early 13th century and mid-14th
century.
Ars Antiqua
a term used to refer to the "old style" typical of 12th century Notre Dame organum and of the 13th
century motet and conductus. Characteristized by predominance of triple meter and limited rhythmic
vocabulary rhythmic modes, mostly 3-part, "Perfect" rhythm.
Copula
style of Notre dame organum in which the top voice is measured but the bottom voice is unmeasured.
Gallican chant
early Medieval. France. Before the imposition of Roman chant.
Mozarabic chant
early Medieval chant. Spain
Hocket
Polyphonic device where the melody is divided between two voice parts. Uses rests to facilitate the
alternation of the notes. Many motets by Machaut contain hocket passages.
Jubilus
collection of 2-voice plainchant setting for liturgical use. Notre Dame. Attributed to Leonin and revised
by Perotin. The most important surviving work of the period.
Mass proper
sections of the mass whose texts change according to the church calendar.
Mensural Notation
rhythmic notation using shapes. Divided into groups of 2 (imperfect) or 3 (perfect). Distinct from
rhythmic modes.
Notre Dame School
(1150-1250) Cathedral in Paris in mid-12th century. Leonin and Perotin (successor). Cultivated
organum, conductus, and liturgical motet. Large repertoire collected in Magnus Liber Organi.
Transformation of polyphony from a performing practice into "composition", utilized multiple voices.
Utilized rhythmic modes to coordinate voices and made other achievements in notation.
Old Hall Manuscript
15th century English manuscript
Rhythmic Mode
Divided music into beat groups: Perfect - 3 (for sacred - representing the trinity) and Imperfect - 2 (for
secular)
Talea
an addition to a pre-existent chant. The insertion of extra texts and melodies between verses of wellknow chants. May be monophonic or polyphonic, usually syllabic and sung by soloist. ex. Quem
Queritis (trope and Introit)
Estampie
Calixtinus Codex
Cistercian
the four subjects, or arts, taught in medieval universities after the trivium. arithmetic, geometry, music,
and astronomy.
Franco of Cologne
Theorist and musician. Devised rules for a system of notation referred to as Franconian Notation. "Ars
Cantus Mensurabilis"
Adam de la Halle
Important trouvere. Work: Jeu de Robin et de marion which has songs for soloists and choruses, and
instrumental dances.
Francesco Landini
(Notre Dame Mass). Primary French composer of the Ars Nova. Brought Ars Nova to its height. Sacred
and secular monophonic and polyphonic music. Built on the style of the late trouveres. Clarity of
texture.
Perotin
Key figure in the Notre Dame School. Successor of Leonin. Wrote liturgical music in style of Ars
Antiqua. Important in the development of polyphony. More concerned with rhythm rather than
harmony.
Leonel Power
important composer of Burgundian style
Philippe de Vitry
Treatise, Ars Nova. New techniques for notation - rhythm and harmony. Isorhythmic motets.
Boethius
Greek philosopher and mathematician. Related music of his time to theories of ancient Greek and
Roman philosophers. "De Institutione"
John Dunstable
wrote para-liturgical music (monophonic music on sacred themes but not part of the liturgy)
Leonin
Key figure in the Notre Dame School. Compiled Magnus Liber which contained polyphonic chants used
at Notre Dame. Important in the development of polyphony, especially organum.
Petrus de Cruce
composer who brought the Ars Antiqua style to its height. Wrote motets with complexity.