| Solesmes Notation/ Quadratic Notation |
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| Started by monks in Solesmes in the 19th Century that used square noteheads and is found in the Liber Usualis |
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| new text and corresponding music to Mass music |
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| the last syllable sung by cantor in a long melisma, usually the Alleluia |
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| Courtly Love/ fin amour/ fin’ amors |
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| man or woman pining for love from someone who cannot return the love |
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| a plainchant melody with at least one added voice to enhance the harmony |
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| type of sacred, but non-liturgical vocal composition for one or more voices |
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| guide for chant made by Guido of Arrezo |
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| a formulaic sequence of short and long notes |
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| music handbook, instruction on ornamenting chant |
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| manual how to make organum |
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| Great Book of Organum written by Leonin |
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| Written by Moniot d’Arras in early 13th Century. It is a pastourelle that follows a strophic structure AABB. —It has a guitar, is in french, and is in 6/8— |
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| Three Songs with Refrains: 1: Je muir, je muir d’amorete (Rondeau) 2: Dieus soit en cheste maison (Ballade); 3: Fines amouretes (Virelai) |
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| It was written by Adam de la Halle in 1300. It is a formes fixe composition. 1:ABaAabAB 2:RaabR 3: AbbaA…It is strophic, and a sequentia |
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| It was written by Anonymous in 1100. It is Aquitanian Polyphony. It is musica enchiriadis. —sung by women, the top voice goes everywhere—- |
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| It was written in the late 12th century. It is organum duplum. It is from the Magnus Liber Organi aka Great Book of Organum and is performed during the soloists part in Responsorial. “Notre Dame style organum” |
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| Viderunt omnes by Perotin |
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| It was written in 1198. It is organum quadruplum. It is copular. —sounds like weird film music— |
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| Written by anonymous in the early 13th century. It is a conductus. Poems are nonliturgical, metrical, rhyming, stanzaic, and strophic. |
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| Ex semine rosa/ Ex semine Habrahe/ EX SEMINE |
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| Written by anonymous in the mid-thirteenth century. It is a double latin motet. |
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| L’autre jour/ Au tens pascour/ IN SECULUM |
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| written by anonymous in the late 13th century. It is a double french motet |
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| On parole/ A Paris/ Frese Nouvele |
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| Written by Anonymous in 1300. It is a double french motet. |
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| It is an isorhythmic motet written in the early 14th century |
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| Guillaume de Machaut in 1360. It is a Rondeau |
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| Messe de Nostre Dame, Kyrie |
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| Written by Machaut in 1360. It is a kyrie from a cyclic mass. |
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| written by Caserta in the late 14th century. It is a Ballade |
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| Written by Solage in the late 14th century. It is a Rondeau |
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| Two settings of Osellecto selvaggio |
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| Written by Jacopo da Bolgna in the mid 14th century. It is a madrigal, and a caccia |
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| written by Francesco Landini in the late 14th century. It is a Ballata |
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| Doctorum Principem/ Melodia Suavissima/ VIR MITIS |
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| It was written by Johannes Ciconia in 1410. It is an isorhythmic motet |
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| the layering of rhythmci modes |
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| precursor to modern day notation |
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| new technique 14th century mostly |
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| basically an ostinato fixed pattern of pitches (color) and rhythmic pattern (talea) |
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| fixed form including the Virelai, Rondeau, and Ballade |
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| Machaut and caserta “subtle art” It is an extension of Ars Nova. It is rhythmic in nature |
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| illuminated manuscript compiled in Florence, Italy in the early fifteenth century. Primary source of music of the fourteenth century of the Italian Trecento |
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| Double leading-tone cadence |
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| movement of 3rd to 5th to octave |
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| Under third escape tone cadence |
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