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| the refrain with which an English carol begins and which is repeated after each stanza |
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| a strophic song for one to three voices setting a religious text, usually associated with Christmas |
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| the “English manner” of composition that fifteenth century Continental musicians admired and adopted; the exact nature of this style is not known |
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| a general term for 15th c. English technique, both written and improvised, of using parallel 6/3 chords and root position triads in a homorhythmic style |
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| a style of English medieval choral music that arose when singers improvised parallel 6/3 chords around a given chant placed in the middle voice |
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| the Continental style related to the English faburden; singers improvised parallel 6/3 chords below a given chant in the top voice |
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| music in which almost every note is a member of a triad or a triadic inversion and not a dissonance |
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| a technique whereby isorhythm is applied to all voices, not just the tenor in an isorhythmic piece |
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| (Latin for foot) the English name for a bottom voice that continually repeats throughout a polyphonic composition |
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| a distinctly English musical technique in which two or three voices engage in voice exchange, or more correctly, phrase exchange |
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| the English name for a canon that endlessly circles back to the beginning |
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| England’s dialect of chant; old Latin name of the cathedral town of Salisbury; melodies and texts somewhat different from chant sung on the Continent |
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| a common English musical form in which the different stanzas are sung by a soloist while all the singers join in with the repeated burden |
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| the highest of the three voices for which much late-medieval English polyphony was written |
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| 15th c. English composer whose music examplified the “countenance anglosie;” style adopted and imitated by composers such as Dufay and Binchois |
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| (octave-leap cadence) when three voices are present, the contratenor often jumps an octave to avoid parallel fifths and to fill in texture of final chord |
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| previously existing melody, sacred chant or secular song; usually sounds in long notes and provides a structural framework for a polyphonic composition |
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| a cyclic Mass in which the five movements of the Ordinary are unified by means of a single cantus firmus |
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| (15th c.) a hybrid of a motet and a chanson; a genre in which a vernacular text in an upper voice is sung simultaneously with a Latin chant in the tenor |
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| an oblong sheet of paper or parchment on which chansons were inscribed; the sheet music of the late Middle Ages and the Renaissance |
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| popular “military” secular song; used more frequently than any other as the cantus firmus for Renaissance polyphonic mass compostitions |
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| 15th c. Lowlands composer attached to the French Royal Court; known for the first systematic use of imitation as a compositional structural device |
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| duplication of the notes and rhythms in one voice by a following voice |
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| two voices perform the same music at different rates of speed, the corresponding notes of which grow progressively distant from one another |
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| a Mass in which the movements are united by a single chant which often appears ornamented in any and all voices, not just as long notes in the tenor |
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| a Renaissance motet composed around a single chant which often appears ornamented in any and all voices, not just as long notes in the tenor |
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| composer takes preexisting plainsong and embellishes; gives a rhythmic profile; then serves as the basic melodic material for a polyphonic composition |
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| (soft instruments) one of the two classifications of instruments in the 15th century: recorder, vielle, lute, harp, psaltery, portative organ, harpsichord |
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| principal aristocratic dance of court and city during the early Renaissance; slow and stately dance in which the dancers’ feet glided close to the ground |
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| took boys at about the age of six, gave them an education; strong emphasis on music, especially singing, prepared them for service in the church |
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| a wooden instrument with fingerholes that is played with a mouthpiece and sounds in the soprano range with a tone something like a soft trumpet |
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| a string keyboard instrument that first appeared in the West in the fifteenth century; it utilized a key-jack mechanism to pluck the taut wire strings |
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| (loud instruments) one of the two classifications of instruments in the 15th century: trumpets, sackbuts, shawms, bagpipes, drums, tambourine |
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| when two or more cantus firmi sound simultaneously or successively in a Mass |
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| a genre of music created when several secular tunes are brought together and sound together or in immediate succession |
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| a slide trumpet common in the fifteenth and sixteenth centuries; precursor of the modern trombone |
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| 15th c. Lowlands composer known for his masterful use of multiple melodies in quodlibets and multiple cantus firmi masses |
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| study of ancient classic texts and monuments with the goal of extracing a model for thinking and acting for the Renaissance society |
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| Greek god of the sun and music who sat atop Mt. Olympus playing a string instrument |
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| nine Greek goddesses who attended Apollo; presided over the arts and sciences; root of the word “music” |
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| a short, homophonic piece associated with pre-Lent, Mardi Gras season, the text of which usually deals with everyday life on the streets |
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| a Christian society of laymen emphasizing religious devotion and charity; in Florence performing laude was an essential part of their fraternal life |
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| the transformation of a piece of music from a secular piece to a sacred one, or (less often) from a sacred to a secular one |
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| a catch-all word for polyphonic setting of strophic Italian poetry; flourished 1470-1530; origins in improvisatory, solo singing in Italy during the 1400s |
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| Italian for a song of praise; a simple, popular sacred song written, not in church Latin but in the local dialect of Italian |
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| a Renaissance fiddle; a bowed five-string instrument tuned in fifths and played on the shoulder |
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| catch-all term for settings of Italian verse; through composed rather than strophic; variety of textures compositional techniques; often imitative |
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| musical cliche in which the music tries to sound out or portray theliteral meaning of the text |
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| Italian for what we refer to as “the 1400s” |
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| the use of striking chord shifts, musical repetition, controlled dissonance, and abrupt textural changes to highlight the meaning of the text |
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| containing new music for every stanza of text, as opposed to strophic form in which the music is repeated for each successive stanza |
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