Known Listenings MuHis 330

Gregorian Chant. Syllabic. Latin. Sacred. Performed antiphonally. Mode 7 - Mixolydian. Part of the Proper. ABB’A. Circa 800. Sung during the procession. Monophonic

Melismatic. Sacred. Performed antiphonally. Part of the Ordinary. AAABBBCCC’. Gregorian Chant. Mode 1 - Dorian. Uses Greek instead of Latin. Monophonic

Part of the Ordinary. Gregorian Chant. Mode 4. 10th C. Melismatic. Monophonic. Arrhtyhmic.

Latin. Melismatic. Sacred. Sung responsorially between soloist and the choir. Mode 5. Part of the Proper. Gregorian Chant. Circa 800. Responsorial. ABA. Monophonic. Arrhythmic.

Part of the Proper. Gregorian Chant. Mode 2. Responsorial. ABA’. Has a jubilus. Monophonic. Arrhythmic.

The soloist sings the first phrase of “alleluia" to the asterisk; the choir repeats this and continues with the following melisma. The soloist sings the verse, joined by the choir for the last words. The respond is sung again without the repetition.

Part of the Ordinary. Gregorian Chant. Mode 4. Added to the Mass in 1014. Syllabic. Monophonic. Arrhythmic.

Part of the Ordinary. Gregorian Chant. Mode 8. 11th C setting. Neumatic. AA’A’’. Monophonic.

• Part of the Ordinary • Gregorian Chant • Mode 6 • ABCBAB • Monophonic. Arrhythmic.

• Composed by Wipo of Burgundy • Sequence • First half of the 11th C. • Syllabic • Follows the Alleluia • ABBCC…N • Monophonic. Arrhythmic.

• By Hildegard of Bingen • Sacred music drama • Circa 1151 • An independent Latin play • Mode 3, kind of. It doesn’t really use C but rather B. • Used a lot of ascending 5ths. • Neumatic • Monophonic. Arrhythmic.

• Bernart de Ventadorn • Troubadour song • Circa 1170-80 • Fin’amor • No rhythm • Monophonic • French • Canso • Strophic • Syllabic • Through-composed • ABABCDCD.

• Comtessa de Dia • Canso • Second half of 12th C. • Strophic • AAB • No rhythm

• Léonin • Circa 1160-1200 • Solo and choir • Florid organum, then it goes into a discant on “omnes” and “dominus”, ending in florid organum. • Only the solo part is polyphonic. • In the discant, the tenor is rhythm mode 5 and the duplum is rhythm mode 1. • Ends in a clausula.

• Pérotin • Circa 1200 • Four voices. • Discant • Repetition • Voice exchange • Much more dissonance.

• Adam de la Halle • Motet • Circa 1260s-1280s. • Repeats rhythm. • Three voices • Syllabic • Uses Franconian notation

• Vitry • Isorhythm • Latin instead of French • Stratified • Motet • Circa 1320 • Lots of repetition • Led to Ars Nova • Upper voices syllabic

• Machaut • Part of the mass – Kyrie • Circa 1364 • Isorhythmic • Syncopation • 4 voices • Latin • Polyphonic

• Machaut • Virelai • Mid 14th C. • AbbaA • Monophonic • Strophic • 1 voice • Secular • Syllabic • Dancelike

• Machaut • Rondeau • Mid 14th C. • 4 voices • ABaAabAB • Long melismas at the beginning of lines.

• Philippus de Caserta • Ballade • Circa 1370 • Rhythmically complex • Lots of dissonance • Melismatic • Strophic • Musical rhyme • Ars Subtilior • Polyphonic • 3 voices • In recording, the voice is accompanied by recorder