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music-test2
| Question | Answer |
|---|---|
| religious or spiritual music, for church or devotional use | Sacred music |
| nonreligious music; when texted, usually in the vernacular | secular music |
| the set order of religious services and the structure of each service, within a particular denomination | liturgy |
| monophonic melody with a freely flowing, unmeasured vocal line,; liturgical chant of the roman catholic church | gregorian chant |
| early musical notation signs; square notes on a four-line staff | neumes |
| melodic style with one note to each syllable of text | syllabic |
| melodic style with two to four notes set to each syllable | neumatic |
| melodic style characterized my many notes sung to a single text syllable | melismatic |
| singing, especially in gregorian chant, in which a soloist or a group of soloists alternates with the choir | responsorial singing |
| performance style in which an ensemble is divided into two or more groups, performing in alternation and then together | antiphonal |
| cycle of daily services of the roman catholic church, distinct from the mass | office |
| central services of the roman catholic churc | mass |
| sections of the Roman catholic mass that vary from day to day throughout the church year according to the particular liturgical occasion, as distinct from the particular liturgical occasion, as distinct from the Ordinary, in which they remain the same | proper |
| sections of the roman catholic mass that remain the same from day to day throughout the church year, as distinct from the Proper, which changes daily according to the liturgical occasion | ordinary |
| earliest kind of polyphonic music, which developed from the custom of adding voices above a plainchant; they first ran parallel to it at the interval of a fifth or fourth and later moved more freely | organum |
| fixed rhythmic patterns of long and short notes, popular in the thirteenth century | rhythmic modes |
| "fixed Melody", usually of very long notes, often based on a fragment of Gregorian chant that served as the structural basis for a polyphonic composition, particularly in the renaissance | cantus firmus |
| polyphonic vocal genre, secular in the middle ages but not sacred or devotional thereafter | motet |
| two or more texts set simultaneously in a composition, common in the medieval motet | polytextual |
| medieval poet-musicians in southern france | troubadours |
| medieval poet-musicians in northern france | trouveres |
| medieval wandering entertainers who played instruments, sang and danced, juggled, and performed playes | jongleurs |
| a dance form prevalent in the late medieval France, either with voice or purely instrumental | estampie |
| medieval percussion instruments resembling small kettledrums, played in pairs; of middle easter origin | nakirs |
| medieval bowed-string instrument, often with a pear-shaped body | rebec |
| medieval category of soft instruments, usually principally for indoor occasions, as distinct from haut, or loud instruments | bas |
| medieval category of loud instruments, used mainly for outdoor occasions, as distinct from bas, or soft instruments | haut |
| choral music performed without instrumental accompaniment | a cappella |
| renaissance polyphonic style in which the motives move from line to line within the texture, often overlapping one another | continuous imitation |
| musical pictorialization of words from the text as an expressive device; a prominent feature of the renaissance madrigal | word painting |
| texture in which all voices, or lines, move together in the same rhythm | homorhythmic |
| stately renaissance court dance in duple meter | pavane |
| italian "jumping dance", often characterized by triplets in a rapid 4/4 time | saltarello |
| lively, triple meter french court dance | galliard |
| German dance in moderate duple time, popular during the renaissance and baroque periods; often the first movement of a baroque suite | allemande |
| lively renaissance "round dance" associated with the outdoors, in which the participants danced in a circle or line | ronde |
| french monophonic or polyphonic song, especially of the middle ages and renaissance, set to either courtly or popular poetry | chanson |
| renaissance secular work originating in Italy for voices, with or without instruments, set to a short, lyric love poem; also popular in england | madrigal |
| family of renaissance bowed-string instruments that had six or more strings, was fretted like a guitar, and was held between the legs like a modern cello | viola de gamba |
| medieval wind instrument, the ancestor of the oboe | shawn |
| early brass instrument, ancestor of the trombone | sackbut |
| early instrument of the brass family with woodwind-like finger holes. it developed from the cow horn but was made of wood | cornetto |
| the tenth child of a noble couple who promised her to the service of the church as a tithe | hildegard of bingen |
| the first composer of polyphonic music whose name is known. he compiled the great book of organum. | leonin |
| expanded the dimensions of organum by increasing the number of voice parts, first to three and then to four | Perotin |
| typifies the tradition of the courtly troubadour. The son of a "poor knight" from Provence, in southern france. As a young man he entered the service of the marquis of Montferrat | Raimbaut de Vaqueiras |
| one of the great masters of the renaissance motet was the northern french composer. His varied career led him to Italy where he served at several courts | josquin des prez |
| a well-known printer, composer, and instrumentalist. Made one of the most popular dance collections of the century published in antwerp in 1551 | tielman susato |
| published 8 books of madrigals that span the transition from renaissance to baroque styles | claudio monteverdi |
| active in the 1590s in Dublin, ireland, where he was an organist and master of the choirboys at Christ Church. Moved to London and published his only collection of four-part madrigals - Fair Phyllis is popular today | john farmer |
| keypoint 11 | The middle ages span nearly one thousand years |
| kepoint 11.2 | the early christian church and the state were the centers of powers during this time |
| keypoint 11.3 | much of the surviving music from the middle ages is religious, or sacred, because of the sponsorship (Patronage) of the church |
| 11.4 | the later middle ages saw the rise of cities, cathedrals, and great works of art and literature |
| 11.5 | the ideals of knighthood and the devotion to the Virgin Mary helped raise the status of women |
| 12.1 | many world cultures use a kind of chant, a monophonic melody, in their worship |
| 12.2 | the music of the early christian church, called gregorian chant, features monophonic, nonmetric melodies set in one of the church modes, or scales |
| 12.3 | chant melodies fall into three categories based on how many notes are set to each syllable of text |
| 12.4 | the most solemn ritual of the catholic church is the mass, a daily service with two categories of prayers: the proper and the ordinary |
| 12.5 | some chants are sung alternating a soloist and chorus in repsonsorial performance |
| 12.6 | the paris cathedral of notre dame was a center for organum, the earliest type of polyphony, with two,three, or four voice parts sung in fixed rhythmic patterns |
| 12.7 | preexisting chants formed the basis for early polyphony, including organum and the motet; the latter features multiple texts |
Created by:
dkemp33