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Music History Test 1
| Question | Answer |
|---|---|
| Paean | a hymn that celebrated the deed of primary gods such as Zeus (the chief god) and Apollo (the god of the sun, of music, and of reason) |
| Dithyramb | a wild choral song, mingled with shouts, which did honor to playful Dionysus (the god of wine and fertility) |
| Symposium | a tightly organized social gathering in which adult male citizens came together for conversation and entertainment |
| Lyre | a medium-sized instrument usually fitted with seven strings of sheep gut and plucked by a plectrum of metal or bone |
| Kithara | an especially big lyre |
| Aulos | a wind instrument fitted with a round single reed or with a flat double reed |
| Pythagoras | mathematician in Greek mythology who used music to save one member of his community from the crime of arson |
| Tibia | wood flute, lyre, kithara, and aulos Romans adopted from Greeks; perhaps named for bone-like appearance |
| Tuba | Roman name for the trumpet; a long, straight instrument with a cylindrical bore and a bell at the end; made of bronze and iron with a bone mouthpiece |
| Seven liberal arts | grammar, logic, rhetoric, arithmetic, geometry, astronomy, and music |
| Trivium | first 3 of 7 liberal arts: grammar, logic, and rhetoric; deal with language, logic, and oratory |
| Quadrivium | final 4 of 7 liberal arts: arithmetic, geometry, astronomy, and music; scientific disciplines for each uses number and quantitative reasoning to arrive at the truth |
| Boethius | Roman music theorist; descendant of an aristocratic family of Roman senators |
| Fundamentals of Music | written by Boethius; became required school text for music theory |
| Musica mundane | music of the spheres |
| Musica humana | music of the human body |
| Musica instrumentalis | earthly vocal and instrumental music |
| Musicus | musicologist who studies and understands music |
| Cantor | practitioner who performs music; person specially trained to lead the music of the community |
| Liturgy | collection of prayers, chants, readings, and ritual acts by which the theology of the church, or any organized religion, is practiced Chant |
| Rule of St.Benedict | code of conduct to regulate daily life in a monastery, compiled in 530 CE by Benedict. Required vows of chastity; worked the land to feed bodies; prayed and chanted to save souls; not so much interested in helping others as in saving their souls. |
| Canonical hours (liturgical offices) | set of eight periods of worship occurring throughout the day. During these times, monks and nuns ceased their work and came together for prayer, reading of scripture, and singing Vespers |
| Gregorian chant (plainsong) | body of music sung at services of canonical hours and Mass. It is a vast body of monophonic religious music setting Latin texts and intended for use in the Roman Catholic Church. |
| Holy Roman Empire | the re-started Roman Empire, under Charlemagne, in which he wished to recreate the old empire but as Christian empire rather than pagan Psalter |
| Psalm tone | simple repeating patterns used for singing Psalms. Begins with intonation sung by cantor, continues with a recitation on a single pitch, then a short mediation (middle cadence formula), more recitation on a single pitch, then a short Termination formula |
| Hymn | relatively short chant with a small number of phrases (often four), and a narrow vocal range. Like modern hymns, form is strophic |
| Magnificat | biblical text of Mary’s response to the news that she would bear the Christ child |
| Proper of the Mass | consists of chants whose texts change each day to suit the religious theme, or honor a particular saint on just that day |
| Ordinary of the Mass | includes chants with unvarying texts, and can be sung almost every day of the year |
| Syllabic chant | usually one note per syllable of text |
| Neumatic chant | usually 3-5 notes per syllable of text |
| Melismatic chant | many notes per syllable |
| John of St. Gall | monk from St. Gall (John Cotton), wrote treatise De Musica where he set forth the 8 church modes in a system with numbers to which were added Greek names; are still in use today |
| Church modes | 8 melodic patterns into which medieval theorist categorized chants of the church: Dorian, Hypodorian, Phyrgian, Hypophrygian, Lydian, Hypolydian, Mixolydian, Hypomixolydian |
| Authentic mode | first mode within each pair (Dorian, Phyrgian, Lydian, and Mixolydian) |
| Plagal mode | means “derived from,” a fourth below authentic counterpart (Hypodorian, Hypophrygian, Hypolydian, and Hypomixolydian) |
| Neume | signs for single pitches as well as for groups |
| Guido of Arezzo | Italian monk who was the leader in the creation of the musical staff and note names; wrote Micrologus |
| Solfege | singing different pitches to syllables |
| Guidonian hand | further innovation added to facilitate sight-singing with hexachords; system of using the left hand to inscribe mentally all the notes of the Guidonian scale |
| Trope | addition of music or text, or both, to a pre-existing chant |
| Sequence | addition of music with text to a pre-existing chant; did not precede a chant but followed it |
| Double verse structure | each musical phrase is sung twice to accommodate a pair of verses |
| Dies irae | most famous of all medieval sequences; means Day of Wrath; sequence for the Requiem Mass |
| Diabolus in musica | the dissonant tritone (devil in music) |
| Liturgical drama | religious play-with-music intended to be inserted into a liturgy, usually before Mass |
| Troubadour | male poet-musicians who flourished in S. France; “trobar” means “to find” |
| Trobairitz | women poet-musicians; “trobar” means “to find” |
| Trouvère | name for the poet-musician in the North |
| Chanson | a song of the north |
| Chansonnier | book of songs |
| Eleanor of Aquitaine | grandfather was a Duke and first recorded troubadour; she inherited the Duchy of Aquitaine and became queen of England after marrying man who became King Henry II |
| Bernart de Ventadorn | troubadour at Chinon (ruled by Eleanor), fell in love with Eleanor and left when she broke his heart |
| Minnesinger | German poet-musician writing love songs in the native tongue |
| Minnesang | “song of love” in old high German |
| Musica enchiriadis | Music Handbook that describes a type of polyphonic singing called organum |
| Organum (pl., organa) | term that connotes polyphony; voices singing in harmony show a sound similar to organ |
| Parallel organum | organum in which all voices move in lockstep, up or down, with the intervals between voices remaining the same |
| Vox principalis | principal voice; pre-existing chant to be enhanced |
| Vox organalis | organal voice; newly created line to be added to the chant |
| Oblique motion | one voice repeating or sustaining a pitch while another moves away or toward it |
| Gothic architecture | new, lighter manner of architecture that replaced older, heavy, Roman-dominated style |
| Nave | western end and public part of the church |
| Choir | area where most music was made in the east end of the church; included the high altar |
| Leoninus | wrote a great book of polyphony called Magnus liber organi; educated in Paris; priest, poet, and canon (high-ranking official) of the cathedral of Notre Dame |
| Magnus liber organi | great book of polyphony written by Leoninus |
| Organum purum | pure organum; florid two-voice organum |
| Discant | both voices move at roughly the same rate and are written in clearly defined rhythms |
| Clausula | each separate section making use of discant style; section, phrase, or musical clause |
| Rhythmic modes | simple patterns of repeating rhythms: one pattern for mode one, another for mode two, etc. |
| Substitute clausula | one clausula written in discant style intended to replace another |
| Perotinus | took rhythmic innovations of Leoninus and used them to create polyphonic works of unprecedented length, complexity, and grandeur |
| Duplum | second voice |
| Triplum | third voice |
| Quadruplum | fourth voice |
| Close | independent urban enclave situated next to almost every medieval cathedral |
| Peter Abelard | nobleman turned cleric; fell in love with a woman which led to a huge scandal and an outpouring of poetry and music |
| Universitas | unified collection of all the schools and colleges under a single administrative head |
| Latin Quarter | lectures given in Latin as well as spoken by all students on the streets |
| Motet | diminutive of the French mot meaning “word”; a discant clausula – self-contained section of organum in discant style involving just one or two words in the original chant |
| Hocket | both a contrapuntal technique and a musical genre – sounds of 2 voices are staggered by the careful placement of rests, thereby creating a highly syncopated piece |
| Formes fixes | fixed forms; secular songs and dances setting texts in medieval French |
| Ballade | a song setting a poem with one to three stanzas, or strophes |
| Ballade style | musical form is AAB |
| Cyclic Mass | all movements of the Mass are linked together by a common musical theme |
| Contratenor bassus | contratenor below the tenor |
| Contratenor altus | contratenor above the tenor |
| Chant | monophonic religious music sung in a house of worship |
Created by:
megshu
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