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| in ancient Greece, a hymn that celebrated the deeds of primary gods such as Zeus or Apollo; today any poetic hymn of praise |
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| in ancient Greece, a wild choral song, mingled with shouts, that honored Dionysus; a term applied today to any poem with these characteristics |
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| in ancient Greece, a tightly organized social gathering of adult male citizens for conversation and entertainment |
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| a song setting a brief and lyric aphoristic poem; the primary musical entertainment at an ancient Greek symposium |
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| in ancient Greek musical notation the basic unit of time-a short value |
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| in ancient Greek musical notation a long value of time-formed by two chronoi |
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| a triple unit long value of time in ancient Greek musical notation- formed by three chronoi |
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| in ancient Greek mythology, the nine goddesses who attended Apollo and presided over the arts and sciences; root of our word “music” |
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| in ancient Greece a medium-sized instrument usually fitted with seven plucked strings; used most often to accompany a solo singer |
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| the largest of all ancient Greek string instruments (an especially large lyre) usually fitted with seven strings and a resonator of wood |
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| an ancient Greek wind instrument played in pairs that produced a high, clear, penetrating sound |
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| part of the ancient Greek world-view of music; held that when the stars and planets rotated in balanced proportions they made heavenly music |
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| an ancient device with a single string stretched over a wooden block; distances carefully measured on the string to correspond to specific pitches |
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| pitches of a scale according to mathematically exact octaves, fifths, and fourths but not thirds and sixths |
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| a succession of four pitches |
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| term used by the ancient Greeks to indicate the lowest sounding pitch in their Greater Perfect System |
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| the framework of the Greek two-octave scale formed by four tetrachords and the proslambanomenos |
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| ancient Greek term for a scale |
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| the basic genus within the ancient Greek musical system; reflects the primary tetrachord spanning the intervals S-T-T |
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| a tetrachord employed by the ancient Greeks consisting of two semi-tones and a minor third |
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| a tetrachord employed by the ancient Greeks consisting of two semi-tones and a minor third |
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| a tetrachord found in ancient Greek music consisting of a major third and two quarter-tones |
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| Roman name for the trumpet; a long, straight instrument with a cylindrical bore and a bell at the end, which originated with the Etruscans |
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| the three verbal disciplines of the seven liberal arts-grammar, logic, and rhetoric-which deal with language, logic, and oratory |
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| the four scientific disciplines of the seven liberal arts-arithmetic, geometry, astronomy, and music- that used number and quantitative reasoning |
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| the principal Roman music theorist who wrote “Fundamentals of Music” based on his study and understanding of Greek music theory |
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| music of the spheres- one of the three harmonies Boethius posited as part of his cosmology of music |
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| music of the human body-one of the three harmonies Boethius posited as part of his cosmology of music |
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| earthly vocal and instrumental music-one of the three harmonies Boethius posited as part of his cosmology of music |
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| as defined by Boethius, the musicologist who studies and understands music; as distinguished from one who is a practitioner/performer |
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| in a medieval monastery or nunnery the person specially trained to lead the music |
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| the collection of prayers, chants, readings, and ritual acts by which the theology of the church, or any organized religion, is practiced |
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| monophonic religious music that is sung in a house of worship |
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| the music of the Christian Church of Egypt, which still exists today, passed along for nearly 2000 years entirely by oral tradition |
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| the special dialect of chant developed by the eastern Church in Constantinople; eventually notated and a body of music theory emerged to explain it |
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| the dialect of chant sung in the early churches of Rome; the principal repertory from which Gregorian chant would later emerge |
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| a body of chant created in the 4th century for the church of Milan in northern Italy |
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| the old Christian church music as sung by Christians living in Spain under Moslem rule |
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| Christian music of early-medieval France; later mixed with chant coming from Rome and that fusion formed the basis of what we call Gregorian chant |
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| act or process of singing the psalms (of the Psalter); done each week during the services of the canonical hours |
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| a method of musical performance in which a divided choir alternately sings back and forth |
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| a standard formula of praise to the Holy Trinity |
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| in antiphonal singing the short chant sung before and after a psalm and its doxology |
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| eight simple recitation formulas (simple repeating patterns) to which psalms were chanted |
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| a relatively short chant with a small number of phrases, often four, and a rather narrow vocal range; invariably strophic, having three or four stanzas |
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| a canticle of Mary, wherein she declares “My soul doth magnify the Lord;” the concluding musical portion of Vespers |
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| a particularly lyrical and memorable passage of scripture usually drawn from the New Testament of the Bible |
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| the central and most important religious service each day in the traditional liturgy of the Roman Catholic Church |
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| chants of the Mass whose texts change each day to suit the religious theme, or to honor a particular saint on just that one day |
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| chants of the Mass with unvarying texts that can be sung almost every day of the year; Kyrie, Gloria, Credo, Sanctus, and Agnus dei |
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| an introductory chant for the entrance of the celebrating clergy; the first item of the Proper of the Mass |
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| chants in which there are three, four, or five notes for each syllable of text |
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| chants in which there are many notes per syllable of text; Matins, Vespers, and the Mass have the most such chants |
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| a lengthy vocal phrase setting a single syllable of text |
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| an ancient Greek text; the first section of the Ordinary of the Mass the congregation petitions the Lord for mercy in threefold exclamations |
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| a hymn of praise originating in early Christian times; one of the five parts of the Ordinary of the Mass |
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| a profession of faith formulated as the result of the Council of Nicaea in 325; one of the five parts of the Ordinary of the Mass |
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| first of the two melismatic, responsorial chants of the Proper; consists of a respond, psalm verse and optional repetition of the respond |
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| the opening chant in responsorial singing; usually sung by the full choir, it is followed by a verse sung by a soloist, and is repeated by the full choir |
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| when the full choir prefaces and responds to the psalm verse, which is sung by a soloist (choral respond, solo verse, choral respond) |
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| second of the two melismatic, responsorial chants of the Proper; consists of a respond, verse, and repetition of the respond |
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| the melisma on the final syllable of the word Alleluia; at that moment the full choir and community celebrates with jubilation the redemptive life of Christ |
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| eight periods of worship occurring throughout the day and observed in monasteries and convents; prescribed in the Rule of St. Benedict (ca. 530) |
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| a vast body of monophonic religious music setting Latin texts and intended for use in the mass and canonical hours of the Roman Catholic Church |
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| the late-afternoon service, and most important of the eight canonical hours for music; not only were psalms and a hymn sung but also the Magnificat |
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| wrote the treatise “On Music” (ca. 1100) setting forth a sytem with numbers explaining the details of the eight church modes |
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| eight melodic patterns into which medieval theorists categorized the chants of the church; the four principal are Dorian, Phrygian, Lydian, & Mixolydian |
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| in the eight church modes, the first of each of the four pairs of modes; each has a corresponding lower mode, but both end on the same final pitch |
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| in the eight church modes, the second of each of the four pairs of modes; means “derived from;” range is a 4th below it’s corresponding counterpart |
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| in medieval musical notation, a sign used to delineate single pitches or groups of pitches; originally laid out on the parchment above text as a reminder |
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| (Latin for note) a symbol on a line or space representing a single, precise pitch |
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| leader in the creation of the musical staff and note names; developed a aural skills mnemonic device using the left hand |
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| the system of singing different pitches to the syllables “do (ut), re, mi, fa, sol, la, ti (si), do (ut)” |
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| a system of using the left hand to inscribe mentally the notes of the scale; provides a portable mnemonic aid for the musical staff and notes set upon it |
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| a change in Guidonian hexachords, often there were several places within a melody where such a change would be agreed upon by those singing |
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| an addition of music or text, or both, to a preexisting chant; they more fully explain the theology inherent in the chants to which they are added |
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| an addition of music and text to follow the Mass Alleluia; successive verses were paired into double verses; Council of Trent later banned all but five |
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| a distinctive feature of the sequence; each musical phrase is sung twice to accommodate a pair of verses |
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| (Day of Wrath) an anonymous 13th-century sequence; today the most famous of all medieval sequences, serves as the sequence of the Requiem Mass |
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| the burial Mass of the Roman Catholic Church |
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| in a convent, the main female singer and, in effect, the director of the choir |
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| 12th-century nun and abbess well-known for her compositions of monophonic chant and liturgical dramas |
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| (devil in music) the dissonant, or disagreeable tritone such as F-B |
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| a religious play with music intended to be performed as an adjunct to the liturgy, sometimes before Mass |
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