Music History 1

7. formes fixes

"Fixed forms" of fourteenth century French song, in which text and music have particular patterns of repetition that include a refrain, a phrase or section that repeats both words and music.

28 6. hocket

"Hiccup." A French technique in which two voices alternate in rapid succession between resting and singing.

8. tetrachord

"four strings"; four consecutive notes in a scale that make up a perfect fourth.

10. Laude

("Sing") Sacred Italian monophonic songs that survived from before 1300, composed in cities rather than at court. Sung in processions of religious penitents and in confraternities, associations of citizens who gathered for prayer and mutual support. The tradition of lauda continued for several centuries, and from the late fourteenth century most laude were polyphonic.

2. Eucharist

("To give thanks") The part of the liturgy of the Roman Church in which offerings and prayers are given, leading to communion. Significiant portion of the Mass.

c. Cleonides

(100-200 CE) - Contributor to music theory, developed the species of consonances (limited number of ways to subdivide perfect 4ths, 5ths, and octaves by tones and semitones)

e. Last major item of the Mass is added

(1014) Credo; A statement of faith summarizing church doctrine and telling the story of Jesus' incarnation, crucifixion, and resurrection. Concludes the Liturgy of the Word section of the mass on Sundays and important feast day.

k. Final split between Roman and Byzantine churches

(1054) The Eastern church of Byzantine, under control of the emperor continued to use Greek language, while the Roman Western church, under control of the bishop of Rome used Latin. Additional theological differences resulted in a permanent schism in 1054, which resulted in the emergence of different religious practices, including music.

a. Hildegard of Bingen

(1098-1179) A prioress of the Benedictine convent of Disibodenberg, who later founded her own convent in Rupertsberg and became abbess. She was famous for her prophecies, but also wrote prose, as well as religious poems that she began setting to music in the 1140s. Significant because they were preserved in two manuscripts organized in a liturgical cycle, an indication that many were sung in her convents, nearby monasteries, and churches. Also, her Ordo virtutum is the earliest surviving music drama not attached to the liturgy.

e. Hildegard von Bingen, Ordo virtutum

(1098-1179, 1151) Ordo virtutum is the earliest surviving music drama not attached to the liturgy. It is Hildegard's most extended musical work, a scared music drama in verse with 82 songs. It is a morality play with allegorical characters. Hildegard was a prioress of the Benedictine convent of Disibodenberg, who later founded her own convent in Rupertsberg and became abbess. She was famous for her prophecies, but also wrote prose, as well as religious poems that she began setting to music in the 1140s, that she claimed were divinely inspired. Significant because they were preserved in two manuscripts organized in a liturgical cycle, an indication that many were sung in her convents, nearby monasteries, and churches.

f. Albigensian Crusade

(1208-c. 1228) A crusade ordered against a heretical Christian sect of southern France (the Albigensians) by Pope Innocent III. Later, the crusade was joined by northern France in order that they may dominate the south. Significant because when the crusades ended (as the south could no longer support it) troubadours spread to find new patrons, thought to be the beginning of the troubadour tradition.

b. Ptolemy

(127-48 BCE) Leading astronomer and writer on music, and contributor to music theory concepts and values.

i. Philippe de Vitry

(1291-1361) A French composer, poet, church canon, administration for the duke of Bourbon and the king of France, and later bishop of Meaux. He wrote the Ars Nova treatise that came to denote the new French musical style of 1310-1370s, as well as composed In arboris which illustrates isorhythm.

h. Babylonian writings on music

(1800 BCE) Describing tuning, intervals, improvisation, performing techniques, and genres. Seemed to suggest that Babylonians used diatonic scales

g. Machaut's Messe de Nostre Dame

(Early 1360s) (Mass of Our Lady) Earliest polyphonic setting of the mass ordinary, and first mass set by one person. Makes use of isorhythms in new polyphonic styles.

g. Enheduanna

(2300 BCE) An Akkadian high priestess that composed hymns to the moon god nanna and moon goddess Inanna; the earliest composer known by name.

f. Edict of Milan

(313) A decree by Emperor Constantine I which legalized Christianity and allowed the church to own property. This is important because it allowed for future growth of Christianity, which would over time support music through its use of it in services.

d Aristoxenus

(330 BCE) Pupil of Aristotle, wrote Harmonic Elements and Rhythmic Elements, in which he defines rhythmic duration, notes, and intervals.

a. Augustine

(354-430) One of the Christian "church fathers", that interpreted the Bible and set down principle to guide the church. St. Augustine was so deeply moved by the singing of psalms that he feared the pleasure it gave him, while approving its ability to stimulate devout thoughts. This is significant because it reflects Plato's ideal that beautiful things exist to remind us of divine beauty, and cultivating music only for enjoyment was a poor motivation.

a. Aristotle

(384-322 BCE) One of the first Greek philosophers that discussed the use and effects of music in his work Politics, where he held that music could be used for enjoyment as well as education and that negative emotions could be purged through catharsis. In his work Poetics, he detailed the elements of poetry as melody, rhythm, and language, and noted the deep relationship between Greek music and language.

j. Separation of Eastern and Western Roman Empires

(395) The division of the Roman Empire resulted in the collapse of the Western Roman Empire due to invasion by Germanic tribes in 476. As the Western Roman Empire began to collapse, the bishop of Rome was able to gain control of the Western church, which eventually resulted in the split of the churches.

e. Plato

(429-347 BCE) One of the first Greek philosophers that discussed the use and effects of music in his works Republic and Timaeus, where he argued that too much or too little music was bad, and that only certain types of music were suitable to listen to. He asserted that musical conventions must not be changed because of the following poor societal effects.

f. Pythagoras

(500 BCE) Founder of music theory. Contended that music was inseparable from numbers, that rhythms and intervals were related to numbers.

g. Bernart de Ventadorn

(?ca. 1130- ca 1200) A troubadour born to servants at court, and one of the best-known and most influential troubadours. Known for repeating one or more phrases in his melodies, rather than composing different melodies for each stanza. Significant because it contributed to the AAB form becoming one of the most common forms.

28 13. balata

(Italian: "dance") 14th century Italian song genre with form AbbaA in which A is the ripresa or refrain, and te single stanza consists of two piedi (bb) and a volta (a) sung to the music of the ripresa.

30 11. caccia

(Italian: "hunt") 14th century Italian form featuring two voices in canon over a free untexted tenor.

15. musica ficta

(Latin: "feigned music) In polyphony of the fourteenth through sixteenth centuries, the practice of raising or lowering by a semitone the pitch of a written note, particularly at a cadence, for the sake of smother harmony or motion of the parts.

4. Minstrel

(Latin: minister - "servant") Term used for more specialized musicians, many of whom were employed at a court or city for at least part of the year, although they also traveled. Unlike jongleurs, minstrels came from varied backgrounds, ranging from former clerics to sons of merchants, craftsmen, or knights.

e. Pope Gregory I

(Pope 590-604) Revered as the founder of the Church by the English, and the source of the name "Gregorian Chant". The legend stated that the chants were dictated to Gregory by the Holy Spirit. This attribution to Gregory gave the perception that the chant was divinely inspired and authentic, which propelled its adoption along.

b. Charlemagne

(Ruled 768-814) King of the Franks, son of Pepin the Short, who continued the policies of his father in regards to the Catholic Church and Gregorian Chant. He is significant because his conquests expanded his kingdom, and also the reach of the Catholic Church and Gregorian Chant.

2. mensuration signs

(c 1340) Symbols that are precursors to modern day time signatures, utilizing shapes rather than numbers.

h. mensuration signs

(c 1340) Symbols that are precursors to modern day time signatures, utilizing shapes rather than numbers.

e. Jacques de Liège

(c 1260-after 1330) Author of Speculum musicae, the longest surviving medieval tratise on music, that argued that old style of music in the 13th century was superior.

b. Cult of Virgin Mary

(c 12th century) Mary was declared mother of the divine (Jesus) and she herself was considered to be divine. Mary was viewed in an idealized fashion, a heavenly figure full of virtue; this had an effect on the attitudes towards women during the time. Important because this belief influenced religion strongly at the time, and in turn had an impact on music created during the time.

j. Roman de Fauvel

(c 1317) An allegorical narrative poem satiring corruption in politics and the church, apparently written as a warning to the king of France, with 169 pieces of music interpolated within the poem, of which 34 are motets.

b. Francesco Landini

(c 1325-1397) Well known composer of the 14th century that focused on secular music. His works, mostly preserved in the Squarcialupi Codex, represent nearly a quarter of surviving works from the Trecento period.

12. Squarcialupi Codex

(c 1410-1415) A massive collection of Italian secular polyphony that predates 1330. Named for its former owner, the Florentine organist Antonio Squarcialupi. It contains 354 pieces (madrigals, caccias, and ballatas) by twelve composers of the Tecento and early Quattrocento periods.

l. Egeria

(c 400) A Spanish nun that described early Christian practices she witness while on pilgrimage to Jerusalem, noting psalms and hymns sung during services between prayers and Bible readings. This is significant because it is a crucial and detailed document of early Christian practices that describes the role music had to play in Christian religion.

c Rule of St. Benedict

(c 530) A set of instructions on running a monastery. Significant because it determined the liturgy for Monasteries in the Roman church, including musical elements, because in them Mass is performed each day.

d. Notker of St. Gall (Notker Balbulus)

(c 840-912) A Frankish monk at the monastery of St. Gall in Switzerland (and the most famous early writer of sequence texts), who explains in a text how he learned to write worlds syllabically under long melismas. This is significant because it shows historians that Notker is refining a practice that was created elsewhere, rather than one he has created, in regards to writing new texts for existing sequence melodies.

d Song of Roland

(c. 1100) The most famous chanson de geste, about Charlemagne's army battling the Muslims in Spain. Significant because it the epitome of a chanson de geste, and its music was preserved over the centuries.

c. Adam de la Halle

(c. 1240-?1288) Poet-composer of the most famous of the musical plays, Jeu de Robin et de Marion (The Play of Robin and Marion, c. 1284). Significant because he was the first vernacular poet-composer whose complete works were collected in a manuscript, demonstrating his fame.

a. Cantigas de Santa Maria

(c. 1270-1290) A collection of over four hundred cantigas in Galician-Portugese preserved in illuminated manuscripts in honor of the Virgin Mary, prepared under the direction of King Alfonso el Sabio of Castile and Leon. It is thought that perhaps Alfonso wrote some of the poems and melodies. Most of the songs refer to stories of miracles performed by the Virgin. Significant because it shows the amount of reverence for the Virgin Mary at the time.

f. Jehan des Murs

(c. 1290-1355) French philosopher, astronomer, mathematician, and music theorist that authored treatises regarding ars nova style.

c. Guillaume de Machaut

(c. 1300-1377) Well known composer of the 14th century that focused on secular music. His compositions typified Ars Nova, and he was one of the first composers to compile his works and discuss his methods.

a. Ars nova (treatise)

(c. 1320) "New Art" treatise by Philippe de Vitry that discussed French musical style of the period 1310-1370s.

g. Boethius

(c. 480- c. 524) The most revered authority on music in the Middle Ages. Consul and minister to Theordoric (ruler of Italy) and wrote on philosophy, logic, theology, and the mathematical arts. His De institutione musica (The Fundamentals of Music), which was compiled from Greek sources such as Ptolemy and Nicomachus treated music as part of the quadrivium, as a science of numbers. It is significant because in the book he also divides music into three types: the music of the universe (mathematical laws surrounding the universe), human music (science surrounding the body and soul), and instrumental music (audible music produced by instrument or voice). He viewed music similarly to Plato and Aristotle, as a pursuit of knowledge, but not as a practical pursuit of menial skill.

i. Isidore of Seville

(c. 560-636) Wrote that "Unless sounds are remembered by man, they perish, for they cannot be written down." Significant because it shows that around the seventh century Europe had lost the ability for notation that had been developed by previous civilizations.

d. Guido of Arezzo

(c. 991- after 1033) Monk who suggested the arrangements of lines and spaces (using a red line for F and yellow ink for C) and scratching intermediate lines between them. Letters were written on the left to designate the pitch for each line. This was widely adopted and is significant because from it a four line staff evolved, which was the precursor to the modern five line staff.

d. Jacopo da Bologna

(fl 1340-c 1386) Italian composer during the Trecento period, mostly known for his madrigals. He also wrote Questa e l'arte del biscanto misurato, related to French notation theory.

24 1. isorhythm

(from Greek: "equal rhythm") Repetition in a voice part (usually the tenor) of rhythmic or melodic patterning throughout a section or an entire composition.

h. Countess of Dia

(late 12th - early 13th century) Trobairitz who composted A chanter, in which she laments her lover's deception while defending her own virtue, intelligence, courtesy, and beauty. Significant because A chanter is the only song by a trobairitz to survive with music.

5. Jongleur

(related to English "juggler") Lower-class itinerant musicians who traveled along or in groups, earning a precarious living by performing tricks, telling stories, and singing or playing instruments.

c. Pepin the Short

(ruled 751-768) King of the Franks, who sought to import the Roman liturgy and chant in order to form an alliance between himself and the Catholic Church. This led to his order for a standardization of chant, which resulted in Gregorian Chant, the first standardized chant in the Catholic Church.

9. Trecento

14th century; Italian for 1300. Italian music of the period was distinctive for music's social prominence. Music during this period was not notated, and church polyphony was improvised.

c. ballade

A French forme fixe, normally in three stanzas, in which each stanza has the musical form aabC and ends with a refrain; also an instrumental piece inspired by the genre of narrative poetry.

9. Antiphon

A chant sung before and after each psalm during the Office.

13. Scolica enchiriadis

A dialogue accompanying Musica enchiriadis, meaning Comments on the Handbook, which continues on emphasizing practical elements of music rather than theory. (Ninth Century)

27 a. rondeau

A genre of fixed form that has only one stanza, framed by a refrain that includes both section so f music used for the stanza. In addition, the first half of the refrain returns midway through the piece between the a sections.

8. monks of Solesmes

A group of Benedictine monks of the Abbey of Solesmes in France. Significant because they developed a modern practice to solve the issue of rhythm in early notation, by singing chants as if all notes had the same basic value, and notes are grouped in twos or threes, and those groups can be flexibly combined into larger units. This practice was approved by the Catholic Church as conforming with the spirit of the liturgy. They also developed a modernized form of chant notation to be used in the Church. This was declared as the official Vatican editions in 1903.

3. Epics

A long heroic narrative that is a type of vernacular poem. Many were transmitted orally before being written down. Some types include the French chanson de geste ("song of deeds") and Norse edda. Significant because the music survived orally so long before being written down. (c 800s-1200s)

18. Jubilus

A long, effusive melisma, such as the final syllable of "alleluia" in Alleluias, regarded as an expression of a joy beyond words.

19. Trope

A method of expanding an existing chant by either adding new words and music before the chant and often between phrases; adding melody only (such as extending melisma or adding new ones); or adding text only (usually called prosula, or "prose"), set to existigng melismas.

b. Quem quaeritis (10th century)

A trope that took the form of a dialogue, known as a liturgical drama, that is sung responsively and accompanied by appropriate dramatic action. Important because it shows the role music had to play in the church, and also the evolution of its implementation in the liturgy.

26 b. virelai

A popular genre of fixed form that typically has three stanzas, each preceded and followed by a refrain. The refrain uses the same music as the last section of the stanza melody.

4. perfect, imperfect

A rhythmic division was perfect (or major) if it divided into threes, imperfect (or minor) if divided into a duple form.

Development of staff notation

A scribe originally scratched a horizontal line in the parchment that corresponded to a particular note and oriented neumes around the line, and in some other manuscripts the line was labeled with a letter for the note it represented; this evolved into modern clef signs. Guido of Arezzo later (ca. 991- after 1033)suggested the arrangements of lines and spaces (using a red line for F and yellow ink for C) and scratching intermediate lines between them, then arranging neumes accordingly. Letters were written on the left to designate the pitch for each line. This was widely adopted and is significant because from it a four line staff based on thirds evolved, which was the precursor to the modern five line staff.

4. Office

A series of eight services that codified Christian worship at regular times throughout the day and night since the early Middle Ages. Particularly important in monasteries and convents due to the amount of time spent in worship during the day. Important because all members of the community sang in church services.

16. Hexachord

A system developed by Guido's followers from the six-step solmization pattern, in which only three semitones occur in chant: E-F, B-C, and A-Bb. This created interval patterns of six notes from ut to la with a semitone between mi and fa, and could be begun on C (natural hexachord), G (hard hexachord), and F (soft hexachord). These hexachords were significant because the signs for certain notes (B natural was "square b", B flat which was "b" [round b]) evolved into our natural and flat signs (and presumably our sharp sign), although they were meant to designate the syllable that B took.

8. Fine amour/ Courtly love

A term coined in the nineteenth century that represents an idealized love through which the lover was himself refined, and the object was a real woman, usually another man's wife, but she was adored from a distance, with discretion, respect, and humility. The lady is depicted as so lofty and unattainable that she would step out of character if she condescended to reward her faithful lover.

1. Versus

A type of Latin song that was normally sacred and sometimes attached to the liturgy, in which poetry was rhymed and usually followed a regular pattern of accents. They are significant because they influenced troubadour songs and Quitanian polyphony. Set to newly composed melodies not based on chant.

1. How did ancient music influence the music that followed?

Affected the role of music in following civilizations, Development of performance practices, Creation of music theory and scales, Beginning of musical notation

Technological advances

Agricultural advances and increase in farmlands led to rapid population growth, tripling, Also raised the standard of living, Water-powered and wind mills provided mechanical power, which boosted productivity of certain activities, such as making flour, In turn, this led to western Europe passing the Byzantine Empire in economic might by 1300, This prosperity was significant because it provided resources for learning and the arts

9. Scriptorium

An area within a monastery where manuscripts of Gregorian chant were copied by hand; also can refer to the group of monks that were engaged in production of a manuscript, at whatever stage. The scriptorium's significance lies in the treatment of the manuscripts; all were elaborate decorated and precisely created to incredible standards, which kept a widespread appreciation for musical manuscripts and their value. (c. 1040)

5. What specific theoretical ideas influenced the music theory that followed? (Think of as many specific things as you can.)

Aristoxenus defined notes, intervals and scales (basics of theory); Tetrachords (diatonic, chromatic, enharmonic); Greater Perfect system ; Cleonides development of species (basis of ancient melodies and music); Tonoi (precursors to keys/scales)

14. Church modes (final, range, tenor, plagal)

Arrangements of whole and half steps in relation to the main note in the mode which is also typically the last note in the melody (the final). Each mode is paired with one that shares its final (there are four finals, each with different combinations of tones and semitones surrounding it). Modes that have the same final and are paired together have different ranges (referring to span of notes, and also the relative pitch level/octave). A plagal mode is paired with an authentic mode and shares the same final, but is deeper in range. Tenor was the voice part that has the chant or other borrowed melody, often in long held notes. Church modes were significant because chants were classified by mode, which made it easier to learn and memorize chants. (11th/12th centuries)

14. haut, bas

Bas was a term for soft instruments such as vielles and harps during the 14th-16th centuries; likewise, haut was a term for loud instruments (such as brass).

17. Gamut

Based off the words gammu ut, which regards the first note of the hexachord that begins on G, refers to the basic scale described by medieval theorists that extended from G to e(n).

Creation of formal structure

Bernart de Ventadorn often repeated one or more phrases,This resulted in the AAB form, Following its creation, many other song forms resulted from adding a refrain to one or more verses in AAB form.

10. Liturgical books

Books containing the texts and music for services, that were copied by scribes in the Middle Ages and later printed under church authority. Texts of the Mass are in a book called the Missal, chants in the Gradual, Texts for the Office in the Breviary, and music in the Antiphoner

New developments in notation

Caserta and others introduced new notational signs and practices, including the vertical combination of different mesurations to depict rhythms. Red notes indicated duple divisions instead of triple and are used to create hemiola effects in the contratenor and cantus.

13. Syllabic

Chants in which almost every syllable has a single note.

14. Neumatic

Chants in which syllables have one to six notes (or even a few more), although it generally refers to one neume per syllable. An example would be most chants sung in the Roman Church.

15. Melismatic

Chants that have many notes on a single syllable (having long melodic passages). An example of this would be the Alleluia in the Roman Church.

1. monophony

Consisting of a single melodic line

17. Strophic

Consisting of several stanzas that are all sung to the same melody. Stanzas may be four to seven lines long, and some include rhymes.

2. heterophony

Consisting of two different melodic lines, such as a melody and accompaniment

Influence of Greek theory

De institutione musica (The Fundamentals of Music) by Boethius (c 480-524) was compiled from Greek sources such as Nicomachus and Ptolemy's Harmonics, and treats music as a science of numbers, ratios and proportions, much as the Greeks did. This is significant because it was a widely read work that spread music theory knowledge.

21. Liturgical drama

Dialogues and more elaborate plays in Latin that are not strictly part of the liturgy but are still linked to it, recorded in liturgical books, and performed in church, with processions and stylized actions. Example would be the Qaem queritis, or more specifically when the three Marys are told by the angel that Jesus had risen from the dead.

13. Shawm

Double reed instrument, similar to the oboe, used in the medieval, renaissance, and baroque periods.

20. Sequence

Embellished the liturgy and provided an outlet for creativity. Some were widely used, but local practice varied. Seeking greater uniformity, the Council of Trent banned most sequences retaining only four of the best known, including Vitimae paschali laudes, and the sequence from the Requiem (Mass for the Dead), Dies irae.

Chant dialects

Following the disintegration of the Western Empire circa 476, Western Europe became fragmented, resulting in several different rites and therefore chant dialects when groups adopted the Christian faith over time. The primary resulting chant dialects were Gallican chant (Gaul), Celtic chant (Ireland), Mozarabic chant (Spain), Beneventan chant (southern Italy), and Ambrosian chant (Milan), although most are similar to Rome's chant. The most important center for the Western Church besies Rome was Milan, and therefore Ambrosian chant has been preserved (even to this day) despite attempts to suppress it. Beginning the eighth century, popes and rulers attempted to standardize what was said and sung in church services in order to consolidate power, and nearly all of the dialects were eventually absorbed or disappeared.

13. Greater Perfect System

Four tetrachords with an additional lowest note to complete a two octave span.

Sacred vs. secular

Guillaume de Machaut and Francesco Landini focused on secular music, as well as the papal court at Avignon. However, composition of sacred music remained strong. This reflects what was occurring in modern day,viewed as an authority by Europeans, but becoming questioned as France gained control of the pope.

9. Minnesinger

Knightly poet-musicians who wrote in Muddle High German. Flourished between 1100s and 1300s, they sang of love in their (strophic) songs, with an emphasis on faithfulness, duty and service that reflected the loyalty that knights and nobles owed to their king and that Christians owed to the church.

8. What are the Ordinary portions of the Mass (list them in order)?

Kyrie, Gloria, Credo, Prayers, Sanctus, Canon, pater noster, Agnus Dei, and Ite,missa est

6. List 5 of the Proper items of the Mass

Kyrie, Gloria, Credo, Sanctus, and Agnus Dei. The Kyrie ("Lord") represents the Holy Trinity and captures the hopes of the worshippers, and originates from a Byzantine processional litany. The Gloria is a formula of praise to God that covers the doctrine of the Trinity and again asks for mercy. The Credo is a statement of faith summarizing church doctrine and telling the story of Jesus' incarnation, crucifixion, and resurrection. The Sanctus ("Holy, holy, holy") is a chorus of praise from the vision of Isaiah. Agnus Dei ("Lamb of God") was adapted from a litany and is sung by the choir in the conclusion of the Liturgy of the Word.

8. Ars Subtilior

Latin: "more subtle art". A style of polyphony from the late 14th or very early 15th centuries in southern France and Northern Italy, distinguished by extreme complexity in rhythm and notation.

11. Liber usualis

Means "book of Common Use", which contains the most frequently used texts and chants for the Mass and Office. The Solesmes editions were adopted as the official books for use in services and are used in most recordings of Gregorian chant.

11. Quadrivium

Means "four paths"; the last four of the seven liberal arts as described by Martianus in the early fifth century: geometry, arithmetic, astronomy, and harmonics (music). The section on music relied on Aristides Quintilianus's On Music. It is significant because Martianus's work in which this was, was widely read in the early fifth century, and transferred many Greek philosophy ideals to western Europe.

6. Neumes

Means "gesture"; the earliest notation by the Catholic Church, where these signs were placed above the words to indicated the number of notes, whether the melody ascended or descended, or repeated a pitch, and some form of rhythm and performance manner. It is thought that neumes may have been derived from inflection/accent signs such as those used in languages. However, neumes did not denote specific pitches or intervals, so they outlined the musical shape but could not be read by anyone that did not already know the melody, and so some form of oral transmission still occurred. (c. 850)

10. Trivium

Means "three paths"; the first three of the seven liberal arts as described by Martianus in the early fifth century: grammar, dialectic, and rhetoric (which make up the verbal arts).

12. Vielle

Medieval bowed string instrument, early form of the fiddle and predecessor of the violin and viola. Varied in size, but typically had five strings tuned in fourth or fifths.

15. Carole

Medieval circle or line dance usually accompanied by a song sung by one or more of its dancers.

Estampie

Medieval instrumental dance that features a series of sections, each played twice with two different endings, ouvert and clos, Preservation of vernacular song (musical sources, melody, rhythm, poetry, notation) -Most vernacular poems did not survive,Written with neumes,The epic survived; specifically the chanson de geste from northern France,Recounts the deeds of national heroes,Sung to simple melodic formulas,Old English epics, Norse eddas, and German epics were also recovered and were likely sung, but the music was not written down,Trouvere songs were preserved in chansonniers,Some appear with more than one meoldy ,Troubadour and trouvere songs are strophic; each stanza has the same melody, Melodic range not usually more than a ninth, Melody often conjunct; sometimes includes thirds

11. Cantigas

Medieval monophonic songs in Spanish or Portuguese

5. mode, tempus, prolation

Mode was as division of the long in 14th century rhythmic notation; tempus was the division of the breve; and prolation was the division of the semibreve.

Relationship between music and poetry

Much of poetry was sung in the Middle Ages,Many poems were strophic, with a sung refrain, Poetry had a regular pattern of accents, creating a beat; Bards, or poet-singers sang epics at banquets and other occasions, accompanying themselves on harp, fiddle, or a similar instrument.

7. heighted, diastematic

Neumes placed at varying heights above the text to indicate the relative size and direction of intervals. This was a stride towards clearer pitch notation, but was not adopted everywhere due to performance indicators that were sacrificed.

h. Earliest musical notation (850)

Neumes were placed above to the words to indicate the melodic contour for each syllable. This is important because it shows a movement towards notated music that could be more easily recorded in time.

4. ethos

One's ethical character or way of being and behaving. Greek writers thought that music could affect this.

2. Conductus

Originated in the 12th century as a serious Latin song with a rhymed, rhythmical text, similar to a sequence but without the paired phrases. Set to newly composed melodies not based on chant.

3. What is the difference between philosophical and theoretical writings on music?

Philosophical writings on music discuss the nature of music, its effects, and it's proper uses (i.e. discussed music as an idea and its role in society), Theoretic writings on music delved into descriptions of the mechanics and materials of music (e.g. intervals, scales, species)

2. What historical evidence do we rely on in studying the history of music?

Physical remains such as musical instruments and performance areas, Images of musicians, instruments, and performances, Writings about music and musicians, Music, either notated, or preserved through oral tradition or recordings

Style, genre, and function of plainchant

Plainchant was sacred music that was meant as a method for declaiming the words of the Gospel, because it was easier for worshippers to understand in a reverberant church. There was no attempt to express emotions or depict images in the music; the melodies reflect the shape of the text. Most phrases resemble arches, and accented syllables are often set to higher notes. The genres were recitation formulas (meant for intoning prayers and Bible readings); psalm tones (formulas for singing psalms in the office); office antiphons; office hymns; antiphonal psalmody; responsorial psalmody; and chants of the Mass Ordinary.. (530- on)

4. What is the Greek view of music in education?

Plato and Aristotle said that education should stress music to discipline the mind, Plato felt that too much music made one weak and irritable, however; Aristotle felt that it was menial and vulgar to play solely for the pleasure of others rather than for one's own improvement

6. Troubadour/ trobairitz/ trouvère

Poet composers in southern France who language was Occitan, and spread north, where the poet language was Old French. Supported by the many castles and courts, they came from varied backgrounds. Important because they were supported by patrons and their poems were preserved in chansonniers (songbooks).

Relationship between music and poetry

Poetry often served as the texts to songs, especially madrigals. Poetry also shared some rhythmic similarities, as musical rhythmic modes were derived from the "long-short" rhythms that poetry had from accented beats.

14. Postive and portative organs

Positive organ is an organ from the medival through baroque periods that was small enough to be moved, usually played on a table, and required an assistant to pump the bellows. Portative organs were medival or renaissance organs small enough to be carried, held by a strap. It had a single set of pipes and was typically played by one hand while the other worked the bellows.

The values and program instituted by Charlemagne and their long-term effect

Promoted learning and artistic achievement, Improved education, encouraged primary schools in monasteries and cathedral towns, Resulted in Charlemagne's and his son's courts becoming centers for intellectual and cultural life, In turn, this created opportunities for poets and musicians, also helping the development of troubadours and trouveres, even after Charlemagne's death, and the death of his son, Nobility later competed for prestige by hiring the best singers, instrumentalists, and composers, supporting music.

2. church calendar

Religious schedule of days commemorating special events, individuals, or times of year. An example: The Catholic Church calendar includes Easter, Ash Wednesday, Lent, and other dates that correspond with religiously significant events. Church calendar was significant because the selections of chant corresponded with it. Church calendars became more evolved and specific also in 1054.

16. Recitation formulas

Simple melodic outlines that some parts of the Mass and Office are chanted to, that can be used with many different texts.

29 10. madrigal

Song for two or three voices without instrumental accompaniment, from the 14th century. All voices sing the same text, usually an idyllic, pastoral, satirical, or love poem. Consists of two or more three-line stanzas, each set to the same music.

7. Chansonnier

Songbooks in which Troubadour and touvere compositions were preserved in. Because of the chansonniers, about 2,600 troubadour poems survive, a tenth with melodies, and 2,100 trouvere poem survive, with nearly two-thirds with melodies. Also, because of the variants of text and music in the chansonniers, it has been suggested that the poems and melodies were both composed orally, rather than on paper, for some time before being written down.

Talea:24, Color: 24 3. talea, color

Talea is a repeated rhythmic pattern in an isorhythmic composition, whereas color is a repeated melodic pattern. Color is also the Latin term for "ornament".

Evolution of the Roman Catholic Church in the development, dissemination, and preservation of music

The Roman Catholic Church advanced musical development and ideas through the use of it as a tool for the Liturgy, especially following the split of the Orthodox and Catholic churches in 1054. Proselytizing using music also was important in the dissemination of it. However, further (and arguably greater) development was achieved with notation around 850, as a result of the Church's movement to standardize chants. Notation also allowed for manuscripts to be created which could be used to recreate music, as well as preserve it for the future.

5. Proper

The collections of texts that correspond to certain parts of the Mass and vary from day to day. Important because many parts of this section are sung.

15. Solmization

The introduction of a set of syllables that correspond to the pattern C-D-E-F-G-A to facilitate sight singing. The initial syllables were ut, re, mi, fa, sol, la. This is important because it facilitated the location of semi-tones in chants, and was a precursor to modern day solfege.

5. oral transmission

The learning of music by hearing others sing it, which requires no notation. It is suggested that medieval singers composed new songs by drawing on existing conventions and formulas, which could also be used to help recall melodies. The significance of this is that by the seventh century, previous notation had been forgotten, which caused unsuitable variation in liturgical chant, resulting in the need and creation for chant notation around 850.

Rhythm

The monks of Solemes developed a modern practice to solve the issue of rhythm in early notation, by singing chants as if all notes had the same basic value, and notes are grouped in twos or threes, and those groups can be flexibly combined into larger units. This practice was approved by the Catholic Church as conforming with the spirit of the liturgy. They also developed a modernized form of chant notation to be used in the Church. This was declared as the official Vatican editions in 1903. This is significant because it solves the conundrum of interpreting rhythm that was largely not present in early notated works.

3. Mass

The most important service in the Roman Church, which includes a symbolic reenactment of the Last Supper and the giving of Communion, and can also include bible readings and psalm-singing.

1. Liturgy

The prescribed body of texts to be spoken or sung and ritual actions to be performed in a religious service.

7. Ordinary

The remaining texts of the Mass (rather than the Proper) that do not change, but can have varying melodies. Important because many musical sections are in these texts. The last section of this was added in 1014.

4. Gregorian chant

The repertory of ecclesiastical chant used in the Roman Catholic Church. It received its name from Pope Gregory I, who although an important member of the Church, didn't seem to have any role in Gregorian chant (it was after his time), besides the legend that the chants were dictated to Gregory by the Holy Spirit. This is significant because Gregorian chant was an attempt by Pepin the short, and continued by his son Charlemagne to consolidate the power of the church across the kingdom and ally the church by standardization of chant text and melodies, and the legend enhanced the idea that the chant was divinely inspired. The order for a standardized chant was given by Pepin around 754. However, Gregorian chant continued to spread across Western Europe for centuries, creating a unified church and widespread standardized chant.

12. Responsorial, Antiphonal, Direct

The three manners of performance for chant. Responsorial- From "response; in which a soloist alternates with the choir or congregation. Antiphonal - From "sound-returning"; in which two groups or halves of the choir alternate. Direct - Meaning without any alternations at all.

3. harmonia

The unification of parts into an orderly whole. Music was thought by the Greeks to exemplify this.

Expansion of plainchant

Tropes expanded existing chant by adding text and/or music to existing chants. The sequence became a popular genre from the late ninth through the twelfth centuries, meant to embellish the liturgy (like tropes). Also, liturgical drama and dialogues were an expansion of plainchant. These expansions are important indicators of the large role music had in religious life, and also of the important role religion held at the time.

The authority of chant-its power and permanence as a repertory

Troping was done by either adding text and music before chants and in between phrases; adding text only where existing melisma were; or by extending or adding melismas. Troping resulted in more complex pieces, often melismatic. It was later banned by the Council of Trent (1545-63) in order to simplify the liturgy. This holds significance because the embellishment of music shows a desire and ability to expand it, working towards the idea of polyphony.

Nature of the 14th-century motet

Utilized isorhythms in extended and more complex ways, which allowed singers to see patterns more quickly and commit them to memory more easily. Webs of meaning and sound link the texts, and complex interrelationships in both the text and music were aimed at educated listeners.

14. tonos (tonoi)

a scale or set of pitches within a specific range or region of the voice

7. scale

a series of three or more different pitches in ascending or descending order.

12. Musica enchiriadis

an anonymous ninth century treatises meaning Music Handbook, which was directed at students who aspired to enter clerical orders. It describes the eight modes and provided exercises for locating semitones in chant, and explains the use of consonances in polyphony. Significant because it was one of the first treatises that did hold theoretical or philosophic musical knowledge/thought over practical musical skills.

10. chromatic

based on semitones; chromatic tetrachords included two half step movements

9. diatonic

based on seven discrete intervals, such as a major or minor scale.

11. enharmonic

commonly known as different spelling of the same pitch; enharmonic tetrachords contain two quarter step movements

12. conjunct and disjunct tetrachords

conjuct if consecutive tetrachords shared a note, disjunct if separated by a whole tone

5. doctrine of imitation

music that imitated an ethos aroused that ethos in a listener, and caused certain behaviors, according to Aristotle

1. Rite

pattern of worship consisting of a church calendar, liturgy, and repertory of chant. An example of this would be the Catholic rite, whose calendar includes Easter, Ash Wednesday, Lent, and other dates; whose liturgy is traditionally spoken in Latin and is specific to each service; and has many songs, originally in Latin as well. This is significant because as different churches began to emerge from the Catholic Church, the music evolved for each church. New churches (and therefore rites) began emerging with the divide of the Roman Catholic Church and Orthodox Church in 1054.

3. Liturgy

religious body of texts and ritual actions. The Catholic liturgy is traditionally spoken in Latin and involves the idea of receiving Communion each mass. The liturgy had been around some time, but again began evolving in 1054.

6. diastematic

varying intervallic movement

B-flat

was the only chromatic alteration made in chant that made use of modes in the 11th and 12th centuries, only to B's when the mode gave prominence to F. Chromatic alterations were generally not viewed favorably by the church.