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Definition
| the prescribed body of texts to be spoken or sung and ritual actions to be performed in a religious service. |
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Term
| Gregorian chant (chant/plainchant) |
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Definition
| The repertory of ecclesiastical chant used in the Roman Catholic Church. |
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Definition
| (1) The most important service in the Roman Church. (2) A musical work setting the texts of the ORDINARY of the Mass, typically KYRIE, GLORIA, CREDO, SANCTUS, and AGNUS DEI. |
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Term
| Ambrosian chant (western) |
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Definition
| A repertory of ecclesiastical chant used in Milan. |
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Term
| Beneventan chant (western) |
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Definition
| a liturgical plainchant repertory of the Roman Catholic Church, used primarily in the orbit of the southern Italian ecclesiastical centers of Benevento and Montecassino, distinct from Gregorian chant and related to Ambrosian chant. |
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Term
| Mozarabic chant (western) |
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Definition
| the liturgical plainchant repertory of the Mozarabic rite of the Roman Catholic Church, related to but distinct from Gregorian chant. It is primarily associated with the Iberian Peninsula under Visigothic rule |
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Definition
| a variant of the Roman Rite widely used for the ordering of Christian public worship, including the Mass and the Divine Office, in the British Isles before the English Reformation |
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| Old Roman Chant (western) |
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Definition
| t is the liturgical plainchant repertory of the Roman rite of the Roman Catholic Church formerly performed in Rome, closely related to but distinct from the Gregorian chant which gradually supplanted between the 11th century and the 13th century. Unlike other chant traditions such as Ambrosian chant, Mozarabic chant, and Gallican chant, Old Roman chant and Gregorian chant share essentially the same liturgy and the same texts, and many of their melodies are closely related. |
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Definition
| the music of the Byzantine Empire composed to Greek texts as ceremonial, festival, or church music. |
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Term
| Divine Office (the Hours) |
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Definition
| is the official set of daily prayers prescribed by the Catholic Church to be recited at the canonical hours by the clergy. |
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Definition
| the trained papal choir during the Middle Ages, specializing in the performance of plainchant. |
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Definition
| sign placed above a syllable to indicate the pitch height of one or more plainchant notes |
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Definition
| monophonic sacred chant or song of the Christian church, performed in free rhythm |
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Term
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Definition
Trivium
-grammar, dialect, rhetoric
Quadrivium
-geometry, arithmetic, astronomy, music |
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Term
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Definition
| Proposed a set of syllables/ut, re, mi, fa, sol, la--to help singers remember the pattern of whole tones and semitone in the six steps (hexachord). |
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Term
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Definition
| rises above the final tone (odd numbered modes). Dorian, phyrgian, lydian, mixolydian. |
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Definition
| circles around or goes farther below the final tone (even numbered modes). Hypodorian, hypophrygian, hypolydian, hypomixolydian. |
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Definition
| dialogue on a sacred subject, set to music and usually performed with action and linked to the liturgy. |
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Definition
| Most famous for her Ordo Virtutum (82 songs for which she wrote both the melodies and poetic verse. |
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Term
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Definition
1) passage of text added to the original words of plainchant, particularly to furnish words for singing a melisma.
2)interpolation of both new text and new melody in an existing composition. |
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Term
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Definition
| restatement of a pattern, either melodic or harmonic on successive or different pitch levels. |
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Term
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Definition
| polyphonic vocal composition, most often on a sacred text |
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Term
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Definition
| plainchant or other melody used as a basis for polyphonic composition |
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Definition
| voice part in early polyphony to which words are set. |
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Term
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Definition
| first few words or opening line or a song. |
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Term
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Definition
| he was a Frankish monk of Saint Gall who wrote text symbols under long melismas to help him memorize them. |
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Definition
| written in latin, early manifestations of literacy in secular music culture- oldest written specimens of secular music. |
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Term
| Jongleurs (medieval gypsy people) |
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Definition
| people who sang secular song including Goliard songs in the middle ages. |
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Term
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Definition
after Franco of Cologne, a motet in which the triplum bears a longer text than the motetus and features a faster moving melody with many short notes in brief phrases of narrow range. --Mid‐13th Century
• Upper voices more rhythmically freed and
varied.
•Complex Interplay of simultaneous and
independent lines
• Leading polyphonic genre of its time |
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Definition
| poet composers who flourished during the twelfth century in the south of France. They spoke "provencal" |
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Definition
| troubadour equivalent of northern france. spoke langue d' oil, a medieval french dialect that became modern french. |
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Definition
| a composer and theorist who was active from about 1250- 1280. |
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Definition
| a collection of the songs written by troubadours or trouveres (songbook). |
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Definition
| 1) medieval monophonic song, usually sacred, on rhythmical latin verse. 2) measured polyphonic setting of an original melody |
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Definition
| genres of troubadour or trouvere songs either about courtly love, political and moral topics, and story songs. (alba- moral side, canso- love song, tenson-debate song) |
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Term
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Definition
| the german school of knightly poet musicians who flourished between twelfth and fourteenth centuries. |
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Definition
| the love of which minnesingers sang in their minnelider love song- more abstract than troubadour's songs and sometimes distinctly religious. |
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Definition
| a german poetic form that is modeled after AAB- melody is sung twice and bridge only once. |
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Term
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Definition
| fairly long, untexted passages placed at the beginning, at the end, or just before important cadences. |
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Term
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Definition
| in the terms of AAB, the A is the stollen (main melody) |
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Term
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Definition
| in terms of AAB, the B section (bridge) |
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Definition
| a collection of over four hundred cantigas (songs) in Galician Portugese in honor of the Virgin Mary. Prepared in 1270 through 1290 under King Alfonso el Sabio. |
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Definition
| the liturgical plainchant repertory of the Gallican rite of the Roman Catholic Church in Gaul, prior to the introduction and development of elements of the Roman rite from which Gregorian chant evolved |
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Definition
| a West Iberian Romance language spoken in the Middle Ages, in the northwest area of the Iberian Peninsula. |
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Definition
| in a song, a recurring line (or lines) of text, usually set to a recurring melody. |
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Definition
| a music handbook which unmistakably describes the use of polyphony in and outside of the church (9th century). |
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Definition
| one of the several styles of early polyphony from the 9th through thirteenth centuries involving the addition of one or more voices to an existing chant. |
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Definition
| the most celebrated composer of the 14th century (see Medieval music). He composed in a wide range of styles and forms and his output was enormous. He was also the most famous and historically significant representative of the musical movement known as the ars nova. |
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Term
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Definition
| principle voice that sings plainchant melody in an organum. |
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Term
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Definition
| the duplicated melody a fourth below and organal voice. |
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Term
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Definition
| the organal voice has more rhythmic and melodic independence. |
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Term
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Definition
| instructions on creating organum. |
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Term
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Definition
| a composer who wrote at least five of the motets in the "Roman de Fauvel." Pretty influential guy. Under his influence, composers and theorists recognized two recurring elements in the motet tenors, one melodic and the other rhythmic. |
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Term
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Definition
| movement of two melodic lines in the same direction, but with the interval between them changing |
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Term
| aquitanian florid organum |
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Definition
| the lower voice, usually an existing chant, sustains long notes while the upper voice sings phrases of varying length. resulted in much longer organa with a more prominent upper part that moves independently of the lower one. |
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Term
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Definition
| lower voice that holds the original melody, but for the next 250 years, the word tenor designated the lowest part of a polyphonic composition. |
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Term
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Definition
| the other kind of organum in which the movement is primarily note against note. |
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Term
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Definition
| Ars nova was a stylistic period in music of the Late Middle Ages, centered in France, which encompassed the period roughly from the preparation of the Roman de Fauvel (1310 and 1314) until the death of Machaut (1377). Sometimes the term is used more generally and refers to all European polyphonic music of the 14th century, thereby including such figures as Francesco Landini, who was working in Italy. |
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Term
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Definition
| The Roman de Fauvel, translated as The Story of the Fawn-Colored Beast, is a 14th century French poem accredited to French royal clerk Gervais du Bus, though probably best known for its musical arrangement by Philippe de Vitry in the Ars Nova style |
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Term
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Definition
| Isorhythm (from the Greek for "the same rhythm") is a musical technique that arranges a fixed pattern of pitches with a repeating rhythmic pattern. |
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Definition
| hailed as the best composer of organa (early 12th century) |
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Definition
| the big book of organum compiled by Leonin was the first extensive repertory of composed polyphony. |
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Term
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Definition
| repeating pitches of the cantus firmus. |
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Term
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Definition
| lengthy recurring rhythmic unit in a piece. |
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Term
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Definition
| a section in discant style characteristically more consonant than organa having relatively short phrases and more lively pacing because both voices move in modal rhythm. This created contrast with the surrounding unmeasured sections of organa. |
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Term
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Definition
| device of alternation a melodic line rapidly between two voices, or a composition based on this device. |
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Definition
| Leonin's younger colleague; most famously known for writing discants. |
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Term
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Definition
| works of clausulae that appear in the same manuscripts as the organa themselves having been designed to replace the original setting of the same section of chant. |
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Term
| English Polyphony in the 13th Century |
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Definition
| Use of Imperfect consonances Simple, syllabic repeated melodic phrases |
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Term
| duplum, triplum, quadruplum |
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Definition
| expanding organums dimensions by increasing the number of voice parts to three and beyond. Each added voice was called- duplum, triplum, then quadruplum. These same terms also desginated the composition as a whole. EX- a three voice organum came to be called a triplum etc. |
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Definition
| fourteenth century Italian form featuring two voices in canon over a free, untexted tenor. |
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Definition
| fourteenth century Italian genre with form "AbbaA"in which A=refrain, piedi (bb), volta (a). |
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Definition
| the most important new genre of the fourteenth century. The two musical giants of the era, Guillaume de Machaut in France and Francesco Landini in Italy, concentrated on writing love lyrics in the traditional refrain forms of the trouvères. |
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Definition
| one of the French schemes of poetic and musical repetition of the 14th and 15th centuries, each stanza having an overall "aabC" form. |
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Definition
| an anthology of 354 pieces of Italian polyphony that came about in the early 1400s. Mostly for two and three voices by 12 composers of the early 1400s. |
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Term
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Definition
| one of the French schemes of poetic and musical repetition in which each stanza has the form "AbbaA" |
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Term
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Definition
| French and Italian music of the late fourteenth century became more refined and complex, allowing composers to flourish. Their music consisted of polyphonic ballades, rondeaux, and virelai continuing the french scheme of poetic and musical repetition. |
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Term
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Definition
| one of the French poetic and musical schemes of repetition usually in the form "ABaAabAB" |
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Term
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Definition
| in polyphony of the 14th through 16th centuries, the highest voice, especially the texted voice in a polyphonic song. |
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Definition
| 14th century Italian poetic form and its musical setting having two or three stanzas followed by a ritornello. |
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Definition
| a main center for trecento music from the fourteenth through sixteenth centuries. |
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