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named after pope gregory mass celebration of the holy communioin |
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Kyrie, Gloria, Credo, sanctus, agnus dei example: Missa something by: Dufe |
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| Patriarch that recognized the power of music |
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| emperor that unified liturgy and music, but also everything |
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| indicate pitches or groups of pitches in a chant |
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| series of services held at specified times: featured psalm singing |
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Ordinary: everyday Proper: specific days |
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| syllabic, neumatic, melismatic |
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| responsorial vs. antiphonal |
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| solo and choir, two groups of performers |
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| melismatic ending of alleluia |
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| melodic formula used to recite psalms according to eight tones |
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| plainchant sung before a psalm or chant |
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fanalis: ending pitch in a mode ambitus: range of a mode authentic: range is octave above fanalis
plagel: fifth above fourth below |
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| psalmisation: guidonian hand |
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| ut, re, mi, fa, sol, la: way to learn psalmisation |
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| entire range of available pitches |
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hard= B natural soft= B flat neutral= no B W, W, H, W, W |
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| performers determine which notes are sharp/flat in performance |
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| adding notes and/or words to existing chant: just text |
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| liturgical drama, Hildegard Von Bingen, ordo vir tutum |
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| drama in a mass, first woman to do this, her most famous piece about the devil |
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| original plainchant with added voice |
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| together, one is faster than the other |
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| St. Martial- Aquitanian Polyphony |
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| center for the production and collection of medieval chant and polyphony |
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| Notre Dame organum: measure vs unmeasured |
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| two voices move about same speed: one holds other melismaticizes |
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perotin was leonin's student, added triplum and duplum notre dame |
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| great book of organum by leonin and perotin |
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| rhythmic modes, ligatures |
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| modes are made from ligatures which are groups of 2+ notes |
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| Clasula/Substitute clasula |
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| substitute for part of organum |
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| new text to existing clasula, secular |
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| metered poem used in music |
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| notes shapes determined duration |
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| long notes vs. short notes in mensural notation |
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french song lighter and chordal, homorhythmic, vertical sonorities Sermisy and Janequin were big |
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| secular vocal composition for multiple voices |
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| group of singers virtuosic |
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| madrigal sub genre less literary and less elaborate |
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| german, tenor song, secular |
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| tradesmen/craftsmen who sang |
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| spanish song at this time |
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| english version, Morley wrote some |
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| strophic madrical notated for the lute |
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| martin luther brought about the musical aspect of the change |
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| congrational singing of hymns |
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| anthem- full vs. verse:byrd |
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| english motets chorus: chorus and solo |
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| council of trent met to revise the catholic church |
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| palestrina: missa papae marcelli |
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| accepts thirds and sixths as consonant |
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| any arrangement of existing music for strings or keyboard |
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| melody and variations, spanish |
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| composition seeks out specific mode or theme |
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| freely composed work unrelated to anything else |
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| free flights of imaginative composition |
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| dance music: susato and praetorius |
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| syntactic form vs. paratactic form |
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| central idea is presented and varied: each new section presents a new idea |
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| mannerism, musica reservata |
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| term from art history to describe sculpture and painting |
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| writing in musical mannerism |
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