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| A liturgical chant that precedes and follows a psalm or canticle. |
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| Form in which 2 or more groups alternate. |
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| A type of mode in which the range extends from a step below the final to an octave above it. |
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| The main solo singer, or leader of the choir. |
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| The main note in a mode, or the closing note in a chant. |
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Mode: 2
Final: D
Reciting Tone: F |
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Mode: 1
Final: D
Reciting Tone: A |
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Mode: 3
Final: E
Reciting Tone: C |
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Mode: 4
Final: E
Reciting Tone: A |
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Mode: 5
Final: F
Reciting Tone: C |
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Mode: 6
Final: F
Reciting Tone: A |
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Mode: 7
Final: G
Reciting Tone: D |
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Mode: 8
Final: G
Reciting Tone: C |
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| The first note of a chant, sung by the cantor to begin the chant. |
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| The prescribed body of spoke and sung texts, as well as the ritual actions performed in a religious service. |
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| A melody having long melodic passages sung to a single syllable of text. |
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| A melody having 1-7 notes sung for every syllable of text. |
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| A type of mode in which the range extends from a 4th or 5th below the final to a 5th or 6th above it. |
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| A unison unaccompanied song; A liturgical song with latin text. |
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| A poem of praise to god, 1 of 150 in the Book of Psalms in the Hebrew Scripture. |
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| Melodic formula for singing psalms. 1 psalm tone for each mode. |
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| 2nd most important note in a mode, emphasized in chant, and used reciting text in a psalm tone. |
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| Having 1 note sung for each syllable of text. |
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| An effusive melisma, usually on the "-ia" in an Alleluia. |
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| Mass dismissal where the word "mass" came from; "Go, you are dismissed." |
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| Portion of the mass that remains the same every day of the church calendar, though the tunes may change. |
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| First part of the Mass Ordinary, meaning "Lord" (ternary/melismatic/in Greek) |
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| Second part of the Mass Ordinary, meaning "Glory" (through-composed/neumatic/in Latin) |
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| Third part of the Mass Ordinary, meaning "I Believe" |
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| Fourth part of the Mass Ordinary, meaning "Holy" |
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| Fifth and final part of the Mass Ordinary, meaning "Lamb of God" (ternary/neumatic/in Latin) |
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| The portion of the Mass assigned to a particular day in the church calendar. |
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| The entrance procession of the Mass Proper (antiphon - psalm verse - lesser doxology - antiphon) |
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| Second portion of the Mass Proper that is sung while the communion is prepared. (respond only) |
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| Third portion of the Mass Proper sung during communion (antiphon only ) |
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| Fourth portion of the Mass Proper sung just before the gospel reading (respond to the text "alleluia" - verse - respond) (melismatic and responsorial) |
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| Fifth and final portion of the Mass Proper sung after the epistle reading (respond-verse) (melismatic and responsorial) |
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| 1 or more soloists alternating with the choir |
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| The first part of a responsorial chant, appearing before and sometimes after the psalm verse. |
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| Trouvere who wrote the most famous musical play: Jeu de Robin et de Marion (The Play of Robin and Marion) |
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| A song form in which the first section, (stollen,) is sung twice with different texts, and the second section (abgesang) is sung only once. |
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| One of the best known and most influential troubadours of Southern France |
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| A love-song genre of troubadour music |
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| A song ending with a full cadence on the final |
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| A chant where the range is unusually large |
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| A form where one section of music repeats for each line of text. (sequence/paired lines) |
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| "Courtly Love" -> idealized love for an unattainable woman who is admired from a distance. The chief subject of of troubadour/trouvere song. |
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| Any new element that expands on or explains an older, pre-existing one. |
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| Devised a sequence to make the Alleluia easier to memorize (the trope) added words to the Jubilus. |
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| A song ending on a pitch other than the final. |
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| A recurring line(s) of text, usually set to a recurring melody |
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| Topics/theme/type of text (high or low,) based on the literary themes of the text. |
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| Restatement of a melodic or harmonic on successive or different pitch levels |
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| At least 2 stanzas, equivalent in form, sung to the same melody |
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| An addition to an existing chant with words and melody, a melisma, or words only, set to an existing melisma (the jubilus) |
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| A poet-composer of southern France who wrote monophonic songs in Occitan in the 12th and 13th centuries. |
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| A poet-composer of northern France who wrote monophonic songs in Old French in the 12th and 13th centuries. |
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| Polyphonic genre where the upper voice(s) have between 1 and 3 notes for every note of the lower voice. |
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| 2-voice polyphony; the tenor sustains very long notes, and the upper voice sings note groups of varying lengths on top. |
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| 2-voice polyphony; the organal voice moves in a free mixture of contrary, oblique, parallel, and similar motion against and above the tenor. |
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| Excellent singer/composer of organum. Wrote the Magnus Liber Organi (Great Book of Polyphony) |
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| Neume-like note-shapes to show a short rhythmic pattern (early notation) |
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| "Great Book of Polyphony"; 2-voice settings of all responsorial chants |
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| Musical texture consisting of unaccompanied melody |
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| Voice in an organum that is added above the original chant melody (tenor) |
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| Organum for 2 voices in Notre Dame polyphony. |
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| Polyphonic genre where the organal voice moves parallel to the tenor (usually a perfect 5th below) (opposite = oblique) |
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| Musical texture with at least 2 simultaneous lines of independent melody. |
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| The original chant melody in an organum. |
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| long short short (3 - 1 - 2) |
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| short short long (1 - 2 - 3) |
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| short short short (1 - 1 - 1) |
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| Natation where different parts are aligned vertically to show their coordination. |
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| The voice part in organum that has the chant (often long-held notes) |
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| "Fixed Melody", An existing melody or chant on which a new polyphonic work is based, especially for melodies presented in long notes. |
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| A format in which all the musical parts are written separately on a pair of book pages. |
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| Occurs in a motet when the tenor goes through the notes of the chant twice. |
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| A 13th century motet in 3 voices, with different texts in the duplum and triplum. |
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| A polyphonic vocal composition featuring at least 1 voice, each with its own sacred or secular text in Latin or French, above a tenor from chant. |
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| A style of early polyphony involving the addition of at least one voice to an existing chant. |
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| Great organum composer of Notre Dame, said by Anonymous IV to be the best composer of discant. |
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| At least 2 texts set simultaneously in a composition. |
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| A new clausulae replacing the original polyphonic setting of a chant. |
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| "New Art" Style of polyphony form 14th century France including a new system of rhythmic notation, duple and triple note divisions, syncopation, and rhythmic flexibility. |
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| French forme fixe in 3 stanzas; each stanza = aabC (end with a refrain) |
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| Rule for performing music where several voices sing the same melody, entering at certain intervals of time or singing at different speeds simultaneously. |
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| A polyphonic secular song with French words. |
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| A repeated melodic pattern in an isorhythmic composition. |
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| Schemes of poetic and musical repetition, each with a refrain, used in French chansons (the ballade, rondeau, and virelai) |
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| The leading composer and poet of the French Ars Nova Period. |
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| A device of alternating rapidly between 2 voices, each resting while the other sings; also a noun for a composition based on this technique. |
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| Repetition in a voice part (usually the tenor) of an extended pattern of durations throughout a section or an entire composition. |
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| French composer, poet, church canon, administrator, and bishop. Also the accredited inventor of Ars Nova. |
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| An allegorical narrative poem satirizing corruption in politics and the church. (said to be a warning to the King of France) |
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| French Forme Fixe with single stanza and the form ABaAabAb, where the A and B are refrains, and a and b are new texts set to the music from the refrain. |
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| A repeated rhythmic pattern in an isorhythmic composition. |
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| Style in which the main melody is in the cantus, the upper voice carrying the text, supported by a slower-moving tenor and contratenor. |
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| French Forme Fixe, with the form AbbaAbbaAbbaA, where A is the refrain, which alternates with stanzas (bba). A and a have the same music. |
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| A style of polyphony, from the late 14th century in southern France and northern Italy, exhibiting extreme complexity in rhythm and notation. |
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| $th century Italian song genre, similar to the French Virelai, with the form AbbaA, where A is the ripresa or refrain, and a single stanza consists of 2 piedi (bb) and 1 volta (a). A and a have the same music. |
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| Leading composer of ballata and the foremost Italian musician of the trecento. |
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| Italian composer of madrigals from the trecento period. |
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| 14th and 15th century decorated 6th to octave cadence, where the upper voice moves down by step and then up by third, as the tenor moves down a step. |
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| A 14th century Italian poem and musical setting consisting of 2 or 3 stanzas followed by a ritornello. |
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| An Italian theorist and composer who coined the name Ars Subtilior in his treatise on notation |
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| The closing section in a 14th century madrigal, in a different meter than the preceding verse. |
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| The 1300s or the 14th century, particularly with reference to Italian music, art, and literature. |
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| Double Leading-Tone Cadence |
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| A 6th to octave cadence where 2 voices move up a step, and the tenor moves down a step. |
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