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| Greek Philosopher. Recommended the ideal state be founded on suitable types of music and warn against the unsettling effects of musical innovation. |
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| Greek Philosopher. Theory of imitation, explained how music affects behavior: recommended temperance in musical exposure and training. |
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| Greek Phil. Discovered mathematical relationships between notes, harmonic overtone series. |
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| Ancient Greek. Larger counterpart to Lyre. 5-7 strings that were plucked. |
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| Ancient Greek. Single- or double-reed instrument used in the worship of Dionysus. |
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Moral and ethical character/behaviour. Character or mood of a certain tetrachord, chord, or scale.
Doctrine: a writing by Aristotle noting the benefits and dangers of musical education. |
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| Scale fragments spanning a fourth. There are three genera of tetrachord: diatonic, chromatic, and enharmonic. The outer two notes were clearly defined, while the inner two had a less defined pitch, depending on the context. |
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Top two intervals whole tone, bottom a semitone.
Ex: E D C B. |
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| Top interval a minor third, lower two intervals a pyknon (dense region) of semitones. |
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| Top interval a minor third, lower pyknon denser than semi-tones, possibly quarter tones. |
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| Premier authority on music in the middle ages. Wrote De institutione musica, the Fundamentals of Music. |
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| Boethius’ term for the “four paths” of the mathematical disciplines: geometry, arithmetic, astronomy, and harmonics. |
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| A compilation of all knowledge of musical composition prior to Boethius’ time. Contained formulas for the intervals between notes, generating scales and tuning. |
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| A term used in De inst. mus. to describe the music of the relation between the earth and stars. |
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| A term used in De inst. mus. to describe the music unifying the human body. |
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| “Traditional” music (compared to mundana and humana) |
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| Sacred poems set to music. |
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| Repertoire of melodies sung by Frankish monks and nuns, transmitted in their writings. Codified by Pope Gregory II. |
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| A second vocal or instrumental line, holding a single note for long durations. From verb “tenere”, to hold. |
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| The sacred repertory, later Gregorian chant, created for ceremonial use and a principle element in the communal liturgy. |
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| Worship service. Includes any music, text, or actions. |
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| The prayer services practiced by members of religious community throughout the day. |
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| The most important service of the Catholic Church. Text are read, songs are song, the Last Supper is reenacted. |
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| Varied text depending on time of year. |
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| Absolute text, unchanged throughout the year. Includes the Kyrie, Gloria, Credo, Sanctus, and Agnus Dei. |
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| Music passed down from generation to generation by word of mouth, rather than writing or recording. |
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| Form of chant involving two separate choruses, each alternating a line of the chant. |
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| Chant alternating between a single cantor and the congregation. |
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| Entire chant sung by chorus. |
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| Opposite of melismatic, generally one syllable per note. |
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| Midway between syllabic and melismatic chant. |
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| Extended lines consisting of many notes per syllable. |
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| One of the eight melodies used for singing psalms. |
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| Half verses alternate between two choirs, adopted early in the history of the Christian Church |
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| Alterations and inserts made in existing chants, new texts, melismas, or both added. |
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| Tropes of the Alleluia that became independent compositions. |
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| Plays consisting of chants, conveying a religious message. |
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| Composer, abbess of her own convent in Bingen, 1150. |
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| Dorian, Hypodorian, Phrygian, Hypophrygian, Lydian, Hypolydian, Mixolydian, Hypomixolydian. |
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| Essentially tonic, final notes of a chant. Determines mode. |
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| Place finalis on outer bounds of scale. |
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| Place finalis in center of mode. (Hypo) |
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| Solfege of early Church: ut re mi fa so la |
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| Eleventh century monk proposed solmization syllables. |
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| Pedagogical visual aid for remembering the solmization, developed by Guido of Arezzo. |
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| Minstrels, sang secular songs in the middle ages. |
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| Traveling musicians playing secular music. |
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| Poet-composers in the south of France (troub) and the north of France (trouv) in the thirteenth century. |
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| Repeated part between verses of a song. |
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| German school of knightly poet-musicians between 1100-1300 |
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| Multiple voices singing separate melodic lines. |
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| Early form of polyphony developed in the 9th century. |
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| Two voices singing in parallel intervals. |
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| Second voice stays static while top voice moves. |
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| Second voice, in addition to the vox principalis |
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| Primary voice, as opposed to organal voice. |
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| A set of instructions detailing the composition of organum, dating from about 1100. |
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| Florid/Aquitanian organum |
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| Characterized by two separate voices, the lower of which sustains long notes under the V. Princ.’ lengthy melismas. |
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| Organum Purum, Organum Duplum |
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| Note-against note movement in organum. |
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| Development of polyphony in the Cathedral of Notre Dame, primarily by Leonin and Perotin. |
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| Led the school of Notre Dame, compiled the Magnus Liber Organi, a collection of polyphonic settings for existing chant passages. |
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| Likely a student of Leonin, a singer and composer, credited with many clausulae and updating the Magnus Liber. |
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| Established rhythmic motifs of varying durations. |
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| A section of a chant in discant style. |
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| Clausula of organum, cut loose from it’s larger chant setting. Compare “sequence” |
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| Borrowed chant material serving as the tenor part in motet in Latin. |
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| 3 voices, with the upper voices moving with quicker rhythm than the lower. Layered texture. |
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| Period of “New Art” in france, early 14th century. |
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| A narrative poem satirizing the political corruption in France at the time. |
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| Composer associated with Ars Nova, wrote many motets in the Roman de Fauvel. Used isorhythm. |
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| Compositional device utilizing a repeating rhythmic idea superimposed with a repeating melodic idea of a different length. |
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| The melodic component of the isorhythm |
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| The rhythmic component of the isorhythm |
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| b. 1300, Most important composer in 14th cent France. His music typifies the French Ars Nova. |
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| Musical device involving short alternations between two voices. “Hiccup” |
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| Mass composed in polyphonic tradition, treating the six texts of the Ordinary as one composiition rather than separate pieces, by Machaut. |
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| Time signature, circle thing. |
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| Established genres of song, including the Virulai, Ballade, and Rondeau |
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| Italian Ars Nova, the 1300s. |
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| Idyllic, pastoral love poems set for two voices. Secular. |
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| Lively canon describing pastoral or chase scenes. |
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| Leading Italian composer of the trecento. Composed 140 ballate. |
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| Characterized by small dip down from leading tone before resolving to tonic. |
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| Implied accidentals in music, applied instinctively by singers of the time. |
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