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| A musical texture involving a single melodic line (Ex. Gregorian Chant) |
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| Unaccompanied, monophonic music, without fixed rhythm or meter (Ex. Gregorian Chant) |
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| A mode built off of the second major scale degree. |
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| A mode built off of the third major scale degree. |
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| A mode built off of the fourth major scale degree. |
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| A mode built off of the fifth major scale degree. |
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| Especially in chant, the single note used for musical “recitation”, with brief melodic formulas for beginning and ending. |
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| A genre of plainchaint usually showing a simple melodic style with very few melismas. |
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| A series of fragments identical except for the placement at successfully higher or lower pitch levels. |
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| An Islamic tradition in which the revelations of the prophet Muhammad gathered in the Qu’ran (or Koran) are chanted in Arabic. |
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| An Islamic call to worship, issued five times daily by a muezzin |
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| Musical texture containing two or more melodic lines occurring simultaneously. |
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| The earliest genre of medieval polyphonic music |
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| “the old technique” of 13th-century organum and the new polyphonic music of the 14th century |
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| A sacred vocal composition. Early motets were based on fragments of Gregorian chant |
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| In 14th-century music, the technique of repeating the identical rhythm for each section of a composition, while the pitches are altered |
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| Motet using isorhythms (see isorhythm) |
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| The alternation of very short melodic phrases, or single notes, between two or more voices |
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| A musical texture that involves only one melody of real interest, combined with chords or other subsidary sounds (Think chorale) |
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| A musical texture that involves only one melody of real interest, combined with chords or other subsidary sounds (Think chorale) |
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| A simple religious song in several stanzas, for congregational singing in church |
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| The main Roman Catholic service; or te music written for it. |
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| The main Roman Catholic service; or te music written for it. |
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| 5 Parts of an ordinary mass: |
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| Kyrie, Gloria, Credo, Sanctus, and Agnus Dei (Pg. 80) |
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| borrowed melody that is used for new polyphonic compositions |
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| Site of beginnings of early polyphonic choral musc |
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| Gabrieli’s Symphonie sacre |
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| Influential text of early polyphony/polychoral style |
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| Long semidramatic piece on a religious subject for soloists, chorus, and orchestra |
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| A half-singing, half-reciting style of presenting words in opera, cantata, oratorio, etc., following speech accents and speech rhythms closely. |
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| A vocal number for solo singer and orchestra, genrally in an opera, cantata, or oratorio |
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| a cantata with religious words |
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