Musc030 module 1 vocab set
Aritoxenus: who was he? During what time period was he active? What musical terms did he come up with?
-Greek philosopher -4th C BCE -note, interval, scale
Pythagoras: who was he? During what time period was he active? What was his opinion on music? What musical terms did he come up with? What musical instrument did he invent, and why is it important?
-Greek philosopher, mathematician -6th C BCE -He believed that there was a connection between music proportion and heavenly bodies ("cosmos" means order). Music can affect ethos .: powerful .: must be regulated. Musical voices of gods could be measured mathematically. -tone, semitone, and thus 4th/5th intervals and octaves -monochord: like a violin setup (bound string with a movable bridge underneath that changes pitch of plucked string depending on the distance betweem the movable bridge and the edge of monochord) -monochord is important because it allows Pythagoras to mathimatically calculate the pitch of sound of a plucked string depending on the distance the bridge is moved. He organized these findings into pitch intervals.
When was renaissance era?
1400-1600
When was baroque era?
1600-1750
When was classical era?
1750-1800
When was romantic era?
1800-1900
When was 20th century era?
1900-2000
When was medieval era?
473-1400
In ancient Greek mythology, the lyre was associated with what Greek diety/philosopher? A-Apollo B-Aristotle C-Dionysus D-Homer E-Plato
Apollo
Who was likely to have written this: "it is ... plain that music has the power of producing certain effects on the ethos of the source, and if it has the power tod othis, it is clear that the young mjust be directed to music and must be educated in it. A-Aristides Quintilianus B-Aristotle C-Aristoxenus D-Homer E-Pythagoras
Aristotle
Plato asserted that music was an essential part of component of education except: A-music and poetry are inseparable B-music is enjoyable to listen to C-musicians were valued in society D-studying music helps to balance mental and physical activity E-studying music helps to understand mathematics
D-studying music helps to balance mental and physical activity
According to Aristotle, different kinds of melodies could cuase the listener to xperience what? A-emotions B-hallucinations C-philosophical thoughts D-physical health E-religious epiphanies
Emotions
Note
FROM ANCIENT GREECE TO MIDDLE AGES -A sound of certian pitch and duration -Written sign for such a sound in musical duration -Key pressed with a finger on a piano/organ
Semitone
FROM ANCIENT GREECE TO MIDDLE AGES -AKA: half-steps -Smallest musical interval used in Western tonal music -Ex: E and F, black and white key next to each other
Tone
FROM ANCIENT GREECE TO MIDDLE AGES -AKA: whole step -an interval equivalent of 2 half-steps -Ex: two white keys next to each other; two black keys next to each other, E and F#
Describe the Epitath of Seikilos
FROM ANCIENT GREECE TO MIDDLE AGES -First written Western piece of music -Created in 1st century CE -Had a certain rhythm -Rhythm of music determined by rhythm of speech inscribed -composed of short and long syllabus -ends with a cadence (descending notes as a conclusion to the piece) -pauces between each of the musical phrases
Scale
FROM ANCIENT GREECE TO MIDDLE AGES -Series of at least 3 pitches in ascending or descending order -Selection of ordered pitches that provides the pitch material for music
Describe types of texture
FROM ANCIENT GREECE TO MIDDLE AGES 3 types of texture: monophony, heterophony, and polyphony
Describe a lyre
FROM ANCIENT GREECE TO MIDDLE AGES A krar essentially Played in ancient greece
Rhythm
FROM ANCIENT GREECE TO MIDDLE AGES Aspect of music having to do with the duration of notes in time
Texture
FROM ANCIENT GREECE TO MIDDLE AGES Blend of various sounds and melodic lines occurring simultaneously in a piece of music
The Epitath of Seikilos is a musical composition from what historical age? A-ancient Babylon B-the Bronze Age C-ancient Greece D-ancient Rome E-the Stone Age
FROM ANCIENT GREECE TO MIDDLE AGES C-Ancient Greece
All of the following types of evidence about musical culture from ancient Greece and Rome today except: A-musical instruments B-notated music C-recorded sound D-visual images of music making E-writings about music
FROM ANCIENT GREECE TO MIDDLE AGES C-recorded sound
Melody
FROM ANCIENT GREECE TO MIDDLE AGES Comes from "melos," Greek term for music as a performing art Defn: an organized series of notes (pitches)
Monophony
FROM ANCIENT GREECE TO MIDDLE AGES Consisting of a single melodic line
Interval
FROM ANCIENT GREECE TO MIDDLE AGES Difference/distance between two pitches
Polyphony
FROM ANCIENT GREECE TO MIDDLE AGES Different instruments playing different melody
The Byzantine Empire corresponds roughly to this modern region
FROM ANCIENT GREECE TO MIDDLE AGES Greece, Turkey, and Eastern Europe
Charlemagne was a ___.
FROM ANCIENT GREECE TO MIDDLE AGES Holy Roman emperor.
Describe an aulos
FROM ANCIENT GREECE TO MIDDLE AGES Two flutes taped at the ends that are played at the same time Played in ancient greece
Heterophony
FROM ANCIENT GREECE TO MIDDLE AGES Variation of melody achieved by multiple instruments
Tetrachord
FROM ANCIENT GREECE TO MIDDLE AGES in Greek and medieval theory, a scale of four notes spanning a perfect fourth
The history of Western music can be traced primarily to __
Greece
Discuss the Council of Trent and Counter-Reformation. When did it occur? What was it a response to?
It was a response to the Protestant reformation, and criticized , among other things, the use of musical imitation, which they believed made it difficult to understand the sacred lyrics being said. they wanted to revert back to the Gregorian chant type of musical composition and performance. Council of Trent and Counter-Reformation (1545-1562) •Chant had to be brought back to its original form •abolition of all tropes and sequences in the liturgy •new edition of the liturgical books commissioned to Giovanni Pierluigi da Palestrina •abolition of all non-Gregorian melodies•liturgical text should be easily understood: polyphony and imitation were often criticized
[Italian] Madrigal. When did it become popular, and why?
LATE RENAISSANCE: CHURCH MUSIC AND MADRIGALS (Italian madrigale, "song in the mother tongue") The advances in single/multiple impression and the development of partbooks allowed for the creation of the musicla genre called the "italian madrigals" to emerge. (1) 16th-century Italian poem having any number of lines, each of seven or eleven syllables -usually 1 singer/part -alternative to homophony and imitative polyphony -declamation and word painting were developed with great subtlety
Protestant chorale
LATE RENAISSANCE: CHURCH MUSIC AND MADRIGALS -A chorale is a melody to which a hymn is sung by a congregation in a German Protestant Church service. -(German evangelisches Kirchenlied, literally, "evangelical church song"), a sacred hymn written to a German text and associated with the Protestant religion. -The Protestant chorale originated in Germany in the 16th century during the Reformation and the Peasant War, when T. Münzer and M. Luther replaced the Latin service with German hymns and psalms sung by the congregation. Luther and his collaborators created a collection of hymns to meet the need raised by the new services. -Most of the texts for the chorales were German translations of Catholic hymns and adaptations of old German sacred songs, but there were also some original texts. Luther wanted the chorales to be beautiful, impressive, and simple—easy for a congregation untutored in singing to understand and perform. Adaptations of tunes from Gregorian chant were often used, but German folk songs were the main source for the chorale melodies. Melodies of secular songs, as well as sacred songs, were adapted to German texts. In addition, songs by well-known musicians were used. Thus, H. Sachs' "Silver Melody" was the basis for the famous chorale "Ein' feste Burg ist unser Gott" ("A Mighty Fortress Is Our God"), which F. Engels called the Marseillaise of the 16th century. The Protestant chorale was distinguished from the folk song by its even rhythm, which eliminated freedom of melodic movement, confining the melody within strict limits. Chorales were very gradually incorporated into the church service.
Multiple impression printing
LATE RENAISSANCE: CHURCH MUSIC AND MADRIGALS -Type of Renaissance music painting -created in England -previously: professionals would hand write each piece of music .: expensive and inaccessible to many people -but with multiple impression, more people could by and play music
Single impression printing
LATE RENAISSANCE: CHURCH MUSIC AND MADRIGALS -created in France, as response to multiple impression printing in england -able to print music more efficiently
What was the English madrigal? where did it come from?
LATE RENAISSANCE: CHURCH MUSIC AND MADRIGALS -it was the response to the popular Italian madrigal. it was developed at the end of teh 16th century -developed at the end of the 16th century •prompted by the success of Italian madrigals in Elizabethan England •Elizabeth I of England (reigned 1558-1603) herself was an accomplished musician and maintained a rich musical environment
Liturgical drama
MIDDLE AGES: SACRED MUSIC Dialogues and more elaborate plays in Latin. Performed in church with processions and stylized actions
Partbook
LATE RENAISSANCE: CHURCH MUSIC AND MADRIGALS A manuscript or printed book containing the music for one voice or instrumentla part of a polyphonic composition (most often, an anthology ofp ieces); to perform any piece, a complete set of partbooks is needed, so that all the parts are represented
Who was Giovanni Pierluigi da Palestrina? When did he live?
LATE RENAISSANCE: CHURCH MUSIC AND MADRIGALS Giovanni Pierluigi da Palestrina (c. 1525-1594) •Singer and choirmaster, primarily active in Rome •worked for all the most important Roman chapels, including the Sistine Chapel (the Pope's personal chapel)•primarily composer of sacred music: composed over 100 masses (ordinary) •legend: responded to the Counter-Reformation with the Pope Marcellus Mass
Movable type
LATE RENAISSANCE: CHURCH MUSIC AND MADRIGALS Movable type (US English; moveable type in British English) is the system and technology of printing and typography that uses movable components to reproduce the elements of a document (usually individual letters or punctuation) usually on the medium of paper.
What was the Protestant Reformation? When did it occur?
LATE RENAISSANCE: CHURCH MUSIC AND MADRIGALS Protestant Reformation (1517-1555) •Promoted by German theology professor, composer and priest Martin Luther •the Bible should be easily accessible•music is a"gift from God", and a spiritually elevating activity (like Plato and Aristotle!) •adapted preexisting simple, catchy tunes (or composed new ones) to be sung by the congregation during the service in substitution of plainchant •those songs would be harmonized in 4 parts, creating the genre of the protestant chorale
Compare and contrast medieval and renaissance music
MEDIEVAL: -chant (monophonic) -early polyphony as an elaboration on chants (Ex: florid organa) -early rhythm and notation -thin textures (not very intricate lyrics and rhythms) RENAISSANCE: -homophony more common -chant use as scaffolding, not main focus -polyphonic textures (imitative or not) -rhythm more codified -thick textures (voices interactions more intricates)
organum
MIDDLE AGES: POLYPHONY (1) one of several styles of early polyphony from the ninth through thirteenth centuries, involving the addition of one or more voices to an existing chant (2) a piece, whether improvised or written, in one of those styles, in which one voice is drawn from a chant.
motet
MIDDLE AGES: POLYPHONY (from French mot, "word") Polyphonic vocal composition having two or more independent voices, often with a different text in Latin or French for each voice, usually above a chant tenor. from the fifteenth century on, any polyphonic setting of a Latin text (other than a Mass); from the sixteenth century on, sacred compositions in any language
discant
MIDDLE AGES: POLYPHONY (latin, "singing apart") (1) 12th century style of polyphony in which the upper voice or voices have about one to three notes for each note of the lower voice. (2) Treble part
florid organum
MIDDLE AGES: POLYPHONY 12th-century style of two-voice polyphony in which the lower voice sustains relatively long notes while the upper voice sings note-groups of varying length above each note of the lower voice
clausula
MIDDLE AGES: POLYPHONY In Notre Dame polyphony, a self-contained section of an organum that closes with a cadence.
Describe the role of music in medieval society (besides religion).
MIDDLE AGES: SACRED AND SECULAR SONG Not only associated with religion Used to signal the start/end of many activities -ex: open/close of city markets -ex: start/end working day, etc Music and dance on important holidays Used as a symbol of specific social groups (ex: aristocracy)
During what time period was the fall of the Roman Empire and the Middle Ages? What was the stage of Christianity's influence in this area?
MIDDLE AGES: SACRED MUSIC -5th century CE -Christianity spread widely through liturgical rites
Mode
MIDDLE AGES: SACRED MUSIC -One of the scales used by medieval theories to classify the traditional Gregorian repertoire -A scale or melody type, identified by the particular intervallic [interval = distance in pitch between two notes] relationship among the notes in the mode. -In particular, one of the either scale or melody types recognized by church musicians and theorists beginning in the Middle Ages, distinguished from one another by the arrangement of whole tones and semitones around the final, by the range relative to the final, and by the position of the tenor or reciting tone.
Plainchant
MIDDLE AGES: SACRED MUSIC -liturgical, monophonic music -usually non-metric -aka gregorian chant, plain song, chant -performed in churches and monasteries as part of liturgy of the office and mass -performed by men and women, but to different degrees -divinely inspired (remember St Gregory!) -classified in modes
What is Mass?
MIDDLE AGES: SACRED MUSIC -main Roman Catholic liturgical service -music written for it -each musicla mass had 5 sections (don't need to know this)
What was the Liturgical Day?
MIDDLE AGES: SACRED MUSIC -religious music performed during certain ceremonies -8 main prayers per weekday of worship -special prayers on sundays, mass, holidays
What are the types of text setting found in plainchants?
MIDDLE AGES: SACRED MUSIC -syllabic: where 1 syllable = 1 note -neumatic: where 1 syllable = 2-3 notes -melismatic: where 1 syllable = many (at least 4) notes
How many Psalms are there?
MIDDLE AGES: SACRED MUSIC 150
When did the Roman Empire split into the Eastern (Byzantine) Empire, centered in Constantinople, and the Western Empire, centered in Rome and Milan?
MIDDLE AGES: SACRED MUSIC 395 CE
During what time periods was the Gregorian chant and its respective musical structure implemented?
MIDDLE AGES: SACRED MUSIC 9th century to 17th century
Liturgy
MIDDLE AGES: SACRED MUSIC A fixed set of ceremonies (texts, actions, music) that comprise a public and communal form of worship
All the following are examples of tropes except ___ A-adding new melismas to an existing chant B-adding new parts for instruments such as the organ C-adding new words and music to the beginning of an existing chant D-adding new words to a melisma of an existing chant E-performing the text in dialogue with dramatic action
MIDDLE AGES: SACRED MUSIC Adding new parts for instruments such as the organ
In the medieval Christian church, the primary purpose of liturgical music was to ___
MIDDLE AGES: SACRED MUSIC Aid in the delivery of the text
What are liturgical rites?
MIDDLE AGES: SACRED MUSIC An autonomous particular church, or particular church sui iuris: an aggregation of particular churches with specific liturgical rites along distinctive theological, liturgical, spiritual and canonical traditions.
Trope
MIDDLE AGES: SACRED MUSIC An expansion of an existing chant in 3 ways: 1-new text and music before beginning or between phrases 2-melody only - ex: expanding melismas 3-text only set to existing melismas
The manner of performance in which two choirs alternate singing is called ____
MIDDLE AGES: SACRED MUSIC Antiphonal
Meter
MIDDLE AGES: SACRED MUSIC Any recurring pattern of strong (stressed) and weak (unstressed) beats
Describe how music passed on from person to person before proper notation was invented.
MIDDLE AGES: SACRED MUSIC Before notation, people had to repeat music, and .: results in variations in melody There was not a proper system to record music until the 9th century
Describe the birth of music notation. What are the types of music notation used during this time?
MIDDLE AGES: SACRED MUSIC Charlemagne was a crucial leader of the birth of musical notation Earliest type was neumatic notation -this kind of notation only includes lyrics and neums, not eact notes or rhythms Later, in the 11th century, the diastematic notation was used - this kind of notation now includes pitches
Describe the influence of Charlemagne and the myth of the Gregorian Chant.
MIDDLE AGES: SACRED MUSIC Charlemagne was the first king post Roman Empire He wanted to centralize his power .: invented the myth that Pope Gregory I (in 6th century) heard divinely inspired melodies from a dove. Thus, Gregory proclaimed that the melodies he heard must be learned and repeated (via a "Gregorian chant"). The melodies made had to implement a system of scale. Each scale was called a "mode"
The schedule of days commemorating special events in the lives of Christ and the saints or times of year is called the ___
MIDDLE AGES: SACRED MUSIC Church calendar
What is a text setting?
MIDDLE AGES: SACRED MUSIC Composition of vocal music to a given text Basically, it determines how many notes were assigned to each syllable in the piece
Diastematic notation
MIDDLE AGES: SACRED MUSIC Diastematic or heightened neums are drawn on at least 1 staff lines to indicate pitches precisely
Beginning in this century, monks and nuns from this region played an essential role in copying the chant melodies associated with Christian worshop?
MIDDLE AGES: SACRED MUSIC France and Germany
The longest and most melismatic chant of the Mass Proper is the ___
MIDDLE AGES: SACRED MUSIC Gradual
The regional style of chant used in Christian worship were absorbed into a uniform practice known as?
MIDDLE AGES: SACRED MUSIC Gregorian chant
Sequence (medieval)
MIDDLE AGES: SACRED MUSIC In middle ages, a type of plainchant in which successive phrases of text receive a nearly identical melodic treatment
All of the following Mass movements are parts of the Ordinary except the __ A-Credo B-Gloria C-Introit D-Kyrie E-Sanctus
MIDDLE AGES: SACRED MUSIC Introit
Why did church musicians develop a system for notating chant?
MIDDLE AGES: SACRED MUSIC It helped advanced the goal of seminating a unified liturgy
Goliard songs are in what language?
MIDDLE AGES: SACRED MUSIC Latin
Why was Hildegard of Bingen's music known only locally during her lifetime?
MIDDLE AGES: SACRED MUSIC Most composers in the middle ages only had only a local reputation
Modality
MIDDLE AGES: SACRED MUSIC Musical system that adops ecclesiastical [relating to the Christian Church or its clergy] modes to compose and classify music Modal = making use of mode.
Cadence
MIDDLE AGES: SACRED MUSIC Notes or chord (or whole short passage) ending a section of music with a feeling of conclusiveness
The cycle of prayers said throughout the day in monasteries and convents is called the ___
MIDDLE AGES: SACRED MUSIC Office
The liturgy of the Office focused primarily on chanting the ___
MIDDLE AGES: SACRED MUSIC Psalms
Why was early music associated with religion?
MIDDLE AGES: SACRED MUSIC Religion had high political and social importance and had monetory resources to transcribe Gregorian repertroire
Neums
MIDDLE AGES: SACRED MUSIC Scribble-like conventional signs indicating the general shape of a melody
Discuss Hildegard of Bingen.
MIDDLE AGES: SACRED MUSIC She was a composer of lots of Gregorian chants She was alive 1098-1179 1st composer whose biography is known Writer, composer, mystic, abbess (a female leader of a community of nuns), visionary Composed the "Ordo virtutum," the oldest surviving morality play (type of liturgical drama) - included allegorical figures such prophets, virtues, happy and unhappy souls, and the devil
The concept of using the syllables ut, re, mi, fa, sol, la to help singers remember patterns of whole tones and semitones is called ___
MIDDLE AGES: SACRED MUSIC Solmization
What was the divine office hours?
MIDDLE AGES: SACRED MUSIC The Liturgy of the Hours (Latin: Liturgia Horarum) or Divine Office (Latin: Officium Divinum) or Work of God (Latin: Opus Dei) or canonical hours, often referred to as the Breviary, is the official set of prayers "marking the hours of each day and sanctifying the day with prayer". Each prayer had psalms and chants Music accompanied many of the prayers
What is a Gradual?
MIDDLE AGES: SACRED MUSIC The Roman Gradual (Latin: Graduale Romanum) is an official liturgical book of the Roman Rite of the Roman Catholic Church containing chants, including the Gradual proper and many more, for use in Mass. Basically, it showcases the prayers used only on certain days, as opposed to everyday prayers
Neumatic notation
MIDDLE AGES: SACRED MUSIC The earliest system of musical notation prior of the invention of the 5-staff nutation
The focal point of the Christian Mass is a symbolic reinactment of what?
MIDDLE AGES: SACRED MUSIC The last supper
The Mass is a symbolic reenactment of which episode in the life of Christ
MIDDLE AGES: SACRED MUSIC The nativity
In responsorial psalmody, the soloist sings which portion of the chant?
MIDDLE AGES: SACRED MUSIC The psalm verse
Popes and secular rulers from the eighth century on sought to standardize the Catholic liturgy in order to ___
MIDDLE AGES: SACRED MUSIC centralize political and spiritual authority
Describe the rise of Christianity in the late Roman imperial age
MIDDLE AGES: SACRED MUSIC •313 C.E.: edict of Milan gave Christianity legal status •end 4th century: Christianity becomes the official religion of the Roman Empire •construction of several basilicas and redefinition of the liturgy — music included. •adoption of "pagan" rituals and even buildings.
Describe the ways in which the Gregorian chant / plainchant repertroire was expanded.
MIDDLE AGES: SACRED SONG 1) sequence: sacred musical genre; pair of lyrics have the same melody 2) trope: extension of a song - ex: can add melismas, set melismas to a different text, add music to start/end 3) liturgical drama: performed drama featuring allegorical figures
What were the two components of the liturgy? Explain them.
MIDDLE AGES: SACRED SONG Divine office hours and mass. 1) divine office hours: daily set of prayers and songs in plainchant for each hour of the day 2) mass: reinactment of the last supper; music was written for it, and was composed of 5 sections; all of these sections were part of the ordinarium
The Cantigas de Santa María comes from which region?
MIDDLE AGES: SACRED SONG Spain
What was a main feature of the songs written by troubadours and trouveres?
MIDDLE AGES: SECULAR SONG Stophic form and formes fixes, respectively. Relatively somple, monophonic music Probably accompanied by instruments
What was the Cantigas de Santa Maria?
MIDDLE AGES: SACRED SONG The Cantigas de Santa Maria ("Canticles of Holy Mary"; Galician: [kanˈtiɣa̝s ðe̝ ˈsanta̝ maˈɾi.a̝]), Portuguese: [kɐ̃ˈtiɣɐʒ ðɨ ˈsɐ̃tɐ mɐˈɾi.ɐ], are 420 poems with musical notation, written in the Medieval Galician language during the reign of Alfonso X El Sabio (1221-1284) and often attributed to him. It is one of the largest collections of monophonic (solo) songs from the Middle Ages and is characterized by the mention of the Virgin Mary in every song, while every tenth song is a hymn.
Compare paraphrase with medieval organum
MIDDLE AGES: SACRED, RENAISSANCE Unlike medieval organum, paraphrases give plainchant a specific meter and rhythm
Diastematic
MIDDLE AGES: SECULAR MUSIC Having to do with intervals In diastematic motion, the voice glides between pitches that are separated by discrete intervals In diastematic notation, the appropriate intervals are indicated by relative height
Neumatic
MIDDLE AGES: SECULAR MUSIC In chant, having about one to six notes sung to each syllable of text
Estampie
MIDDLE AGES: SECULAR SONG -12th-14th century -it could be vocal and/or instrumental -only medieval dance with both descriptions and clearly-named repertory survived
Strophic form
MIDDLE AGES: SECULAR SONG -format of songs that Troubadours sang -song in different stanzas, with the same music sung for each stanza
Formes fixes
MIDDLE AGES: SECULAR SONG -format of songs that Trouveres sang -poetic forms that affected all song settings of the 14th-15th century. Involved complex repetition patterns with a refrain and music in 2 main sections
During what time period was troubadours popular?
MIDDLE AGES: SECULAR SONG 12th century
During what time period was trouveres popular?
MIDDLE AGES: SECULAR SONG 13th century
Describe how Medieval dances were organized? What were some difficulties with interpreting these dances present day?
MIDDLE AGES: SECULAR SONG Accompanied by songs or instrumental music Usually performed from memory Only 50 dance tunes survived Has pitches and lyrics, but doesn't have tempo and rhythms. Thus, we don't exactly know how it was performed.
Stollen and Abgesang are parts of a song in ___ form. A-antiphonal form B-bar form C-conductus form D-refrain form E-strophic form
MIDDLE AGES: SECULAR SONG Bar form
Vidas
MIDDLE AGES: SECULAR SONG Biographies of troubadours
Describe how the music of troubadours was recorded.
MIDDLE AGES: SECULAR SONG Chansonniers
What kind of love was emphasized by troubadours and trouveres?
MIDDLE AGES: SECULAR SONG Courtly love
What is a jongleur? Where were they found?
MIDDLE AGES: SECULAR SONG Definition and description of the Jongleurs: The Jongleurs can be described as a court attendant or other person such as a traveller who, for hire, recited or sang verses and performed other acts for the entertainment of the audience including thet of a conjuror or a juggler. Jongleur is the French word for juggler. Often the Jongleurs role was to assist the Troubadours or Minstrels. Jongleurs The Jongleurs were often collaborators or assistants of Medieval Troubadours or Minstrels. Jongleurs gained a reputation of itinerant entertainers of Medieval France and in Norman England where many were deemed to be vagabonds and untrustworthy. Their repertoire included extravagant skills in dancing, conjuring, acrobatics, and juggling. The Jongleurs also played a part in singing, and storytelling. Many were skilled in playing musical instruments, although their skills were not greatly recognised or rewarded.
Describe how troubadours/trobairitz and trouveres were similar.
MIDDLE AGES: SECULAR SONG Existed in 12th-14th century France Affiliated with a court Often nobles themselves Different from jongleurs and minstrels (in that j and m were more high-class) Performed for $ .: music performed was mainly determined by public interest; were poor Amateurs, not professional musicians Could be only men (trouveres) or both men and women (troubadours)
What is fin'amour? What is the significance of this?
MIDDLE AGES: SECULAR SONG French for "courtly love," and was emphasized by troubadours and trouveres. This kind of love refers to noble, usually unrequieted love between a knight nad his lady The term was coined in the 19th century Highly theorized form of love (meaning - many composers wrote songs about fin'amour) Very idealized, not very realistic
Who was Bernart de Ventadorn?
MIDDLE AGES: SECULAR SONG Life span c. 1136-1194 More music survives by him versus any other troubadour Wrote various kinds of "cansos" (songs) One of his songs, (assigned on Canvas for 9/8) talks about OP in love with two women, who both turn him down. This piece had different versions of the same story (because not good ways of taking music notations). Had lots of repetition. Idealized form of love.
What is a Minnesinger? Where were they found?
MIDDLE AGES: SECULAR SONG Minnesang (German: [ˈmɪnəˌzaŋ], "love song") was a tradition of lyric- and song-writing in Germany that flourished in the Middle High German period. This period of medieval German literature began in the 12th century and continued into the 14th. People who wrote and performed Minnesang were known as Minnesänger (German: [ˈmɪnəˌzɛŋɐ], minnesingers), and a single song was called a Minnelied. The name derives from minne, the Middle High German word for love, as that was Minnesang's main subject. The Minnesänger were similar to the Provençal troubadours and northern French trouvères in that they wrote love poetry in the tradition of courtly love in the High Middle Ages.
During 12th-14th century France, what were the 2 main French languages spoken? What part of the country did people speak these languages? Which kinds of musicians (troubadours/trobairitz and trouveres) spoke what kinds of languages?
MIDDLE AGES: SECULAR SONG Northern France: langue d'oil spoken here. Trouveres spoke this language Southern France: langue d'oc spoken here. Troubadours spoke this language.
The theme of fine amour in trouvère songs concerns the topic of ___
MIDDLE AGES: SECULAR SONG Respectful love towards an unattainable noblewoman
All of the following statements are true of troubadour and trouvère melodies except: A-the declamation is usually melismatic B-the melodic range tends to be narrow C-melodies move mostly by seconds and thirds D-phrases are usually arch-shaped E-they often can be analyzed according to the church modes
MIDDLE AGES: SECULAR SONG The declation is usually melismatic
What is a goliard? Where were they found?
MIDDLE AGES: SECULAR SONG The goliards were a group of generally young clergy in Europe who wrote satirical Latin poetry in the 12th and 13th centuries of the Middle Ages. They were chiefly clerics who served at or had studied at the universities of France, Germany, Spain, Italy, and England, who protested the growing contradictions within the church through song, poetry and performance. Disaffected and not called to the religious life, they often presented such protests within a structured setting associated with carnival, such as the Feast of Fools, or church liturgy
What is a troubador? Where were they found?
MIDDLE AGES: SECULAR SONG The troubadour school or tradition began in the late 11th century in Occitania, but it subsequently spread into Italy and Spain. Under the influence of the troubadours, related movements sprang up throughout Europe: the Minnesang in Germany, trovadorismo in Galicia and Portugal, and that of the trouvères in northern France. Dante Alighieri in his De vulgari eloquentia defined the troubadour lyric as "fictio rethorica musicaque poita": "rhetorical, musical, and poetical fiction." After the "classical" period around the turn of the 13th century and a mid-century resurgence, the art of the troubadours declined in the 14th century and around the time of the Black Death (1348) it would die out.
Why did musicians like strophic songs?
MIDDLE AGES: SECULAR SONG They had lots of repeating elements .: was easy to memorize, since music notation wasn't very refined at the time.
Bernart de Ventadorn was a ___ A-goliard B-jongleur C-Minnesinger D-troubadour E-trouvere
MIDDLE AGES: SECULAR SONG Troubadour
What is a trouvere? Where were they found?
MIDDLE AGES: SECULAR SONG Trouvère (French pronunciation: [tʁuvɛʁ]), sometimes spelled trouveur [tʁuvœʁ], is the Northern French (langue d'oïl) form of the langue d'oc (Occitan) word trobador. It refers to poet-composers who were roughly contemporary with and influenced by the troubadours (composers and performers of Old Occitan lyric poetry during the High Middle Ages) but who composed their works in the northern dialects of France. The first known trouvère was Chrétien de Troyes (fl. 1160s-1180s) (Butterfield, 1997) and the trouvères continued to flourish until about 1300. Some 2130 trouvère poems have survived; of these, at least two-thirds have melodies. The popular image of the troubadour or trouvère is that of the itinerant musician wandering from town to town, lute on his back. Such people existed, but they were called jongleurs and minstrels — poor musicians, male and female, on the fringes of society. The troubadours and trouvères, on the other hand, represent aristocratic music making. They were either poets and composers who were supported by the aristocracy or, just as often, were aristocrats themselves, for whom the creation and performance of music was part of the courtly tradition. Among their number we can count kings, queens, and countesses. The texts of these songs are a natural reflection of the society that created them. They often revolve around idealized treatments of courtly love ("fine amors", see grand chant) and religious devotion, although many can be found that take a more frank, earthy look at love.
Describe how the lives and music of troubadours was recorded.
MIDDLE AGES: SECULAR SONG lives (via biographies) preserved in vidas. Songs often introduced by razos (background to the song)
Why, throughout history, do scholars know more about the music-making activities of elite members of a given society than of other society?
Music of the elite constitutes most of what survives in written form.
List in time order the types of music notations used in msuic history, also noting the general time period and era these time signatures were used
Neumatic notation (middle ages - scared music) -> diastematic notation (middle ages - sacred music) -> measure/bar / time signature (middle ages - polyphony)
All of the following wrote about Greek music EXCEPT: A-Aristides Quintilianus B-Aristotle C-Orpheus D-Plato E-Pythagoras
Orpheus
___ discovered the relationship between consonant intervals and mathematical ratios. A-Aristotle B-Aristoxenus C-Plato D-Ptolemy E-Pythagoras
Pythagoras
Measure
REINAISSANCE (1) a unit of musical time consisting of a given number of beats; the basic unit of meter (2) metrical unit set off by bar lines
Imitation
REINAISSANCE (1) in polyphonic music, the device of repeating (imitating) a melody or motive announced in one part in one or more parts, often at a different pitch level and sometimes with minor melodic or rhythmic alterations. Usually the voices enter with the element that is imitation, although sometimes imitation happens within the middle of a segment of melody (2) the act of patterning a new work after an esting work or style; especially, to borrow much of the existing work's material.
A cappella
REINAISSANCE (Italian, "in chapel style") Manner of choral singing without instrumental accompaniment
Describe Renaissance music
REINAISSANCE -favors beauty of a capella sonorities (voices alone) -uses consonant (pleasant intervals) harmonies -mixes different textures in same compositions --ex: monophony and polyphony -increased attempts to express feelings
The group of influential Christian writing known as the Church Fathers includes all of the following except: A-Saint Augustine B-Saint Basil C-Saint Jerome D-Saint John Chrysostom E-Saint Paul
Saint Paul
Describe the Renaissance
REINAISSANCE -historical period after the middle ages -"rebirth" = revival of ancient greek and roman culture --rediscovered artisitic techniques and forms of the past -centered in Italy --broken up and consisted of warring city-states had ot stand out from each other artistically -new focus on human experience --effort to portray the world as it really is --scientific muethod based on observation ---more 3D perspective to make art ---art guided by sensory experience
Who was Guillaume Dufay? Life span?
REINAISSANCE 1397-1474 Born in belgium Singer for noble families Very famous composer for his time Known for imitative polyphony and points of immitation Composed at least 6 masses, many hymns and chants and secular music
Who was Josquin Desprez? Life span?
REINAISSANCE 1450-1521 THE Renaissance composer! •Spent much of his career in Italy (Sforza and Este families, Sistine chapel in Rome) •Composed masses, motets, and chansons •Known for imitative polyphony and points of imitation
Declamation
REINAISSANCE A method of setting text or words to music where rhythms and pitches are used to enhance the meaning or sound of specific syllables of the text.
Triple meter
REINAISSANCE A metrical pattern having three beats to a measure
Duple meter
REINAISSANCE A rhythmic pattern with the measure being divisible by two. This includes simple double rhythm such as 2/2, 4/4, but also such compound rhythms as 6/8 Basically, 2 beats per measure
Mensural signs
REINAISSANCE In Ars Nova and Renaissance systems of rhythmic notation, signs that indicate which combination of time nad prolation to use (see mode, time, and prolation). The predecessors of time signatures
Point of imitation
REINAISSANCE In polyphonic work, the musical idea or motive that is the subject of imitation by the other voices
Homophony
REINAISSANCE Musical texture in which all voices move together in esentially the same rhythm, as distinct from polyphony and heterophony. See also melody and accompaniment
Paraphrase mass
REINAISSANCE Polyphonic mass in which each movement is based on the same monophonic melody, normally a chant, which is paraphrased in most or all voices rather than being used as a cantus firmus in one voice
Motive
REINAISSANCE Short melodic or rhythmic idea that recurs in the same or altered form
Time signature
REINAISSANCE Sign or numerical proportion, such as 3/4, placed at the beginning of a piece, section, or measure to indicated the meter
Hymn
REINAISSANCE Song to or in honor of a god. In the Christian tradition, song of praise sung to God
Paraphrase
REINAISSANCE Technique in which a chant or other melody is reworked, often by altering rhythms and adding notes, and placed in a polyphonic setting
Word painting
REINAISSANCE Using musical gestures to reinforce or suggest images in a text, such as a rising gesture on the word "ascend"
Diatonic, chromatic, and enharmatic are types of ___.
Tetrachords
The main practice shared by early Judiasm and Christianity was what? A-the chanting of psalms B-dancing C-living in monastaries D-sacrificing a lamb E-the singing of hymns
The chanting of Psalms
ordinarium
The ordinary, in Roman Catholic and other Western Christian liturgies, refers to the part of the Eucharist or of the canonical hours[1] that is reasonably constant without regard to the date on which the service is performed.
common
contains those parts that are common to an entire category of saints, such as apostles or martyrs.
proper
which is that part of these liturgies that varies according to the date, either representing an observance within the liturgical year, or of a particular saint or significant event
