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| Ones ethical character or way of behaving—music has power over people, both emotionally and physically |
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| Describe the status of music in Greek society |
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| It was very important in society, became part of the education system. It was played at significant events. To be culturally accepted, you needed to be versed in music |
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| Father of the science of acoustics, believed numbers were the key to everything, including music. He recognized the numerical relationships of musical intervals. |
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| the most revered authority on music in the Middle Ages, established 3 types of music—music of cosmos, people, and instruments/voice |
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| The prescribed body of texts to be spoken or sung and ritual actions to be performed in a religious service. Includes introductory prayer, gospel (teaching), and communion |
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| Consisting of a single unaccompanied melodic line. |
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| Also known as plainchant, comes from broadening meaning of text, from Pope Gregory who was standardizing liturgy |
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| Office (ie Divine Office or Canonical Hours) |
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| Series of prayers and meditations members of monasteries and convents structured their day around. |
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| A musical work setting the texts of the ORDINARY of the Mass, typically KYRIE, GLORIA, CREDO, SANCTUS, and AGNUS DEI. |
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| List the individual parts of the Ordinary of the Mass |
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| Kyrie *Gloria *Credo * Sanctus * Agnus Dei * Ite, missa est |
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| List the individual parts of the Proper of the Mass |
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| *Introit *Collects *Epistle *Gradual *Alleluia *Offertory *Communion |
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| List the parts of the office |
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| *Matins *Lauds *Prime *Terce *Sext *Nones *Vespers, then Compline |
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| 1. Text 2. Manner of performance (antiphonal, responsorial, direct) 3. Text (syllabic, melismatic, neumatic) |
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| Chant sung before and after a song. * used in the OFFICE. Matins includes nine Great Responsories, and several other office services include a Short Responsory. |
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| Soloist sings, responded by the choir. * used in the OFFICE. Matins includes nine Great Responsories, and several other office services include a Short Responsory. |
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| One note sung per each syllable of text |
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| A long MELODIC passage sung to a single syllable of text. |
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| 1-6 notes sung to each syllable of text |
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| Series of tones of five elements –antiphon, intonation, tenor, mediation, termination. A MELODIC formula for singing PSALMS in the OFFICE. There is one psalm tone for each MODE. |
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| a manner of performance in which two or more groups alternate |
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| Addition to an existing CHANT, consisting of (1) words and MELODY; (2) a MELISMA; or (3) words only, set to an existing melisma or other melody. |
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| Put text to melisma, edited to jubilus of Alleluia *A category of Latin CHANT that follows the ALLELUIA in some MASSES. |
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| Chants strum together to teach a scriptural text or concept. *Dialogue on a sacred subject, set to music and usually performed with action, and linked to the LITURGY. |
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| Woman who achieved great success as a writer and composer. She composed liturgical dramas, one consisting of 82 songs. |
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| a total of 8 modes, they were numbered and grouped in pairs. *Authentic modes: odd numbers ascended from the finalis *Plagal modes: even numbers circled around or went below the finalis. |
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| A system of sightsinging, a pattern of 6 notes (a hexachord) |
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| Developed solmization, and a system which each joint on one’s hand stood for one of the 20 notes of the system. |
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| Earliest secular song written, named after a fictitious and scurrilous patron, Bishop |
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| Male poet-composers from southern France *Spoke Provencal |
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| Female poet-composers from southern France *Spoke Provencal |
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| Poet-composers from northern France *Spoke langue d’oil, the dialect that became modern French |
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