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| The simplest texture; unaccompanied melody. Ex. Gregorian Chant |
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| Gregorian Chant; monophonic. Official music f the Catholic Church in the Middle Ages (p. 59) |
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Determined by the different tonic pitches. (p. 33)
(Dorian, Phrygian, Lydian, Mixolydian). |
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| In Gregorian recitation, the pitch at which the text is sung. (p. 61) |
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| One of the simplest genres of plainchant (p. 62) |
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| Plainchant genre more elaborate than the antiphon. A series of short tunes sung twice with some variation and an extra unit at the end. (A A’ B B’….N) |
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| Distinguished from all types of secular music making. Thought of as reading the sacred text aloud. (p. 73) |
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| The best know type of Islamic chant is the singing of the azan. Employs a style related to recitation. Call to worship. (p. 74) |
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| Hawai’ian prayer songs. Sought to bring to life images of their gods. (p. 74) |
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| Two or more melodies played or sung simultaneously. (p. 29) |
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| Earliest type of polyphony. Traditional plainchant melody plus another melody in counterpoint. (p. 67) |
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| “new art”. Motet became more intricate mainly in the area of rhythm. (p.70) |
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| Upper lines of organum now given their own text. (p. 70) |
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| Technique of writing successive lengthy passages in identical rhythms but with distinct melodies. (p. 72) |
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| Motets that employ the technique of isorhythms. (p. 72) |
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| Fast echoes between the soprano and alto. (p. 72) |
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| Only one melody of real interest and it is combined with other sounds. (p. 29) |
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| Most tuneful plainchant genre. Short tune is sung through many stanzas followed by an Amen. (p. 78) |
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| An opera on a religious subject. (p. 160) |
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| The technique of declaiming words musically in a heightened, theatrical manner. (p.101) |
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| An extended piece for solo singer that has much more musical elaboration and coherence than a passage of recitative. (p. 102) |
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| A piece of moderate length for voices and instruments. Words addressed the religious content of the day in question. (p. 164) |
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