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| chant wherein each syllable of the text has its own note |
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| chant wherein each syllable is sung to between two and six notes |
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| chant wherein each syllable is sung to many notes |
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Kyrie eleison,
Gloria,
Credo,
Sanctus,
Agnus Dei |
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| musical notation utilizing a line as reference point for notes |
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| changed with the day according to the church calendar |
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| counterpoint, the most important melodic material is presented first in a single voice, each successively entering voice begins with the same melody |
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| mass wherein each movement shares a common musical theme |
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| “fixed forms” – prescribed courtly love poetry styles |
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| the main sung melody of a chant |
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| the second and third voices, respectively, of a polyphonic chant |
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| polyphonic composition based on plainchant in which a new ornate voice is added above the original voice, moving faster than the original plainchant line. cadences on perfect intervals |
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| consists of two voice parts moving in parallel motion a 4th or 5th apart |
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| converging parallel organum |
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| parallel organum wherein both voices start and end on the same pitch, but are a 4th (or 5th) apart for the duration of the chant |
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| brief, polyphonic sections of discant organum |
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| ababbcbC ababbcbC ababbcbC bcbC (C is the refrain) |
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| a novel, musical accompaniment thereto is regarded as the beginning of the Ars Nova movement, with use of ISORHYTHM |
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| syncopated rhythmic interplay between multiple voices, wherein one voice sounds while the other rests |
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| “English consonance” – referring to the use of the interval of a 3rd, hockets, and two tenors. |
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| sacred but non-liturgical composition, sung while the lectionary was carried from its place of safekeeping to the place of reading |
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| a melody, with one or more imitations of the melody played after a given duration |
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| medieval European conception of nobly and chivalrously expressing love and admiration |
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| sectional and/or additive way of structuring a piece of music based on the continual repetition of one formal section or block (A A A; A A’ A”) |
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| songs from the Iberian peninsula |
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| AAB, used by Walther von der Vogelweide, minnesingers |
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| minstrels from SOUTHERN France |
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| minstrels from NORTHERN France |
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| Female Occitan minstrels (SOUTHERN France) |
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| polytextual, in the vernacular, secular |
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| new inserted words at any point in the text: Kyrie [cunctipotens etc…] eleison |
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| commentary added to the chants (in the margins) |
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| or “liturgical drama” – staged, sung scenes as part of the worship |
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| the texted duplum in a motet |
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| same range as the tenor, usually less melodic |
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| musical technique that arranges a fixed pattern of pitches with a repeating rhythmic pattern |
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| the pitch series in an isorhythmic composition |
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| the order of rhythms in an isorhythmic composition |
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| 14th century French music, the title of a treatise on this genre of music |
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| end of the 14th century, characterized by “musical puzzles” – Machaut (ma fin est mon comencement) |
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| a cadence in which the voice drops a third below the final before resting on the final |
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| anonymous musical treatise from the 9th century. It is the first surviving attempt to establish a system of rules for polyphony in western music |
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| 12th century illuminated manuscript, a guide and songbook for pilgrims on their way to Santiago de Compostela in NW Spain |
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| process of overlapping voices, in a canon |
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| distinctive thematic units in a canon |
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| Josquin des Prez, division of 4-part harmony into two answering pairs or duos |
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| Josquin des Prez, division of 4-part harmony into two answering pairs or duos |
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| Josquin des Prez, division of 4-part harmony into two answering pairs or duos |
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