-
monophonic
melody without harmony or counterpoint
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-
tetrachord
modern: any 4 notes of scale or tone row
derives from Greek music theory meaning literally "4 strings"
- 3 types: diatonic (steps), chromatic (contains a m3) and
- enharmonic (contains M3)
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-
-
earliest musical notation
- Ancient Greece- 6th Century BC- could show pitch and note
- duration. Symbols above text syllabols.
- Neumes
- used in "Musica Disciplina" of Aurelian of Reome- 9thC- used in
- plainchant- showed contour and shape but not exact notes and rhytms to
- be sung.Four lines, not 5- square notes.
Franconian- only divisions of 3
Ars nova- divisions of 2 or 3
-
troubadours/troubaritz
- composer/performer of Occitan Lyric Poetry
- 1100-1350
- southern France, later spread to North (trouveres) and rest of Europe
- (minnesinger in Germany)
- songs about chivalry and courtly love, could be humorous or vulgar as wellgenres:
- canso, serventes and tensosEx: Bernhart
- de Vintedorn (" can vei la lauzeta mover"- a canzo) and Beatritz de Dia
- ("a chantar"). Both are monophonicsongs in duple or triple, rythmic and having to do with dance
- language= provencial French
-
trouveres
- 1200-1300northern
- FranceAristocrat
- or upper middle classFavord
- Forms: Ballade, Roundeau, VirelaiEx: Je du
- Robins et de Marion (Rondeau) one voice 2 instruments
-
Office
type of service of the Roman Catholic Church
Also called "Canonical Hours"
celebrated every day at stated times in a regular order
music for this is collected in "Antiphonale" or "Antiphoner" and included, psalms, hymns and canticles, chanting of lessons.
vespers is most important one musically- only one that admitted polyphonic singing in early times.
-
Mass
- principal service of the Roman Catholic Church
- word came from the closing phrse "Ite missa es"
- Ordinary: Kyrie, Gloria, Credo, Sanctus and Agnus Dei
- Proper (not done every day, but on special feasts or festivals- not as important musicallly)
- see development of mass
-
neumes
- The oldest manuscripts of Gregorian chants were written using a graphic
- notation which uses a repertoire of specific signs called neumes; each
- neume designates a basic musical gesture (see musical notation). As books, made of vellum
- (preparated sheepskins), were very expensive, the text was abbreviated
- wherever possible, with the neumes written over the text. This was a
- notation without lines and no exact melodic contour could be deciphered
- from it, which implies that the repertoir was learnt by rote. In later
- stadia, the neumes are written onto staves of one or more lines; by the
- 11th century this had evolved into square notation, from which
- eventually the modern five-line staff developed in the 16th century.
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melismatic
singing of asingle syllable of text while moving between several different notes
earliest written appearance in 9thC in Gregorian chantused often in the Gradual or Alleluia of the Mass
-
hexachord
6 note segments of a scale or tone row.
a mnemonic device first described by Guido of Arezzo,
- It was the most basic pedagogical tool for learning new music in the
- European Middle Ages.
all adjacent pitches are a whole tone apart, except for the middle two, which are separated by a semitone.
six pitches are named ut, re, mi, fa, sol, and la, with the semitone between mi and fa.
- adapted in the twentieth-century in Milton Babbitt's
- serial theory.
-
solmization syllables
- s a system of attributing a distinct syllable to each note in a
- scale.
- solfege- do re mi fa sol la ti do. di, ri, fi, si, li and descending
- te, le, se, me, ra
-
-
mode
- a
- classification system of musical tonalities.
- Church modes:
- dorian (D)
- phrygian (E)
- lydian (F)
- mixolydian
- (G)
- aeolian (A)
- minor
- locrian (B)
- ionian (C)
- Major
- also can
- apply to rhythmic modes in middle ages
-
musica ficta
- term used in European music theory from the late 12th century to about 1600 to
- describe any pitches, whether notated or to be added by performers in
- accordance with their training, that lie outside the system of musica
- recta or musica vera ('correct' or 'true' music) as defined
- by the hexachord system of Guido of Arezzo.
- In modern
- usage, the term is often loosely applied to all unnotated inflections
-
trope
chant where words are added syllabically
- 3 ways to trope a hymn:
- add music and words to existing chant
- add melisma to existing music
- add words to existing chant ("prosula")
-
liturgical drama
religious drama
orginates from the mass and is theatrical
evolved out of liturgy in in 15thC as mystery plays
-
Musica Enchiriadis
850-900
Church music handbook of the Medieval period
contained parallel and oblique organum
-
organum
- first notated polyphonic music
- plainchant melody with at least one added voice
- 3 types:
- Parallel Organum (earliest)- 900,
- Free Organum (most used-1000), and
- Melismatic Organum (florid or aquitanian- 1100)
-
Notre Dame School
1175-1225
Leonin and Perotin
descant clausula, organum, development of motet and conductus
-
modal rhythm/notation
mr- medieval notation of patterns of long/short note durations (6 patterns) used in ars antiqua and developed by Notre Dame School-1175-12225- first indication of specific note durations in written music since ancient Greece.
used in: Notre Dame organum (most famously, the organum triplum and organum quadruplum of Pérotin), conductus, and discant clausulae
-
Magnus liber organi
latin for "Great Book of Organum"
compilation of organum written in 1100's and 1200's attributed to Leonin and Perotin
-
mensural notation
musical notation system which was used in European music from the later part of the 13th century until about 1600.
diamond- rather than oval-shaped and stems perched directly on top
- Before1450's- all notes solid, filled-in form (Black Notation), after that the larger
- note values were written hollow, like today (White Notation).
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