Music History, ch 3-4

Texts of the mass that are assigned to a particular day in the church calendar (Introit, Collect, Epistle, Gradual, Alleluia/ Tract, Sequence, Gospel, Sermon, Offertory, Secret, Preface, Communion, Postcommunion)

Texts of the Mass that stay the same on most or all days of the church calendar, though the tunes may change (Kyrie, Gloria, Credo, Prayers, Sanctus, Canon, Pater noster, Agnus Dei, Ite, missa est)

A series of 8 prayer services of the Roman church, celebrated daily at specified times, especially at monestaries and convents (Matins, Lauds, and Vespers are most important musically)

A chant sung before and after the psalm

Bible reading lessons with musical responses in chant

Poetic passages from parts of the bible other than the Book of Psams

Soloist alternates with the choir or congregation

Two groups or halves of the choir alternate

Without alternation between groups or between soloist and group

Chants in which almost every syllable has a single note

Chants in which syllables carry one to six notes or so

Long melodic passages on a single syllable

simple melodic outlines that can be used with many different texts

formulas for singing psalms in the Office. There is one psalm tone for each mode.

The first notes of a chant, sung by a soloist to establish the pitch for the choir, which joins the soloist to continue the chant.

In a psalm tone, the cadence that marks the middle of the psalm verse

In a psalm tone, the cadence that marks the end of the psalm verse.

A formula of praise to the Trinity. Used with psalms, introits, and other chants.

The leader of the choir

Consisting of several stanzas that are all sung to the same melody

The singing of psalms

A category of Latin chant that follows the Alleluia in some masses. Sequences are set syllabically to a text that is mostly in couplets.

Dialogue on a sacred subject, set to music and usually performed with action, and linked to the liturgy

A type of Latin sacred song, either momophonic or polyphonic, setting a rhymed, rhythmic poem. Influenced Troubadour, and Aquitanian polyphony.

(12th C) A song performed while a liturgical book was carried into place for a reading or a celebrant was "comducted" from one place to another. Later the term was used for any serious Latin song, monophonic or polyphonic, setting a rhymed.

Late 10th- Early 13th C-associated with wandering students and clerics known as goliards

"song of deeds"- type of medieval French epic recounting the deeds of national heros, sung to melodic formulas

poet singers

traveling entertainers that made a living by performing tricks, telling stories, and singing or playing instruments.

13th C a term for specialized musicians, many of whom were employed at a court or city for at least part of the year, although they also traveled.

12th and 13th C: A poet-composer of northern France who wrote monophonic songs in Occitan

12th and 13th C: a poet-composer of northern Francewho wrote monophonic songs in Old French

a recurring phrase or verse with music

Occitan/ French respectively, meaning "refined love" or "courtly love." An idealized love trhough which the lover was himself refined. The object was a real woman, adored from a distance, with discretion, respect, and humility

a dance song with a refrain in two phrases whose music is also used for the verse: ABaAabAB (capital letters indicating lines of refrain, and lowercaseletters indicating new text set to music from the refrain)

A poet-composer of medieval Germany who wrote monophonic songs, particularly about love, in Middle High German

Songs of the Minnesinger, usually strophic, in bar form (AAB) 

AAB

B section in bar form

A section in bar form

sacred Italian monophonic songs. Composed in cities rather than at court. Laude were sung in processions. From the late 14th C on, moste laude were polyphonic

medieval monophonic song in Spanish or Portuguese

medieval circle or line dance, or the monophonic song that accompanied it.

Medieval instrumental dance that features a series of sections, each played twice with two different endings, ouvert (open or incomplete cadence) and clos (full cadence).

expands an existing chant in one of three ways: by adding (1) words and melody; (2) a melisa; or (3) words only, set to an existing melisma or other melody