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History Exam 1
Medieval Music Terms/Concepts
| Term | Definition |
|---|---|
| Mass Proper | Mass for special festival days/holidays. Introit, Gradual, Alleluia, Offertory, Communion. |
| Mass Ordinary | Mass for regular days. Kyrie, Gloria, Credo, Sanctus, Agnus Dei, Ita missa est. |
| Responsorial Psalmody | Chant in which soloist alternated with a group. |
| Troubadour | Poet/lyricist who composed songs mainly on themes of courtly love. |
| Courtly Love | Secular love--non God/church related. |
| Orangum | Chant setting style in which one or more voices is added above plainchant melody to create polyphony. |
| Notre Dame Organum | 3+ voices added above plainchant to create polyphony. |
| Tenor | In chant: the reciting tone, in 12th and 13th centuries: the voice part that held the original plainchant melody. |
| Duplum | Voice above tenor; second voice from the bottom. |
| Florid Organum | Also known as melismatic organum--tenor holds relatively long notes while other voices sing different notes of varying length above it. |
| Discant Clausula | Separate section of music that can often times stand on its own; Two or three notes on top per one long note on bottom, ended by some form of cadence. |
| Ars Nova | 1310-1377. Notes written with greater independence of rhythm, no longer shackled by rhythmic modes, secular music acquires polyphonic sophistication previously found only in sacred music, isorhythm and motet become prevalent. |
| Isorhythm | Technique using fixed musical pitch pattern and fixed rhythmic pattern. |
| Talea | Rhythmic pattern repeated exactly as isorhythmic tenor. |
| Color | Pitch pattern repeated exactly as isorhythmic tenor. |
| Double Leading Tone Cadence | Bottom voice moves down a whole tone, upper voice moves up a semi-tone creating a M3 & M6 expansion to P5 & P8. |
| Trecento | Italian name for the 1300s. |
| Panconsonance | Style in which triads predominate and dissonance is used as ornamentation. |
| Cantus Firmus/Tenor Mass | Mass that is composed based of a pre-existing plainchant melody, found in the tenor part. |
| Use of Ballade as Tenor in Mass | Du Fay: Se la face ay pale; Used to bridge the gap between sacred and secular. Sacred words with secular music. |
| Head Motive | Initial melody or phrase heard at the beginning of a piece or movement. |
| Dissonances Express Text | Text painting technique to help listeners gain deeper understanding of text. Example: Dowland "Flow My Tears," chromatic tone on "hell." |
| Petrucci | Published collections of masses for public uses other than church days. |
| Paraphrase Mass | Mass in which original chant is paraphrased in every voice instead of the full chant being found in the tenor. |
| Points of Imitation | Points in polyphonic works where two or more voices enter in imitation. Josquin, Arcadelt. |
| Use of Musical Imagery | Text painting technique to help listeners gain deeper understanding of text. Prevalent in madrigals: Arcadelt, de Rore, Dowland. |
| Lute Song | Composition for solo voice accompanied by lute. |
| Pavane | 16th century slow dance; AABBCC. |
| Lute Tabulature | Tells lute player where to put his fingers on each string instead of having music written with note heads. |
| Virginal/Harpsichord | Virginal: baby harpsichord that fits on table. Keyboard instrument where quills pluck strings to produce sounds. |
| Vihuela | Spanish relative of the lute. Flat backed, guitar shaped body. |
| Ornamentation | The addition of embellishments either in performance or in written in the composition. |
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getinmydistrict
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