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There is a music history test tomorrow. I will die.
Pieces to identify and comment on the style of:
Gregorian Chant:
Introit for Christmas Day, "Puer Natus Est" (antiphonal chant, Mass Proper) neumatic
Alleluia for Christmas Day, "Dies Sanctificatus" (responsorial chant, Mass Proper) melismatic
Secular Monophony:
Bernart de Ventadorn, "Can vei la lauzeta mover" (troubador canso, mid 12th century) strophic, syllabic
Early Polyphony:
Jubilemus exultemus (Aquitanian (earliest) polyphony, florid & discant style, early 12th century)
Notre Dame Polyphony (late 12th-early 13th centuries):
Leonin, Alleluia "Pascha Nostrum" (organum duplum, late 12th century) organum purum, nonrhythmic
Perotin, Gradual, "Sederunt" (organum quadruplum, early 13th century) modal rhythm, ligatures
13th-century motet:
Amours mi font/En mai/Flos Filius Eius (French double motet, mid-to-late 13th century) rhythmic, Franconian notation
Vitry: isorhythmic motet:
Phillippe de Vitry, In Arboris/Tuba sacre fidei/Virgo sum (isorhythm, diminution, hocket, c. 1320)
Formes fixes:
Guillaume de Machaut, Rose liz (rondeau, mid 14th century)
Trecento:
Francesco Landini, Non avra' ma' pieta' (ballata, mid-to-late 14th century)
Ars subtilior:
Baude Cordier, Belle, bonne, sage (rondeau, c. 1400)
Terms and names:
a camp aperto - "on an open field," notation without any staff lines, nondiastematic, does not indicate precise pitches, in use before 1050 or so when Guido d'Arezzo came up with musica enchiriadis
Anonymous IV, De mensuris et discantu (c. 1275) - English student who wrote treatise which describes the musical techniques of the Notre Dame school in great detail esp. mensural notation of polyphonic music. He also mentions and critiques contemporary composers and theorists, including Leonin, Perotin and Franco of Cologne.
Ars Nova - 14th-century polyphony, de Vitry as its founder, duple (imperfect) divisions of notes allowable, Machaut's isorhythmic motets
Ars subtilior - Avignon style when the papacy was divided, "subtle art," 1370s-1410s, end-of-era highly decadent marriage of French and Italian development: florid, but also rhythmically complex, syncopated, 2 over 3 in every level of rhythmic division
Beatriz de Dia (d. c. 1212) - composer in 13th century France
caccia - Italian Trecento song about hunting, like a round in form
canso - monophonic secular (troubador) love song
cantus firmus - held voice in a polyphonic work, the tune coming from sacred chant, can be troped in various ways
Carolingian Renaissance - unification/standardization of chant under Charlemagne (crowned emperor by pope in 800)
cheironomy - hand signs used to represent music
diastematic - specific-pitch notation
discant clausula - discrete section of organum with note-against note rhythm, troped from some original cantus firmus (Notre Dame school)
Divine Offices - sessions throughout the day when psalms had to be sung; vespers, compline, matins and such
formes fixes - French secular styles, including rondeau, virelai and ballade; all have refrain form
Franco of Cologne, Ars cantus mensurabilis - c. 1250 treatise establishes rules for values of single notes
Guido d'Arezzo (c. 991-after 1033) - wrote Micrologus de disciplina artis musicae, establishedeasier way to learn music, sofege, also called solmization (the Guidonian hand probably came later), the Guidonian Gamut of the hexachord (ut-re-mi-fa-sol-la)
isorhythm (color, talea, diminution) - repeating rhythm throughout a motet: color is the repeating pitch pattern, talea is the repeating rhythm, diminution is the proportional shortening of the pattern
liturgy - standardized Christian form of worship, mass
Magnus liber organi - book of Notre Dame polyphony from Leonin to Perotin (added his later)
Mass - most important service in a Roman rite, deriving from reenactment of Last Supper, consists of Proper and Ordinary; sung/spoken liturgy for public worship
monochord - string instrument carefully measured off in Pythagorean proportions so that when plucked it would sound various notes of the hexachord; aid to Guidonian notation
motet - elaborations on a trope, setting a poem to a clausula, underlaid words, disconnecting ligatures, polyphonic, usually bilingual text(s)
Occitania - region of Southern France, parts of Spain and Italy when the Occitan language was spoken, also langue d'Oc
organum purum - free-rhythm organum against a held, droning cantus firmus/tenor (Notre Dame polyphony, attributed to Leonin)
Proper/Ordinary - different parts of mass which had either the same (ordinary) or different (proper) words every day
Trecento - (three centuries) Italian 14th-century Ars Nova polyphony, same time as French... 1325-1425, Squarcialupi codex provides examples
troubadour - poet-musicians of secular monophony, including Machaut
trope/troping - form of melodic, harmonic or textual decoration of chant, up to and including motets
vidas - explanations of the lives of famous troubadours, mostly dealing with courtly love
Winchester Troper (c. 1000) - eleventh-century book of early organum as in practice, notated in heighted neumes without staff lines, rather than a treatise, in Southern England
Musical Styles
responsorial & antiphonal chant - one is solo/chorus, one is halfchorus/halfchorus
melismatic & syllabic chant - many notes or only one per syllable (neumatic is in between)
Trecento - Italian florid style of 14th-century polyphony, highly flowing ornamented melodic lines and not much complicated rhythm (can tell later went to Bel Canto) composers: Jacopo da Bologna, Ser Gherardello da Firenze, Francesco Landini
organum purum - held notes against free-rhythm upper voice, from Notre Dame polyphony; composers: Leonin
modal rhythm - use of ligatures to define what pattern of rhythm is written; source for finding out about this is Franco of Cologne, Ars cantu mensurabilis, first instances of notated rhythm
Ars subtilior - marriage of French and Italian styles in the 14th century, highly melodic and also rhythmic, syncopated, complex and decadent, for elitist intellectuals; composers: Baude Cordier
13th century motet - basically taking a pre-existing clausula and adding text to (troping) the tune. Tenor uses the old text. 1200-1450 tenor derived from a chant that serves as the foundation for newly composed upper voices; resulting style is heterogeneous both in musical style of the individual voices and in their texts
conductus style - (Notre Dame Polyphony) homophonic and discant style progression.
One essay of the following two:
Give and account of rhythm and musical style in French medieval polyphony of the 13th and 14th centuries. Cite appropriate genres, styles and compositions where possible.
OR
Describe the reuse of musical materials in medieval composiiton. Choose a few illustrative examples, explain what materials came to be used in later compositions, and detail how this took place. Be sure to include specifics in your answers, mentioning appropriate terms and musical genres.
Pieces to identify and comment on the style of:
Gregorian Chant:
Introit for Christmas Day, "Puer Natus Est" (antiphonal chant, Mass Proper) neumatic
Alleluia for Christmas Day, "Dies Sanctificatus" (responsorial chant, Mass Proper) melismatic
Secular Monophony:
Bernart de Ventadorn, "Can vei la lauzeta mover" (troubador canso, mid 12th century) strophic, syllabic
Early Polyphony:
Jubilemus exultemus (Aquitanian (earliest) polyphony, florid & discant style, early 12th century)
Notre Dame Polyphony (late 12th-early 13th centuries):
Leonin, Alleluia "Pascha Nostrum" (organum duplum, late 12th century) organum purum, nonrhythmic
Perotin, Gradual, "Sederunt" (organum quadruplum, early 13th century) modal rhythm, ligatures
13th-century motet:
Amours mi font/En mai/Flos Filius Eius (French double motet, mid-to-late 13th century) rhythmic, Franconian notation
Vitry: isorhythmic motet:
Phillippe de Vitry, In Arboris/Tuba sacre fidei/Virgo sum (isorhythm, diminution, hocket, c. 1320)
Formes fixes:
Guillaume de Machaut, Rose liz (rondeau, mid 14th century)
Trecento:
Francesco Landini, Non avra' ma' pieta' (ballata, mid-to-late 14th century)
Ars subtilior:
Baude Cordier, Belle, bonne, sage (rondeau, c. 1400)
Terms and names:
a camp aperto - "on an open field," notation without any staff lines, nondiastematic, does not indicate precise pitches, in use before 1050 or so when Guido d'Arezzo came up with musica enchiriadis
Anonymous IV, De mensuris et discantu (c. 1275) - English student who wrote treatise which describes the musical techniques of the Notre Dame school in great detail esp. mensural notation of polyphonic music. He also mentions and critiques contemporary composers and theorists, including Leonin, Perotin and Franco of Cologne.
Ars Nova - 14th-century polyphony, de Vitry as its founder, duple (imperfect) divisions of notes allowable, Machaut's isorhythmic motets
Ars subtilior - Avignon style when the papacy was divided, "subtle art," 1370s-1410s, end-of-era highly decadent marriage of French and Italian development: florid, but also rhythmically complex, syncopated, 2 over 3 in every level of rhythmic division
Beatriz de Dia (d. c. 1212) - composer in 13th century France
caccia - Italian Trecento song about hunting, like a round in form
canso - monophonic secular (troubador) love song
cantus firmus - held voice in a polyphonic work, the tune coming from sacred chant, can be troped in various ways
Carolingian Renaissance - unification/standardization of chant under Charlemagne (crowned emperor by pope in 800)
cheironomy - hand signs used to represent music
diastematic - specific-pitch notation
discant clausula - discrete section of organum with note-against note rhythm, troped from some original cantus firmus (Notre Dame school)
Divine Offices - sessions throughout the day when psalms had to be sung; vespers, compline, matins and such
formes fixes - French secular styles, including rondeau, virelai and ballade; all have refrain form
Franco of Cologne, Ars cantus mensurabilis - c. 1250 treatise establishes rules for values of single notes
Guido d'Arezzo (c. 991-after 1033) - wrote Micrologus de disciplina artis musicae, establishedeasier way to learn music, sofege, also called solmization (the Guidonian hand probably came later), the Guidonian Gamut of the hexachord (ut-re-mi-fa-sol-la)
isorhythm (color, talea, diminution) - repeating rhythm throughout a motet: color is the repeating pitch pattern, talea is the repeating rhythm, diminution is the proportional shortening of the pattern
liturgy - standardized Christian form of worship, mass
Magnus liber organi - book of Notre Dame polyphony from Leonin to Perotin (added his later)
Mass - most important service in a Roman rite, deriving from reenactment of Last Supper, consists of Proper and Ordinary; sung/spoken liturgy for public worship
monochord - string instrument carefully measured off in Pythagorean proportions so that when plucked it would sound various notes of the hexachord; aid to Guidonian notation
motet - elaborations on a trope, setting a poem to a clausula, underlaid words, disconnecting ligatures, polyphonic, usually bilingual text(s)
Occitania - region of Southern France, parts of Spain and Italy when the Occitan language was spoken, also langue d'Oc
organum purum - free-rhythm organum against a held, droning cantus firmus/tenor (Notre Dame polyphony, attributed to Leonin)
Proper/Ordinary - different parts of mass which had either the same (ordinary) or different (proper) words every day
Trecento - (three centuries) Italian 14th-century Ars Nova polyphony, same time as French... 1325-1425, Squarcialupi codex provides examples
troubadour - poet-musicians of secular monophony, including Machaut
trope/troping - form of melodic, harmonic or textual decoration of chant, up to and including motets
vidas - explanations of the lives of famous troubadours, mostly dealing with courtly love
Winchester Troper (c. 1000) - eleventh-century book of early organum as in practice, notated in heighted neumes without staff lines, rather than a treatise, in Southern England
Musical Styles
responsorial & antiphonal chant - one is solo/chorus, one is halfchorus/halfchorus
melismatic & syllabic chant - many notes or only one per syllable (neumatic is in between)
Trecento - Italian florid style of 14th-century polyphony, highly flowing ornamented melodic lines and not much complicated rhythm (can tell later went to Bel Canto) composers: Jacopo da Bologna, Ser Gherardello da Firenze, Francesco Landini
organum purum - held notes against free-rhythm upper voice, from Notre Dame polyphony; composers: Leonin
modal rhythm - use of ligatures to define what pattern of rhythm is written; source for finding out about this is Franco of Cologne, Ars cantu mensurabilis, first instances of notated rhythm
Ars subtilior - marriage of French and Italian styles in the 14th century, highly melodic and also rhythmic, syncopated, complex and decadent, for elitist intellectuals; composers: Baude Cordier
13th century motet - basically taking a pre-existing clausula and adding text to (troping) the tune. Tenor uses the old text. 1200-1450 tenor derived from a chant that serves as the foundation for newly composed upper voices; resulting style is heterogeneous both in musical style of the individual voices and in their texts
conductus style - (Notre Dame Polyphony) homophonic and discant style progression.
One essay of the following two:
Give and account of rhythm and musical style in French medieval polyphony of the 13th and 14th centuries. Cite appropriate genres, styles and compositions where possible.
OR
Describe the reuse of musical materials in medieval composiiton. Choose a few illustrative examples, explain what materials came to be used in later compositions, and detail how this took place. Be sure to include specifics in your answers, mentioning appropriate terms and musical genres.