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| Ordinary texts that remain the same on all or most days of the church calendar (King Geroge Can’t Sing Alto) |
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| Series of 8 prayer services of the Roman church, celebrated daily at specific times, esp in monastaries and convents |
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Addition to an existing chant of
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1. words and melody
2. a melisma
or 3. words only
all set to an existing melisma or other melody
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a category of Latin chant that follows the “alleluia” in some masses
Restatement of a pattern on successive or different pitch levels
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| Dialogue on a sacred subject, set to music and usually performed with action, and linked to the Liturgy. Based on liturgical practice but it is not a liturgical practice itself |
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| A sign used in notation of chant to indicate a certain number of notes and general melodic direction or particular pitches (above notes) |
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| 9th century. Describes 8 modes, provides exercises for locating semitones in chants, and explains the consonances and how they are used to sing polyphony |
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| a scale or melody type, identiifed by a particular intervallic relationship among the notes in the mode |
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| Guido of Arezzo 11th century. Practice guide for singers that covers: notes, intervals, scales, modes, melodic composition and improvised polyphony |
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| Troubadours Trouveres Trobairitz |
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Troubadour: a poet-composer from southern France who wrote monophonic songs in Occitan in 12 or 13th century
Trouvere: a poet-composer of southern France who wrote monophonic songs in Old French in 12th or 13th century
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Minnesinger: a poet composer of medieval Germany who wrote monophonic songs, particularly about love, in Middle High Germany
Minnelieder: German love songs, sung by above
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| A medieval monophonic song in Spanish or Portuguese |
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| Medieval instrumental dance featuring a series of sections, each played twice with two different Endings (Ouvert and Clos) |
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Particularly in the 5th as a perfect something in the 9th century it was the conscience
Parallel: 5ths were convenience (perfect and beautiful) in medieval times
Mixed: combines oblique motion with parallel motion
Oblique: one singer will sing the same note as the other will sing the melody, until they both can move in parallel 4ths without singing tritones
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| Music of musical texture consiting of two or more simultaneous lines of independent melody |
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| Late 12 and 13th centuries. Musicians would create more ornate polyphony and songs for more than 2 voices |
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6 patterns in total
LB, BL, LBB, BBL, LL, BBB
L: Long, B: Short (brief)
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| Credits Leoninus as a great organista. collection of 2 voice settings of the solo portions of the responsorial chants (gradulas, alleluias, office responsories) for major feasts of the year |
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| Adding for the first time Latin text to teh upper voices of discount clodulae, 13th century |
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| Style of polyphony from 14th century France, with a new system of rhythmic notation that allowed duple or triple divisions and syncopation |
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| Repetition in a voice part of an extended pattern of durations throughout a section or entire composition |
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| Schemes of poetic and musical repetition, each featuring a refrain, used in late medieval and 15th century French chanson |
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| Long allegorical poem satirizing corruption in politics and the church written as a warning to the king of France and enjoyed in high political circles at court, Fauvel was a horse. |
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| Famous for her prophesies, wrote religious poems as well as prose and set them to music |
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| St. Gregory the Great (Pope Gregory I) |
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| Associated with Gregorian chant, founder of English church, chants were dictated to him by Holy Spirit |
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Minister to Theodoric, Ostrogoth ruler of Italy and wrote on philosophy, logic, theology and the mathematical art. For him, music was a science of numbers and numeric ratios to determine intervals, consonances, scale and tuning
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| Left hand, musica enchiriadis, introduced a set of syllables correspoinding to the pattern of tones and semitones in the succession CDEFGA |
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| late 12th and early 13th century, one of teh most influential troubadours, born as a servant of the court, all poetry evokes fluctuating moods |
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