Music History

What is the difference between a proper prayer and an ordinary prayer? What basic order would the mass move in? (.... .. ... .....) then (.... .. ... ....) then (.... .. ... ....).

Proper Prayers would change everyday (not their spot in the order of the mass but the song itself would change). They would change to represent the Liturgical calendar. Ordinary Prayers were the same every mass (and these are the ones that people write Mass pieces on, because everyone in the church knows them). The words would never change, but the melody could change. The mass would move in this general order: Introductory Section, Liturgy of the Word, and then Liturgy of the Eucharist.

In old chant notation: ij= ? iij=?

ij=repeat the phrase twice iij=repeat the phrase three times.

Troubadours usually wrote (....) forms. Trouveres usually wrote (....) forms.

troubadours=strophic trouveres= rondeau

Pope Gregory II- (715-731 papal reign) (84th pope). -Started the (.... ....) which is a School of Singers. This was Rome's training ground for chant singers. After they graduated from this school, they would go out throughout Europe and teach the proper way to chant to churches. Therefore, it was probably through his reign that the (.... ....) was standardized.

- Schola Cantorum -Gregorian Chant

-Magnus Liber Organi -The Magnus Liber or Magnus Liber Organi (Latin for "Great Book of Organum") is a compilation of the medieval music known as organum. The whole name of the work is Magnus liber organi de graduali et antiphonario pro servitio divino. Written during the (..th and ..th centuries), this series of compositions is attributed to masters of the Notre Dame school of music, most notably Léonin and his successor Pérotin. (These names survive today because of the testimony of an English music theorist known simply as Anonymous IV.) -The Magnus Liber represents a step in the evolution of Western music between (....) and the intricate (....) of the later (.. and ..) centuries (see Machaut and Ars Nova). The music of the Magnus Liber displays a connection to the emerging Gothic style of architecture; just as ornate cathedrals were built to house holy relics, organa were written to elaborate Gregorian chant, which too was considered holy. One voice sang the notes of the Gregorian chant elongated to enormous length (called the tenor, which comes from the Latin for "to hold"); this voice, known as the vox principalis, held the chant, although the words were obscured by the length of notes. One, two, or three voices, known as the vox organalis (or vinnola vox, the "vining voice") were notated above it with quicker lines moving and weaving together. The evolution from a single line of music to one where multiple lines all had the same weight moved through the writing of organa. The practice of keeping a slow moving "tenor" line continued into (....) music, and the words of the original chant survived in some cases, as well. One of the most common types of organa in the Magnus Liber is the clausula (pretty much the upper voices of organum) (eventually became used as substitutes for passages of original plainchant). The music of the Magnus Liber was used in the (....) of the church throughout the feasts of the church year. The text contains only the polyphonic lines and the notation is not exact, as (....) were still several centuries from invention. The chant was added to the notated music, and it was up to the performers to fit the disparate lines together into a coherent whole. But the fact that the music was even written down is a fairly new development in the history of Western music.

-12th and early 13th centuries -between plainchant and intricate polyphony of the later 13th and 14th centuries -secular -liturgy of the church -barlines

What is a motet?

-3 or more lines moving at different times because the words on each line are different. This is the beginning of rhythmic freedom.

Edict of Milan (.... CE) -Emperor (....) (of the West) and (....) (of the East) issued this to establish religious freedom in the Roman empire and to ensure the restitution of property confiscated from (....).

-313 CE -Constantine (of the West) and Licinius Augustus (in the East) -Christians

Rule of St. Benedict- In what year was it written? -This was a book of precepts (instructions) written by St. Benedict of Nursia for monks living communally under the authority of an abbot. Since about the 7th century it has also been adopted by communities of women. During the 1500 years of it's existence, it has become the leading guide in Western Christianity for monastic living in community. -"The Offices" was a (.... ....) (this was part of the Rule of Benedict). Matins (during the night), Lauds (3am), Prime (6am), Terce (9am), Sext (noon), None (3pm), Vespers (6pm), Compline (nightfall). (probably don't have to memorize the schedule, just know what it is).

-530 -prayer schedule (when they would come together to pray/chant).

What did an asterisk indicate in old chant notation?

-An asterisk indicated that the choir would take over from the soloist or other choir (sort of like a "come back in" mark).

Dionysius -played the (....) which was a reed instrument. -God of (....) -Played the "fun" music of that time. Body is involved because you have to use breath support. - a (....) was a leather strap that would hold the Aulos to the face. -When the Romans came along, they called the aulos a (....).

-Aulos - God of Wine - the leather strap was called the phorbeia. - the tibia is the Roman version of the aulos.

Byzantine Church: -Centralized in (....), later (....). Most important city in the eastern part of the Roman empire.

-Byzantium, later Constantinople

Secular Musicians of the Middle Ages (continued) -(... ... .. ..... .....) ("When I See the Lark Beating")- written by Bernart de Ventadorn who was a (....) sometime from (.... to ....). He was probably the son of a serf but became very important and influential because he was a lover of Queen Elizabeth. -this is one of the best known work of Occitan literature. -It is about a woman who he loves and she used to love him too. But now she has thrown him out and he is leaving to go into exile (and he will stop playing music) because he can not have her and his heart is broken. -Since nothing works any more with my lady - neither prayers nor pity nor my rights concerning her; and since it no longer pleases her that I love her, I will never more say it to her. And so I take my leave and go away from her. She has killed me, and I respond to her with death. And I leave, since she doesn't retain me, I the unhappy one, into exile, I know not where.)

-Can vei la lauzeta mover - who was a troubadour -1145 to 1195 -Listen to it! -REMEMBER it is a troubadour song -strophic

Nonliturgical and Secular Monody (continued): (.... .. ....)=song of deeds. -This is an epic narrative about deeds of (.... ....). -transmitted orally in the (....) (as is custom of secular music, it is not in latin typically) -songs are sung to (....) of form. -music not preserved. -texts were not written down until relatively late.

-Chanson de Geste=song of deeds -national heros -vernacular -songs are sung to formulas of form

The (......) (French: estampie, Occitan and Catalan: estampida, Italian: istampitte) is a medieval dance and musical form, it was a popular instrumental style of the 13th and 14th centuries. The estampie consists of four to seven sections, called (.....), each of which is repeated, in the form aa, bb, cc, etc.. Musical Instruments used could have been: -percussion -harp (Ireland and Britain) -vielle-bowed string instrument (played at neck) -rebec-4 string and smaller than vielle (played at chest) -viola de gamba-cello predecessor. -tromba marina- large string instrument played with bow -wind instruments-recorders, trumpets, bagpipes, shawn -organ-portative (a small, but portable pipe organ) and positive (a large, but portable pipe organ). -organistrum- played by turning a crank that rubbed a wheel against three strings (hurdy gurdy)

-Estampie -puncta

Doctrine of (....): -belief that music possessed (....) qualities that could affect character and behavior. War songs could make people want to fight, etc. -Aristotle's "Poetics: Theory of Imitation" talks about how music and poetry can be melded together to imitate not the surface of things but the reality embedded within. -Plato's (....) (Plato's best-known work and has proven to be one of the most intellectually and historically influential works of philosophy and political theory) also talks about morals and music. -the general idea is that the (....) of the music can affect the (....) of the listener. Or really, even more general, that music can effect us emotionally.

-Ethos -Ethos -"Republic" -mode of the music can effect the mood of the listener.

"Orestes" -The entire play was by (....). We have a fragment of the melody on papyrus dating from 408 BCE (42 notes survive). -It was written down in (...) BCE (the notes, text, and rhythm) but it might not be the exact same as the original because it was (.... ....) until this point. -would have been performed by a Stasimon chorus on the orchestra (or (.... ....) in greek). This is where we got our term "orchestra pit". -The instruments would have come in first to set the mood and let the singers get on stage. -The play was about the events that followed after Orestes killed his (....) to avenge his father. This section of the play would be when the women were pleading the (....) not to torture Orestes.

-Euripides -250 BCE -oral tradition -"dancing platform" -mother -Furies

Western Liturgies: -developed independently in several areas of (....). -each region had it's own (....) of chant. -co-op of Frankish kings and Roman popes led to a standard chant- the (....) chant. -(....) chant=France. -(....) chant=Spain. -(....) chant=Milan -Old Roman (outside Vatican)=alongside Gregorian chant.

-Europe -dialect -Gregorian chant -Gallican chant=France -Mozarabic chant=Spain -Ambrosian chant (St. Ambrose)=Milan

(.... ....), also known as Glory Be to the Father, is a doxology, a short hymn of praise to God in various Christian liturgies (typically at the end of canticles, psalms, and hymns). It was used to start the final verse of the psalm.

-Gloria Patri

What is the ad organum faciendum?

-a manual on how to make an organum (Anonymous c 1100). -This treaty begins from a premise of parallelism and then moves on to suggest better ways of making the organum, involving boundary tones, and the vast majority of musical examples in the treaty in fact use intervals of 2nds, 3rds, 4ths, 5ths, and 6ths (by inversion/octave doubling), to create a more artistic result.

Nonliturgical and Secular Monody: Early Secular Genres: (.... ....)- 11th and 12th centuries. -these were sung by students who wandered from school to school before the founding of the universities-under fictitious Bishop Goliath. -texts- Latin about (....), (....), and (....). -only found in staffless notation. -(.... ....) ("Songs from Beuern") texts are from these songs. This was a manuscript of 254 poems and dramatic texts mostly from the 11th and 12th century, although some are from 13th century).

-Goliard Songs -wine, women, and satire -Carmina Burana

-Tay-Toh-Teh-Tah: Greek (.... ....) (downwards) -tonos=(....) -melodic types based on region. Each have characteristic emotional qualities. -Rhythmic modes (also has to do with poetry): (....)= long, short. (....)=short, long -Consonances= (.... ....), (.... .....), and the (.... ....) (or octave).

-Greek singing syllables -modes -trochaic=long, short (stressed, unstressed) iambic= short, long (unstressed, stressed) -perfect 4th, perfect 5th, and the perfect 8th (or octave)

Secular Musicians of the Middle Ages: -(....) (minstrels)-performers. singing, dancing, juggling, etc. (....) (south), (....) (north), (....) (female). "trou"=to find (inventors of the song). These are all french. -(....)= books of these songs -genres: dance songs, love songs, debating songs, political or moral songs, religious songs, musical plays. -an example of this music is "Jeu de Robin et Marion" by (.... .. .. .....). Composed in (....) this is reputedly the earliest French secular play with music and the most famous work of (.... .. .. .....) who was a trouvere. -the form of the song was a (....) (A Medieval and early Renaissance musical form based on the contemporary popular poetic rondeau form based on a rigid repeating pattern of verse and refrain. ABaAabAB with different words but the same tune). -sung by a woman, bragging that Robin loves her. Dancing, other women around. -secular monody (sung by a single performer). a single woman and probably an instrument embellishing the melody

-Jongleurs-Medieval European bard (performer). troubadour (south france performer), trouvere (north france performer), troubairitz (woman performer). -chansonniers=books of these songs -Jeu de Robin et Marion" by Adam de la Halle. Composed in 1248. -this song was in rondeau form REMEMBER it was in rondeau form and was secular monody. -LISTEN TO THE SONG!

Class notes on Notre Dame Polyphony (see earlier or later card for more information): - from Notre Dame Cathedral, Paris -chant line moving slowly plus 2 or more lines moving above it in their own rhythm (but together because they still could not notate rhythm). -Leonin= (?) parts. Perotin= (?) parts -Magnus Liber Organi (see later flash card) -Example: "Sederunt" by Perotin. -organum quadruplum -still not considered true (....). -the organum would not be done for the whole work because it would be too hard to (....). It was used in the mass, but not for the entire time. -Then they started singing different words on each line with lead to the (....) (INNOVATIVE) (see later card).

-Leonin= 3 parts -Perotin= 4 parts -polyphony -too hard to notate - lead to the Motet.

(.... ....) is a book of commonly used Gregorian chants in the Catholic tradition, compiled by the monks of the Abbey of Solesmes in France. The range of the chants are limited and typically stay within one (....). The staves are only (.... ....) and the music is either in C clef (looks like a small C on one of the lines) or the F clef (looks like three dots, the middle dot is F) immediately below it.

-Liber Usualis -octave -4 lines

Drama in the Church: (.... ....)- performed in the church as part of the liturgy. -originated in (....) (In music, a (....) is adding an additional section, or trope to a plainchant or section of plainchant, thus making it appropriate to a particular occasion or festival.)

-Liturgical Drama -originated in troping

-The text (....) was the second-most-widely distributed treatise on music in the Middle Ages (after the writings of Boethius). It was written by (..... .....). This treatise outlines singing and teaching practice for (.... ....), and has considerable discussion of the composition of (.... ....). It discusses modified parallel organum as well as free organum. The examples given are in two voices, set note-against-note, and the voices are frequently permitted to cross. He advised against use of the (.... ....) and (.... ....), favouring instead the major second and perfect fourth (though thirds were also permitted). Another point of importance is his guideline for the occursus (meaning "meeting"), which is a predecessor of the later cadence. An occursus occurs where two voices approach a (....). He suggested that the unison should be approached either by contrary motion from a major third, or oblique motion from a major second.

-Micrologus -Guido D'Arezzo -Gregorian chant -polyphonic music -perfect fifth and minor second -unison

Antiquity means any period before the (.... ....) that is still within the period of human history or prehistory. The term is most often used of Classical Antiquity, the classical civilizations of the Mediterranean, especially Ancient Greece and Ancient Rome.

-Middle Ages

Example of a Meistersinger song: (.... .... ... .... ... .....) (Since David was honest and candid) was by (.... ....) (a meistersinger, shoemaker, poet, and playwright who lived from 1494-1576). He was the leading spirit behind the Nuremberg Meistersinger school. Wagner was part of the reason he was famous because he was the leading character in Richard Wagner's opera Die Meistersinger von Nürnberg (1868). -this song is in (...) form which is two repetitions of one melody (stollen='stanzas') followed by a different melody (Abgesang= 'aftersong').

-Nachdem David war redlich und aufrichtig (Since David was honest and candid) was by Hans Sachs -this is in bar form. Which is the most common form of meistersingers. -listen to it! -REMEMBER: it is Meistersinger song in bar form

Non-liturgical drama (continued): -Hildegard of Bingen (1098-1179) -At age 8 she was consecrated (dedicate formally to a religious or divine purpose) to the church by her parents. -At age 14 she took vows at (..... .....). -became a prioress in 1136 (a woman who is head of a house of certain orders of nuns). Importance of Pope Eugenius III on her side (what?). -Led by a vision, she founded her own convent at (....) where she was abbess (1150). it was very uncommon for a woman to be this powerful/ambitious in this time period. -(....) (1151 or 1152) (comes from the latin phrase Scito via Domini or "Know the Ways of the Lord") was an illustrated work by Hildegard von Bingen that served as an account of 26 religious visions she had and books on science and healing. -She founded the the monasteries of (....) in 1150 and (....) in 1165. -One of her works as a composer, the (.... ......), is an early example of non-liturgical drama (see later flashcard).

-age 14-took vows at Benedictine monastery. -Rupertsberg -Scivias -Rupertsberg and Eibingen -Ordo Virtutum

Non-liturgical drama (continued): (.... ......) (Latin for Order of the Virtues) is an allegorical morality play, or non-liturgical drama, by (.... .. .....), composed in (....). (.... .. .....) composed it for the opening of her convent in Rupertsberg. -It was performed inside the church and in (....). -It is the earliest morality play by more than a century, and the only Medieval musical drama (not attached to the liturgy) to survive with an attribution for both the (.... and ....). -It is a non-liturgical drama composed of (..) melodies and is written in dramatic verse (any drama written as verse to be spoken that occurs in a dramatic work, such as a play, composed in poetic form). -Hildegard wrote both the melodies and the poetic verse (this is uncommon among authors of tropes and sequences). -It is considered to be a (.... ....) with allegorical characters such as the (....) (humility, knowledge, charity, obedience, faith, hope, love, reverence, patience, modesty, mercy, chastity, discipline), the "Happy Soul", the "Unhappy Soul", the Penitent soul, etc, the devil, etc. -The Devil (played by her assistant (....)) does not sing, he only yells or grunts because according to Hildegard, he cannot produce (.... .....). -the play uses (....) which were not typically allowed in the church. She used them even though it was against church rules because she felt that since instruments were in the (....), they should be allowed in the church. -There were also a lot of (.....) used in the play (pointing, raising hands to the heavens, binding the devil, etc.). However, these gestures were taken from the text (they were not necessarily written out in instructions). -The voices were more dramatic and the singing was more (....) (higher range, more difficult phrases, etc.) than they had been before. -The (....) were music's played when people processed from place to place on stage.

-Ordo Virtutem -Hildegard of Bingen -1151 -text and the music -Latin -Morality Play -virtues -Vollmar -divine harmony -instruments -bible -gestures -complicated

What is organum? What is the vox principalis? What is the vox organalis? What is the Musica Enchiriadis? What are three types of (.....) that is talks about?

-Organum=a work resulting from improvising or writing a voice part against a chant line (organized/prepared piece). This is the first step towards polyphony. -vox principalis= chant line. This was initially the higher line (because they wanted it to be symbolized as more important) but when notated, it became the lower line (because they though of it as the foundation). -vox organalis= improvised line. This was initially the lower line, but when notated became the higher line. -Musica enchiriadis is an anonymous musical treatise from the 9th century. It is the first surviving attempt to establish a system of rules for organum. Three types of organum that it talks about are Parallel Organum (consists of two voice parts moving in parallel motion a 4th or 5th apart), organum in contrary motion (they would almost always come back together at the end), and organum in oblique motion (free's the pitch, so it can go in any direction in the harmony).

-Greek Musical Thought- Doctrines on the nature of music: -music and numbers. (....) discovered that different ratios of string/hammer lengths gave different intervals. This was around (....) BCE. These were the perfect intervals. "Pythagoras first identified that the pitch of a musical note is in proportion to the length of the string that produces it, and that intervals between harmonious sound frequencies form simple numerical ratios." -(....) was an astronomer who wrote "Music of the Spheres" (.... century CE). In this work he explained how he thought that there were (.... ....) between the planets and that they each gave off their own frequency. According to "Music of the Spheres", even though we could not hear these celestial sounds, they affected our quality of life.

-Pythagoras -500 BCE -Ptolemy -2nd century CE -interval relationships

Why is a sacred motet considered sacred? Were they used in the mass? When were they used?

-Sacred Motets are considered sacred because the texts they originate from are sacred in nature. -They were not used in Mass because not all the words were from the prayers. -Instead, they were used when people were coming into church, when they were meditating, etc.

Medieval Music Practices: Schola Cantorum? Scriptorium?

-Schola Cantorum=School of Singers (for the chants). -Scriptorium=literally "a place for writing", is commonly used to refer to a room in medieval European monasteries devoted to the copying of manuscripts by monastic scribes. Written accounts, surviving buildings, and archaeological excavations all show, however, that contrary to popular belief[citation needed] such rooms rarely existed: most monastic writing was done in cubicle-like recesses in the cloister, or in the monks' own cells. References in modern scholarly writings to 'scriptoria' more usually refer to the collective written output of a monastery, rather than to a physical room.

The liturgy is.... ?

-The liturgy is a body of texts and rites that make up a sacred service.

What is the similarity between the sacred motet and the secular motet? What is the difference? Were instruments used in Secular Motets? What is a Franconian Motet? What piece is an example of a Franconian Motet?

-The sacred and secular motet are both inspired by the chant (bottom line). However, the secular motet has secular text on lines above. Furthermore, secular motets would sometimes use instruments on the bottom line. -The Franconian Motet was named after Franco of Cologne. These motets, composed around 1250-80, differed from the earlier Notre Dame motets in that they did not use the rhythmic modes, the triplum was more subdivided, and the multiple texts could also be in multiple languages. An example of a Franconian Motet is Amours mi font/En mai/Flos filius eius.

Trope-expansion of an existing chant: What is it? Melody only-? Text only-?

-Trope-expansion is when new words and/or music are added to an existing chant. Three ways to do it: (1) new melismas without text (mostly unlabelled or called "trope" in manuscripts) (2) addition of a new text to a pre-existing melisma (more often called prosula, prosa, verba or versus') (3) new verse or verses, consisting of both text and music (mostly called trope, but also laudes or versus in manuscripts) (Planchart 2001). The new verses can appear preceding or following the original material, or in between phrases.

Performance of the Chants: -responsorial? -antiphonal? -unison?

-responsorial- one voice (cantor) followed by the congregation. -antiphonal (sounding against)- one group vs. another group (or one group responding to another group) -unison- all singing the same melody and rhythm at the same time.

Formula for chanting Psalms-Office: -(....) -(....) (First half of verse=Intium, tenor-reciting tone, mediato-half cadence) (Second half=tenor-reciting tone and terminatio (cadence). -(.... ....) (EUOUAE) (this part let everyone know that it was coming into the last verse) -(....) (again)

-antiphon -Psalm (first half= Intium, tenor, mediato) -Pslam (second half= tenor, terminatio) -Gloria Patri -anitphon

(.... ....) are read from left to right except for the (....) which is read from bottom to top.

-composite neumes (single signs representing two or more notes) are read from left to right. -except for the podatus, which is read from bottom to top.

In medieval music, (....) is a type of sacred, but non-liturgical vocal composition for one or more voices. The word derives from Latin conducere (to escort), and the conductus was most likely sung while the lectionary was carried from its place of safekeeping to the place from which it was to be read. (from wiki) -pieces used to conduct clerics from place to place in drama or in church (from class notes). -text-serious, non-liturgical, in latin -non-liturgical=not in mass or in offices -Melody is (.... ......), not borrowed from chants. (this is a BIG DEAL!).

-conductus -newly composed

(....)- partial note at the end of a line that is used to indicate the first note of the following line. They put these notes at the end of lines sometimes because the scores were usually one REALLY big piece of manuscript that they all read of off and because the manuscript was so big, it would be hard to quickly shift gaze to find the start of the next line. This note bought them some more time because they already knew what the first note would be.

-custos

When did the Polyphonic Conductus come around? What were some of the characteristics of the Polyphonic Conductus? -sung in (....). (...-....) texts used for processions -syllabic -all voices sang (... .....) words. -(......) texture- all the lines move at the same time.

-early 1200's -sung in Latin. Non-liturgical texts used for processions -syllabic -all voices sang the same words. -homophonic texture- all the lines move at the same time.

Early Christian Writing about Music: -Early Christian theologians=(.... ....). Greek: St. Basil, St. John, Chrysostom. Latin: St. Ambrose, St. Augustine -continued belief in music's power to influence the listener's character/mood (called the .... .. .....) -believed music should serve (....). Instrumental music=no words praising God, therefore, musical instruments should be banned from church. They were also banned because they sound to similar to (....) traditions of worship.

-early christian theologians=church fathers -Doctrine of Ethos -God -pagan

Organum as a musical genre reached its peak in the (.... .. .....) with the development of (.... ....) and two very different schools of composition. The first was what is called ".... ....," for it originated with the Saint Martial school, centred around the Abbey of Saint Martial in Limoges (western-central France). The later twelfth-century development was the (.... ....) at Paris, which developed the rhythmic mode. It hosted composers such as (....) and (....) which provided many new composition techniques. The motet that became the main 'object' of compositional creativity in the fourteenth century is rooted in the lifetime of (....) and his works. -The basic principle of florid organum is that there are anywhere from (.. to ..) notes in the organal voice sung over a single sustained note in the (....). Saint Martial organum and Paris organum duplum follow from the same principle, but in a different form. (Still only 2 lines for the Aquitanian organum). -During the course of the twelfth century, the age of the Cathedrals, melismatic (or "florid") organum developed in Aquitania, and is linked to Saint Martial de Limoges. This form of organum is based on a plainchant melody that is sung in extended note-values in the lower voice, the length of which are determined by the length of the phrase in the organal (higher) part. The chant thus transforms into a succession of long held notes according to the original melody and comes to be called "tenor" from the Latin tenere meaning "to hold." There are at least six consonant intervals that can be used in Organum. The upper organal voice moves in extensive (....) on long protracted vowels. This newer style became known as "organum," "organum duplum," or "organum purum" and the older note-against-note style became known as "....." (an independent treble melody usually sung or played above a basic melody). The Saint Martial organum is rhapsodic in character as rhythms are not yet organized according to the six rhythmic modes, for the introduction of which (....) seems to deserve to be credited (he is also the first known significant composer of polyphonic organum).

-early twelfth century -florid organum -Aquitainian polyphony (first in 12th century) -Notre Dame school (later in 12th century) -Léonin and Pérotin -Perotin -2 to 6 notes in the organal voice. -single sustained note in the tenor -extensive melismas -"discant" -Leonin

Typically for plays and church services during the Antiquity Period, the voice was (....).

-elevated

Pope Gregory I- (590-604 papal reign) (64th pope). -He is typically credited with standardizing the (.... ....). However, it is unlikely that he fully standardized it in his lifetime. Therefore the credit of STANDARDIZING it should probably go to (.... ....) (see later flash card). -However, Pope Gregory I did start the (.... ....). -sixth century church

-gregorian chant. -Pope Gregory II -papal choir

Music in the Early Christian Church: Parallels between Christian worship and earlier Judaic worship 1.) ritual (....) (lamb, etc.) 2.) ritual meals 3.) readings from (.... ....) 4.) types of psalm singing: (....) is where there are 2 groups and one group starts while the other answers/finishes. (....) is when a single voice called a (....) starts it and then the other choir members/congregation answer/finish it. and (....) is when everyone sings together.

-ritual sacrifices -ritual meals -readings from holy books -antiphonal -responsorial, cantor starts it -unison

Medieval period (continued): Who is Guido D'Arezzo? -Guidonian Hand? -Arrangement of lines and spaces? -What is the Micrologus?

-he was a monk who proposed a set of syllables-ut, re, me, fa, sol, la- to help singers remember the pattern of whole tones and semitones in the first 6 steps (known as hexachords) that begin on C, G, or F. The pitches could be transposed to 3 positions: the "natural" hexachord (CDEFGA), the "hard" hexachord GABCDE, and the "soft" hexachord (FGABflatCD). (Micrologus 1025). -Guidonian Hand-A mnemonic device used to assist singers in learning how to sightread. Every part of the finger was a different syllable/note in the Hexachord system. He would point to these parts of the hand and have singers sing them. -Guido suggested an arrangement of lines and spaces from which evolved the modern staff. In this regard, Wiki says "he is regarded as the inventor of modern musical notation (staff notation) that replaced neumatic notation). -The text Micrologus was the second-most-widely distributed treatise on music in the Middle Ages (after the writings of Boethius). It was written by Guido D'Arezzo.

Theoretical Writings: -Music was considered one of the seven (.... ....). Martianus Capella-5th century CE. Pagan writer of Late Antiquity and one of the earliest developers of the system of the seven liberal arts that structured early (.... ....). -Music listed under the 4 (....) arts: geometry, arithmetic, astronomy, and harmonics.

-liberal arts -medieval education -mathematical

Apollo - played the (....). Guardian of the (....)/ God of Music. Apollo was also considered to be a (....) which is symbolized by his instrument because the lyre is an external instrument.

-lyre/cathara -muses (he was their leader and the director of their choir) -stoic: a person who can endure pain or hardship without showing their feelings or complaining.

mass means "....". Sacred= (.... ... ....). Secular (.... ... ....).

-mass means "message". Sacred=inside the church. Secular=outside the church.

Characteristics of Greek Music: -it is the most surviving music from that age. -(....) texture. Which means it includes a single melodic line with no accompaniment. -(....) is the same thing but with instrumental embellishment on the melody (improvised). -the musical rhythms would be bound to a rhythm of (....). Iambic (short, long) or trochaic (long, short).

-monophonic -heterophony -poetry

Some characteristics of the Gregorian Chant: -What is the texture? -sung by (....). (exception were the (....) but they were not in the same place). - What language was it sung in? -The range was very (....) and the melody moved in (.... ....) motion because the point was not to be showy, the point was to worship god. The other reason why the melody was (.... ....) was because they used (.... ....) to signal the next pitch. Any big jumps would have been impractical. -The rhythm was associated with the (....) and (....). They used (.... ....) to signal breathing. -Were any instruments used? Why or why not?

-monophonic -men. (exception were the nuns) -latin -small range, step wise motion, hand signals -words, phrases. vertical lines -definitely not, because instruments could not praise the word of god. They also did not use instruments because they thought it sounded to similar to pagan traditions.

The word music comes from the Ancient Greek term (....). The (....) were believed to be the goddesses who inspired the creation of literature and the arts. Music and (....) were inseparable to the ancient Greeks.

-muse -muses -religion

More Antiquity (Ancient Greece): -kitharode means (....) in Greek. -Hydraulos-is a type of (.... ....) blown by air, where the power source pushing the air is derived by (....) from a natural source (e.g. by a waterfall) or by a manual pump. Consequently, the water organ lacks a bellows, blower, or compressor. This was the beginning of the organ. -A kroupolon would (.... ....). Almost like a (....). Even in ancient Greece, musicians wanted to reach a level of (....).

-musician -pipe organ -water -keep time, metronome -professionalism

Drama in the Church (continued): (...-.... ....)-performed in church, sacred topics, but not part of the liturgy. -(....) plays-about the works of saints -(....) plays-lessons to be learned. Because the everyday person could not read/write, they had plays and pictures to teach them (like the stained glass windows with the Stations of the Cross on them).

-non-liturgical drama -Miracle plays -Morality plays

During the days of the Early Church, music was still (.... ....). The notated music that was around was notated with (....) and (....). Why is this?

-oral tradition -The notated music that was around was notated with squares and diamonds because the calligraphy pen used for writing in that time period didn't make circles, it made squares.

When a composer would write/is writing a song for a mass, they would/will write it for the (.... .....) because those are the songs that everyone knew/knows.

-ordinary prayers

How do we acquire most of the knowledge we have pertaining to the History of Music? -(....)- care paintings, artwork, etc. -(....)- works written about music -(....)- from archaeological digs -(....)- cultures and their unique musical traditions

-pictoral -literary -instruments -ethnomusicology

The tenor would sing a (....) note over and over again. This note was the ".... ....".

-repeated note. This note was the "reciting tone".

Theoretical Writings (continued) (Antiquity) -Boethius- was an (.....) (ca. 480-525). De Institutione Musical (Fundamentals of Music)- was one of the first musical works to be printed in Venice between the years of 1491 and 1492). It was written near the beginning of the 6th century and helped Medieval authors during the 9th century understand Greek Music. It was a compendium of Greek (.... ....). It supports the Doctrine of (....). And it specifies 3 types of music: Musica (....) (world), Musica (....) (human body), and Musica (....) (instruments).

-roman author -music theory -Doctrine of Ethos -Musica Mundana (world), Musica Humana (human body), and Musica Instrumentalis (instruments).

English minstrels were called (....) and (....).

-scops and gleeman

Tetra chords are from the Greeks. Each genera (class) of tetrachords has different intervals between the (....) and (....) pitches (the third and fifth of the chord). Diatonic, chromatic, enharmonic.

-second and third pitches (the third and fifth of the chord)

Secular Songs in Germany: -(....)= german jongleurs -(........) was the tradition of lyric and song writing in Germany which flourished in the 12th century and continued into the 14th century. People who wrote and performed Minnesang are known as (.......). The name derives from the word minne, Middle High German for love which was their main subject, and an individual song was a (......). The Minnesänger were similar to the Provençal troubadours and northern French trouvères; they wrote love poetry in the courtly love tradition in Middle High German in the High Middle Ages. -(......) (German for "master singer") was a member of a German guild for lyric poetry, composition and unaccompanied art song of the 14th, 15th and 16th centuries. The Meistersingers were drawn from middle class males for the most part. These singers carried on and developed the traditions of the of the medieval minnesingers.

-spielleute= german jongleurs -minnesang -minnesingers were the people who wrote and performed minnesang. -an individual song was called a minnelied -meistersinger

Kanones- (....) hymns using 8 modes (echos) to classify the melodies based on their final tones (D E F G) and melodic motives.

-strophic

Musical Styles of Chant: -syllabic? -neumatic? -melismatic? -psalmodic?

-syllabic- one pitch per syllable -neumatic- a few pitches per syllable -melismatic- many pitches per syllable -psalmodic- same pitch on several syllables

Melodic style (characteristics) of troubadour/trouvere songs: -text setting: (....) with short melismas -narrow range (less than an octave) -in (....) (everyday language) - embellishments probably added in performance. - rhythm is unknown because it isn't notated in chansonniers - use of rhythmic modes: trochaic (long, short) and iambic (short, long)

-text setting= syllabic with short melismas - in vernacular

Seikilos Epitaph: -found on a (....) near (...., Turkey) in 1883. Dated back to sometime around the (.... ....) CE (they estimate sometime around 200 BCE to 100 CE). -The song is giving praise for a life lived (from Seikilos probably to his wife Euterpe). -was originally a (....)-drinking song. -This is the oldest (....) piece of notated music that we have found. -The song is in phrygian (which back then was considered D to D). -The song was probably (....) in texture. -the reason why the song is so short/notation is so sparse is because it was written on a tombstone. However, both the words and lyrics are there in ancient Greek musical notation.

-tombstone, near Aidin -1st Century -skolion-drinking song -complete -heterophonic

Gregorian Chants in the Offices vs. in the Mass: -In the mass, there a priest and (....) occurs. While in the offices, it is strictly (....) and they did this numerous times through out the day (following the example set in the Rule of St. Benedict). -The name of the chant (or song) would be the first few words of the prayer (or chant) that you heard.

-transubstantiation -prayer

Church Modes (a way to think about it): -Dorian, Phrygian, Lydian, and Mixolydian are the Authentic Modes. -The Plagal Modes are the "Hypo" modes (Hypodorian, Hypophrygian, Hypolydian, and Hypomixolydian). These are found by taking the Authentic mode of the same name and starting a fourth below (or a fifth above). For example: Dorian=D to D. Hypodorian= A to A (same notes). -For all the Authentic Modes, the reciting tone (dominant) is the V degree (unless the fifth degree is B, in which case, use C instead). The final tone is the I tone. -For all the Plagal modes, the reciting tone (dominant) is the VI degree except for Hypophrygian and Hypomixolydian (which use the vii degree instead). The final tone is the IV tone (the Authentic Mode it is derived from).

...

FRANCO OF COLOGNE? -(1250-....) -He was one of the most influential (....) of the late Medieval era and a (....) of (....). -In 1280 he wrote the (... .... ......) which, among other things, explained (.... ....) (which forever changed the idea of music notation by developing a way for the duration of notes to be determined by it's appearance on the page, rather than by it's context alone. FINISH THIS FLASHCARD!!

...

Instruments are used in secular music for dancing. The music will be in dance step order or will mirror the dances. This is similar to music mirroring words (poetry). Same thing, different focal point.

...

Antiquity (Ancient Greece): Theories-Origin of Music/What purpose did music serve? 1.) (....) 2.) (....) 3.) (....) 4.) (....)

1.) communication 2.) dance 3.) work rhythm 4.) emotional expression

Who is Notker Balbulus (Notker the Stammerer)?

He was formerly considered to have been the inventor of the sequence, a new species of religious lyric, but this is now considered doubtful (because he implied that he learned the process from another monk and because many early sequences do not seem to relate to jubili at all), though he did introduce the genre into Germany. It had been the custom to prolong the Alleluia in the Mass before the Gospel, modulating through a skillfully harmonized series of tones. Notker learned how to fit the separate syllables of a Latin text to the tones of this jubilus; this poem was called the sequence (q.v.), formerly called the "jubilation". Eventually there were numerous Sequences were written for different times of the liturgical calendar.

What is the sequence? What is the jubilus?

Post 9th century. Adding of text to the jubilus of Alleluia eventually became independent compositions called Sequences. They became their own chant/hymn that now follow the Alleluia and precede the Gospel. -Jubilus (plural jubili) is the term for the long melisma placed on the final syllable of the Alleluia as it is sung in the Gregorian chant. The structure of the Alleluia is such that the cantor first sings the word "alleluia," without the jubilus, and then the choir repeats the word with the melisma added. It is traditionally repeated at the end of the chant as well, although it was frequently omitted in the Middle Ages and is still omitted when the Alleluia is followed by a Sequence.

The most important part of the mass is....?

The Ritual of Transubstantiation. This is the ritual where the priest of the mass changes the bread and wine into the body and blood of Christ.

In the days of the early church, what did they call notes (what was their word for it, they didn't say notes)? What does that word mean?

They called notes "neumes" which means, "gestures". This is because to lead the monks in prayer, one monk would use hand gestures to indicate which way the melody was heading next. If you look at chants from this time period, they are in this neumatic notation (if they are notated at all. Often, they just had the words in front of them and the melodies were oral tradition).

In old chant notation: What do vertical lines indicate?

Vertical lines indicated short or long pauses at the end of phrases (places to breathe).