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(Medieval music)
one melody line sung in unison. preserved clarity of words and encouraged contemplation. became known as plainchant or songchant. One note per syllable |
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(Medieval Music)
intervals between one note and the next were small, added to the spirit of reverence and facilitated singing by untrained voices without written music. |
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| Mass divided into two parts: |
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(Medieval music)
Proper: segments that changed from day to day depending on the liturgical calendar (different on easter, christmas, etc) ex: introit said first
Ordinary: Mass is the same (see fig. 21.1 pg. 321) Kyrie and Gloria: follow introit |
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| Introduced in 8th century. would sing a part of the chant, and either in response or accompanying, the group voices would join in. |
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(Medieval Music)
putting more than one note to a syllable. Easiest to do during the solo portion. allowed the soloist to show virtuosity. |
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| Around 1000 AD; Created by Guido d'arezzo. 4-line staff as a reference for pitches. invented also treble and bass clefs; assigned names to notes from a to g. also named the sounds of the scale from the hymn to st. john the baptist - "UT queant laxis, REsonare fibris, MIra gestorum..." UT, RE, MI; also established crescendo, forte, other italian terms. |
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| Plainchant melody with edition of second melody sung at the same time. Flourished at notre dame |
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| plainchant used as foundation, other melody synchronized to it; tenor sings this part. |
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| composer; was especially innovative in creating music for four simultaneous voice. |
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