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| a medieval genre of polyphonic music practiced at Notre Dame Homorhythmic and non chant-based. |
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| 13th century genre of medieval polyphonic vocal music deriving from upper parts of clausulae. |
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| a cycle of eight daily prayerservices in Catholic liturgy. Consists of psalms and hymns. |
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| the earlier version of Western polyphony (11th c.) SEcond voice improvised over chanting,the na more floid partt ocera slow moving, untexted chant. |
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| the primary publioc worship service of Roman Catholic churches. The synaxis: Kyrie, Gloria. The Eucahrist: Credo, sanctus and Agnus Dei. |
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the group of changing Mass texts according to a yearly cycle, as opposed to the oridnary texts.
-Introit
-Offeratory
-Gradual
-Communion
-Alleluia |
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a set of unchanging Mass texts sung at every service.
-Kyrie
-Sanctus
-Gloria
-Agnus Dei
-Credo |
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| a short prose sung sentences inserted before or after a psalm and sometimes between indivual verses, sung in alternation by two halves of the choir. |
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| The prescribed order for a religous service. |
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| an Italian poetic and musical form in use from the late 13th to the 15th century. It has the musical structure AbbaA, with the first and last stanzas having the same texts. |
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| a texture consisting of two or more simultaneous lines of independent melody, as opposed to music with just one voice, (monophony). Music with one dominant melodic voice accompanied by chords is called (homophony) |
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| French singer-poets. Wrote songs in genres chanson d'amour,& songs about religious crusades. |
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| singer-poet "finder of words" 11th-13th c. composed highly formalized cansos, tensos, sirventes (political songs), pastorelas |
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| Latin for fixed tune; refers to the placement of a chant melody in the tenor part of a polyphonic piece. |
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| Provencal for song; specifically the love song of the troubadour. |
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| the chanting of a text by a soloist, associated with Jewish liturgical music. |
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| a song or poem used in worship and especially one from the Bible |
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| a religious song or poem typically of praise to God. |
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given over to the church by family as part of their tithe
-established own convent
-wrote and instructed on may intellectual and spiritual subjects
-left behind antiphons, sequences and hymns |
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| The first of three medieval renaissance. Occurred during Carolingian Empire. increase in music, literature, writing and liturgical reforms |
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The second part of the mass that reenacts the last supper with his disciples. For church members only
-credo
-sanctus
-agnus dei |
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| Originating from the hymn 'ut queant laxis' each small part beginning on the next pitch higher in the hexachord. (ut, re, mi, fa, si, la, do) |
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| The four subjects, or arts taught after teaching trivium arithmetic, geometry, music and astronomy. |
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| A volume containing the Book of Psalms often with other devotional material bound in as well in liturgical calendar and litany of saints. |
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| notes sung on a single syllable |
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| Inventor of solminization syallables, staff lines and using C or F to orient us on the staff. |
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| Charlemagne (Charles the Great) |
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| Secular ruler of the Western Roman Empire (ca. 742-814) |
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| the field of pitches and pitch relationships reducible to a specific arrangement of tones. |
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| the composer of Gregorian Chant (ca. 560-604) |
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| the basic six-note diatonic segment from C to A |
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| long vocalises or longissimae melodiae |
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| The added material (music, words or both) placed in sequences and hymns. |
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| drone-like singing the same melody in parallel motion a perfect fourth or fifth below |
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| simple second melody ( duplum) to an existing plainchant melody. |
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| "refined love" the song of the troubador that emphasized the idolization of a beloved lady. |
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| (ABaAabAB) french dance song. |
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| the three fixed forms of music (rondeau, virelai, ballade) |
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| the chant-bearing part that sustains the long-held notes. |
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| note-against-note in contrary motion. |
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| style where free organum sections with a slow tenor and discant sections radically contrasting in rhythm, meter and speed. |
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| homo-rhythmic and syllabically written polyphony. |
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| music of the 14th c. in France. |
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| Ad-hoc cognate, describing the division of semibreves into minims |
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| Implies literal rhythmic repetition that is coordinated with melodic repetition. |
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| a setting of the mostly nonconsecutive items of the Ordinary liturgy as a connect musical unit. |
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| a composition in which two parts that are related by strict melodic imitation. |
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| leading musician of his time (1340-1386) wrote madrigals and likely taught at the university. |
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| English musician who worked for the Duke of Bedford; also an astronomer and mathematician. Catalyst of pan-European musical style. (Quam Pulchra Es ca. 1420) |
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| a french compose that used fauxbourdon in songs like "Ave Maris Stella" wrote scared and secular music. |
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| the German Medieval lyric |
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| sixth decorated melodic motion; the note before the final one proceeds down an additional scale step before leaping up to the ending note. |
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| A parallelism of imperfect consonances amounting to a parallelism of triads, voiced for maximum smoothness, with a "hard" and "hollow" perfect fifth avoided. |
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| (ca. 1410-97) international composer, used English ideas for harmony. |
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| An English technique of harmonizing a chant on the spot. The result is a 3-parallel voice chords over the chant. The chant is treated as a middle voice. |
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The first part of the mass designed to attract new member of the church.
-Kyrie
-Gloria |
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| an insertion of new text and corresponding music to Mass movements, specifically the Ordinary. |
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| a single neume representing two or more pitches in Medieval chant and polyphony. |
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| a visual teaching aid from the middle ages showing the notes on the modes and their solmization syllables at specific points on the human hand. |
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