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| A single line of melody with no harmony or accompaniment. |
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| Two or more independent lines heard simultaneously (contrapuntal texture). |
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| Ancient Greek scale patterns distinguished by their own unique order of tones and semitones. |
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| The earliest form of notation in Western art music. Small notational symbols indicating the direction of the melodic line. |
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| Vocal music without instrumental accompaniment. |
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| Monophonic, modal melody in unmeasured prose rhythm. |
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| The Eucharist service in the Roman Catholic Church, consisting of prayers, reading from the bible, and reenactment of the last supper. |
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| The fourth variable section of the Mass, usually melismatic and in responsorial style. |
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| Solo voice (verse) alternates with choral passages (respond). |
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| Many notes for each syllable of text. |
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| 2-4 notes for each syllable of text. |
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| One note per syllable of text. |
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| An existing melody which serves as the structural skeleton for a polyphonic composition. |
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| The voice that contains the cantus firmus. |
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| A style of organum in which the upper voice uses faster note values. The cantus firmus is sung in very long note values. |
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| Vocal music in which a new melodic line(s) is added to an existing Gregorian chant. |
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| A style of organum in which the cantus firmus has fster rhythmic values and the movement of the two voices is closely related. |
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| Rhythmic patterns of long and short nores related to poetic meters. Provided rhythmic structure in the absence of note values. |
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| Two or more texts are heard simultaneously. |
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| Vocal composition with or without instrumental accompaniment, often polytextual. |
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| Organized and codified the chants that had accumulated, establishing a uniform liturgical service. |
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| Anonymous 9th century treatise containing the earliest examples of notated polyphony. |
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| Two leading composers of the Notre Dame school. |
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