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| 14th-century fable about political power; the ass “FAUVEL” is an acronym for (F)lattery, (A)varice, (V)illainy, (V)Fickleness, (E)nvy and (L)oose morals |
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| a rhythmic pattern is repeated again and again in a line, usually in the tenor voice; a technique introduced by composers in the early fourteenth century |
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| a rhythmic pattern is repeated again and again in a line, usually in the tenor voice; a technique introduced by composers in the early fourteenth century |
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| a rhythmic pattern is repeated again and again in a line, usually in the tenor voice; a technique introduced by composers in the early fourteenth century |
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| a rhythmic pattern, or unit, repeating in an isorhythmic composition |
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| the melodic unit that serves as a structural backbone in an isorhythmic composition |
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| one of two main types of dances of the Middle Ages; musical form was strophe (sung by soloist) and refrain (everyone); different stanzas/same refrain |
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| one of two main dances of the Middle Ages; originally a dance song in which dancers also sang a text; later (14th c.) became purely instrumental |
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| a pair of musical phrases (couplet) usually associated with medieval instrumental music |
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| the term used in the Middle Ages for what we today call a first ending |
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| the term used in the Middle Ages for what we today call a first ending |
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| the term used in the Middle Ages for what we today call a second ending |
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| a large five-string fiddle capable of playing the entire Guidonian scale; often provided dance music during the thirteenth and fourteenth centuries |
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| a double-reed instrument with a loud penetrating tone; provided dance music during the Middle Ages and Renaissance; ancestor of the modern oboe |
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| a small movable instrument that sounded at courtly entertainments, usually to accompany singers rather than dancers |
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| a large stationary instrument that began to appear in large numbers in churches in the West shortly after 1300; a technological wonder of its day |
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| an early keyboard instrument; player depresses a key and thereby pushes a small metal tangent in the shape of a “T” upward to strike a string |
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| 14th c. composer associated with the French Royal Court at Reims; first composer to write a complete polyphonic setting for the Ordinary of the Mass |
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| one of the three French formes fixes that originated in the Middle Ages; a song always with the form AAB setting a poem with from one to three stanzas |
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| the highest vocal part in an early polyphonic composition, what would later come to be called the superius and finally the soprano |
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| the highest vocal part in an early polyphonic composition, what would later come to be called the superius and finally the soprano |
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| the upper of the two contratenor voices (the other being the bass); the medieval equivalent of our alto voice |
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| the lower of the two contratenor voices (the other being the alto); the medieval equivalent of our bass voice |
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| a Mass with all movements are linked together by a common musical theme; the first was Machaut’s Mass of Our Lady composed in the mid-14th century |
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| three set genres: ballade, rondeau, virela, in which nearly all French secular art songs of the fourteenth and early fifteenth centuries were written |
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| contrapuntal technique and musical genre; sounds of two voices are staggered by the careful placement of rests, creating a highly syncopated piece |
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| one of the three French formes fixes that originated as a dance-song with the troubadours and trouveres; its musical and textual form is ABaAabAB |
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| one of the three French formes fixes; originated with the troubadours and trouveres; monophonic dance that involved choral singing; the form is AbbaA |
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| (more subtle art) a late 14th c. style by composers in Avignon, southern France and northern Italy; subtle, sometimes extreme, rhythmic relationships |
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| imitation of a complete subject at a fixed interval and time delay; successive voice(s) must duplicate exactly the pitches and rhythms of the first voice |
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| layout for religious music from the late Middle Ages onward; soprano voice in upper left, alto or tenor in bottom left or upper right, bass in bottom right |
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| from the Latin punctus contra punctum (one note moving against another note); the harmonious opposition of two or more independent musical lines |
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| dbl. leading-tone cadence |
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| cadence with two leading tones in the penultimate chord, one pulling upward to the primary tone and the other upward to the fifth degree |
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| accidentals not found on the Guidonian scale; had to be added by medieval performers because, theoretically “off the scale,” and had to be imagined |
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| two or more meters sounding simultaneously; first appearing historically in the music of the Ars subtilior |
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| Middle Age mensuration signs (time signatures) often written as fractions that modify the normal value of notes |
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| the medieval term for syncopation, a temporary shift of the downbeat |
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| term used to indicate the beat by Renaissance music theorists |
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| 14th c. Italian poet whose interest in classical Greek and Latin texts initiated the “humanism” ideal; his poetry used for many Renaissance madrigals |
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| 14th c. composer associated with complex symbolic scores and unusual rhythmic sophistication |
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| 14th c. trecento composer and intellectual; his music begins to emphasize the use of simultaneous 3rd and 6ths (6/3 chords), especially at cadences |
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| a dance song with a choral refrain; one of the three formes fixes of secular music in trecento Italy |
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| piece involving a musical canon in upper two voices supported by a slower moving tenor; one of the three formes fixes of secular music in trecento Italy |
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| common 14th-century Italian cadential gesture in which the upper voice moves to a lower neighbor (escape tone) before skipping up to the octave |
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| poem in the vernacular to which music was added for greater emotional effect; form AAB, one of the three formes fixes of secular music in trecento Italy |
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| term to describe music of the 1300s (14th century) in Italy |
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| Renaissance Florentine architect who designed the dome for the Florence cathedral |
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| 15th c. Lowlands composer; worked throughout Europe; “symbolic” motet for the dedication of Florence’s Duomo; many mature cantus firmus masses |
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| a system prevalent during Middle Ages and Renaissance; meaning in music conveyed by the use of numbers representing religious themes and concepts |
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