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| Composed the only surviving song by a trobairitz |
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| A poet-composer of medieval Germany who wrote monophonic songs, particularly about love, in Middle High German, generally written in church modes |
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| Only instrumental music currently known of from the medieval era—sounds like dance music |
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| Music handbook from about the 9th century, demonstrated that polyphony was prevalent in the medieval era. |
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| Music or musical texture consisting of two or more simultaneous lines of independent melody |
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| Earliest polyphony we know of, in which harmony is set a 4th below the original chant. *A piece, whether IMPROVISED or written, in one of those styles, in which one voice is drawn from a CHANT. |
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| Typically voiced a 4th below the chant |
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| Twelfth-century style of two-voice POLYPHONY in which the lower voice sustains relatively long NOTES while the upper voice sings note-groups of varying length above each note of the lower voice |
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| Principle voice who held the chant as other lines made polyphony with it *(1) In a MODE or CHANT, the RECITING TONE. (2) In POLYPHONY of the twelfth and thirteenth centuries, the voice part that has the chant or other borrowed MELODY, often in long-held NOTES |
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| Composer who compiled Magnus Liber Organi Notre Dame in France, late 12th/early 13th century—studied at University of Paris |
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| Compilation of responsorial chants which hold a 2-voice setting, put together by Leonin |
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| Composer considered the master of discant composition, expanded on teacher’s writings, Successor of French composer, studied at University of Paris. |
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| Note-against-note occurring against tenor, generally faster than other parts of the organum. *Twelfth-century style of POLYPHONY in which the upper voice or voices have about one to three NOTES for each note of the lower voice. |
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| Section of music written in discant *In NOTRE DAME POLYPHONY, a self-contained section of an ORGANUM that closes with a CADENCE. |
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| Composition made from taking a section from clausula and making it into a new composition |
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| Greater differentiation between upper voices as well as from the tenor. |
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| Form of medieval English polyphony in which two or more voices sing the same melody, entering at different times and repeating the melody until all stop together. |
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| Gives French overview of what was occurring in the 14th century arts *Style of POLYPHONY from fourteenth-century France, distinguished from earlier styles by a new system of rhythmic NOTATION that allowed duple or triple division of NOTE values, SYNCOPATION, and great rhythmic flexibility. |
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| Narrative Poem about an idiot donkey who raises to power; includes 169 pieces of music, several which are monophonic, and 30 motets |
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| Motet in which tenor lays out regularly occurring rhythm, and has recurring rhythmic or melodic patterns |
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| Recurring rhythmic patterns |
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| Recurring melody patterns |
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| Astute poet and musician, wrote 23 motets, many of which were isorhythmic, and 1 major mass |
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| Written by Machaut, first complete polyphonic setting of the ordinary of the mass by a known composer |
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| To hiccup, voices are in rapid succession, in which voices alternate using same talea, color, or both |
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| Form that is recurrent, including virelai, ballade, and rondeau *Schemes of poetic and musical repetition, each featuring a REFRAIN, used in late medieval and fifteenth-century French chansons |
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| French forme fixe in the pattern A bba A, in which a refrain (A) alternates with stanzas with the musical FORM bba, the a using the same music as the refrain. |
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| French forme fixe, normally in three stanzas, in which each stanza has the musical FORM aab and ends with a refrain. |
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| French forme fixe with a single stanza and the musical form ABaAabAB, with capital letters indicating lines of refrain and lowercase letters indicating new text set to music from the refrain. |
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| The 1300s (the fourteenth century), particularly with reference to Italian art, literature, and music of the time. |
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| Famous composer of Ballate—about 140 |
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| Named after composer, concluding of a phrase which uses a major 6th to the octave by which a lower neighbor leaps up to a 3rd in the top voice. |
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| Manuscript which includes 350 pieces of polyphonic music from 12 composers—includes portraits of composers. *Includes madrigal, caccia, and ballata |
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| Generally aab form Fourteenth-century Italian satirical love poetic form and its musical setting having two or three stanzas |
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| One voice chases other. *Fourteenth-century Italian FORM featuring two voices in CANON over a free untexted TENOR. |
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| Treble dominated, 2-3 voices, a dance song. AbbaA *Fourteenth-century Italian song in which A is the refrain, and the single stanza consists of two piedi (bb) and a volta (a) sung to the music of the refrain. |
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| Subtle, more refined art tailored towards the upper class, pushing rhythmic limits*Style of POLYPHONY from the late fourteenth or very early fifteenth centuries in southern France and northern Italy, distinguished by extreme complexity in rhythm and NOTATION |
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