EXAM I STUDY GUIDE MassRoman Church service, symbolic of last

supper, daily in monasteries, convents and

Ethosethical way of behaving and being,
major churches, Sundays in other churches
could be affected by music according to Greek
writers Ordinary of the MassRegular structure of
service, kyrie, gloria, credo, prayers, sanctus,
Greater Perfect SystemSpan of 4 tetrachords
cnon, paternoster, agnus dei, ite , sung by
with added note on bottom to span two 8ve
congregation and eventually male choir, parts
range
do not change
Tetrachord4 notes spanning a P4th
The Office8 services at specific times
Genera of tetrachordClasses of tetrachords: throughout the day celebrated in monasteries
diatonic (M2, M2, m2), chromatic (m3, m2, m2), and convents
enharmonic (M3, quarter tone, quarter tone)
PsalmsPoems of praise, sung to God
Tonoiscale/set of pitches w/in a specific
Antiphonprecede and follow office psalms
region of the voice
and determine mode for psalm tone
Liturgytexts and rituals in a church service
Syllabicone note per syllable
Plainchantunison songs w/ melodies
Neumaticone neume per syllable (1-6 notes)
NeumesEarliest form of notation, written
Melismaticlong melodic passage per syllable
above text, idic melodic gesture, number of
(7-13 notes)
notes, contour of melody, etc
StrophicSame melody for every verse, ex
Heightened neumesneumes placed
hymns
specifically vertically to show pitch contour
intentionally Tropeexpansion of an existing chant by
adding words and music before chant and
Guidonian Notationcolored lines that started
between phrases, extending or writing new
evolution of the 4 line system of staff, pitch still
melismas, or changing text to existing melismas
relative
Sequencesung after alleluia at mass, syllabic
Church modessystem of categorizing modes
couplet text (sometimes newly written text),
based on whole steps and half steps, making it
easier to sing and memorize, 8 total, ID by # Liturgical dramaTropes/Dialogues sung
responsively accomp w/ dramatic action
Finalmain note in mode and usually last note
in melody Chanson de gestsong of deeds, epic telling
deeds of heros of north france in vernacular
Reciting tonemost repeated/prominent note
songs w/ simple melodies
in chant
MinstrelSpecialized musicians employed at a
Solmizationsyllables associated with patterns
court/city in 13th century
of steps/halfsteps
TroubadourSouthern france poet-composers
Hexachordssystem that showed where the
monophonic songs in Occitan
semitones were evolved into our accidentals
TrouvereNorthern France poet-composers
monophonic songs in old france
Contrafactumcircumstance where one
melody has various texts that can be
substituted
Chansonniersmanuscript anthologies (song
books) w/ French text, contained troubadour
and troubere songs, polyphonic songs
MinnesingerGerman knightly-poet singers 12-
14 cent. Wrote love songs
MinneliederGerman love songs about duty to
service/loyalty to king, usu strophic
Bar formAAB most common form of
minnelieder
LaudeItal sacred monophonic songs (KLOVE
equivalent), sung in processions and almost
bible study groups
CantigasPortuguese songs about Virgin Mary,
songs w/ refrains, possibly for dancing, AAB
form w/ refrain bookending aab (REALLY more
like A bba A bba A)
EstampieMedieval instrumental dance songs,
several sections played twice w/ an open and
closed ending with incomplete and full cadence,
respectively. French ones are in triple meter w/
short sections.
Organum2 + voices singing different notes in
good combos according to the rules.
Parallel organummotion of organal and
principal voice moving a 5th apart the whole
time
Principal voiceOriginal chant melody
Organal voiceAdded new voice
Mixed parallel and oblique organumcombo of
parallel motion and oblique motion to avoid
tritones, principal voice stays constants until P4
achieved
Note-against-note organumIndependent
organal voice, moving above the chant voice,
using consonant intervals with contrary,
oblique, parallel, and similar motion
Aquitanian polyphonyFrench, ornate
polyphony, use both discant and florid organum
Discant styleboth parts move at same rate
Florid organumorganum voice (upper) moves
at a faster rate than the principal voice
Tenorvoice that holds the principal melody
Notre Dame PolyphonyParis style, more
ornate, more than 2 voices, developed by
singers then written down still
Rhythmic modes6 basic patterns of rhythms
(ligatures) made up of short and/or long notes
Magnus Liber OrganiGreat book of polyphony
supposedly by Leoninus (singer and compr) 2
voice settigngs of solo responsorial chants for
major feasts of church calendar
Organum duplumorganum with two total
voices
Organum triplumorganum with three total
voices
Organum quadruplumorganum with four
total voices
Clausulaself contained section of organum
Substitute clausulaediscant styles of clausulae
that can replace forid organum to shorten the
piece
Motetaddition of new latin text to upper
voices of discant clausulae
Double motetmotet with two individual texts
above the tenor
Triple motetthree individual texts above the
tenor
Cantus firmuspreviously existing melody upon Forms fixesfixed form w/ particular patterns
which a polyphonic work is based of repetition and new material

Franconian Notationdurations signified by RondeauPolyphonic work, 2/3 voices, love

note shapes, showing rhythmic values, allowed themed
more rhythmic freedom
VirelaiFrench monophonic song w/ refrain,
Mensuration signsold fashioned time combo of trouvere poetry w/ current musical
signatures style

Ars Novanew art style of France from 1310s- Balladepolyphonic song, serious for
1370s, included duple divisions of semibreve, historical/philosophical themes/love songs has
mensuration signs, permanence of composition, a refrain (assoc w/ dancing) 2-4 voices, usu high
3rds and 6ths more consonant male voice

Ars SublitorFrench compositions slightly TrecentoItal divisions of 2, 3, 4, 6, 8, 9, 12

subtler than ars nova, decorative compositions equal/various semibreves, with secular
and manuscripts polyphonic songs for personal entertainment,

Isorhythmtenor laid out in segments of Madrigal14th c: 2-3 voices w/o instrumental

repeating rhythm, generally rhythm is more accomp, 2+ 3 line stanzas, all voices on the
complex and longer with tenor moving slower same text, with the same music ending with a
ritornello
Talearepeating rhythmic unit
Ritornellodiff music w/ different meter,
Colorrepeating melodic unit
closing lines of a madrigal
Hockettechnique where two voices alternate
Ballatapolyphonic song to accompany
quickly the other resting while one sings.
dancing, with a ripressa before and after the
Contratenorvoice part w/ range of tenor, stanza w/ two feet (AbbaA
supporting voice of harmony, composed after
Cacciastrict cannon of two voices, with
tenor line
ritornellos, hunting song, untexted free tenor
Chansonpolyphony love song, treble- underneath.
dominated where cantus is in the treble, w/
slower moving, textless tenor
People:

Beothiusconsu and minister to Ital ruler, wrote The Fundamentals of Music as a young man, treats
music as science of number, support from Greek sources of mathematics and theory, classified music
into 3 types (music of the universe, human music, and instrumental music), emphasized influence of
music on character

Guido dArezzoTheorist wrote Micrologus a practical guide for singers on notes, scales, intervals,
modes, melodic composition and improv poly. Came up with Guidonian Hand to come up with all the
pitches within the diatonic scale

Hidegard von BingenCelibate religious woman composer, known outside of convent, unusual pairings,
focus on meaning

Adam de la Halletrouvere from Northern france, first vernacular poet/composer w/ works completed
in a manuscript

Bernart de VentadornTroubadour born to sevant at court, learning poetry and music from patron and
then spreading troubadour tradition to North

Walther von der VogelweideGerman minnesinger, knightly nationalistic love song dude

LeoninusServant of Cathedral of Paris, went to university of Paris, canon, priest, poet, singer,
composer of Notre Dame polyphony and other two voice settings of chants, supposed author of Magnus
Liber organi

PerotinusWorked at Cathedral of Paris too also at university of Paris, helps with Notre Dame
polyphony

Franco of CologneTheorist and composer codified new system of notation where note shapes
indicated duration of notes

Guilluame de MachautFrench composer whose work led to Ars Nova, compiled works and discuss
methods as composer, strong patron support

Francesco LandiniComposer of Italian ballate, 140 ballate (89 2 voice, 42 3 voice, 9 combo 2 and 3
voice), treble dominated style, sweet harmonies, graceful melodies, combo of french and ital char,
Landini cadence used consistently

Essay Topics:

Prompt One: Describe the development of polyphony in the organum tradition from the 9th through the
13th. Cite at least 3 specific examples from the Norton Anthology.

Prompt Two: Describe the development of the motet form the 13th-14th centuries. Cite at least 3
specific examples form the Norton Anthology.
Bethany Overbaugh

Prof Clem

Exam I Essay Prompt Two

20 October 2017

Throughout the development of motet through the 13th and 14th century included not only a
change in the structure, but rhythmic development, and tonal development as well. As time passes,
composers such as early composers of motet, Adam de la Halle, and Petrus de Cruce take the motet
theyre all used to, and through small variations to the previous version, change the meaning of the
motet and develop music at the same time.

At the beginning of the 13th century, a motet was simply defined as a polyphonic work that had
upper voices singing discant clasulae, but to new texts. Commonly, the texts could be different in each
voice, but if so were related by subject. In this era of motet, the name was the first words of each texts,
such as Fole acostumance/Dominus (NAWM 21b). This continued throughout the development of
Motet, and brought attention to the polyphonic style of text and also showed where each voice resided.
The clausulae, in this style of motet were usually from the Notre Dame clausulae reperatory in France,
and being discant, the different voices moved at a slower rate in relation to one another than in a florid
style which contained many melismas. The basic format of the motet was the tenor which sang the
borrowed melodies, and then the duplum, the voice above the tenor, which had new text. Since the text
was sung to existing notation, the structure was not always even and regular, and sometimes the text
led to strange lengths of melodies and word placements. Fole acostumance/Dominus is an example of
how the tenor would bring delineate the melody and rhythm of the piece from a preexisting work,
however in this case, in order to accommodate the new and longer text, the melody was adjusted to
move at a faster tempo and repeated.

The motet which once was used with a liturgical purpose eventually became used primarily for
entertainment and secular music. This resulted in changes of the voicing, and the language of the text
itself. Theoretically, one voice could now be singing in Latin, while the other could be singing in French,
as long as the texts were linked by subject. The voicing change meant that more voices were added. It
became common by the later 13th century to have three voices singing at the same time in a polyphonic
work, however in the first stages of development, it was also acceptable for four voices. The added
voices were named the triplum and quadruplum, as they were the third and fourth voices ranging from
low to high. Due to these voicings, motets began to be qualified by the number of voices. For example, a
double motet had two voices above the tenor and a triple motet had three voices above the tenor. Any
of these voices could have a different text from the others, and eventually composers began to stray
even further from the early 13th century motet by writing the tenor themselves rather than taking the
melody from a previously composed work. Other tenor melodies were from secular songs, and thus the
tenor became known as the cantus firmus, serving to identify the melody as one that was written prior
to the polyphonic motet.

As motets developed further and changed even more, composers were restricted by the
rhythmic notation of the day, as they had only a few options based on ligatures. However, composers
were looking to distinguish each voice from the next through varying rhythms. As a result, Franconian
notation developed which allowed composers to break up beats into even smaller divisions and indicate
that by the shape of the notes. However this caused parts that were very unequal in length when
written out so manuscripts were separated by voice instead of being vertically lined up with each note
corresponding. This is evident in NAWM 22 as the upper voices have different rhythms. Additionally, in
this example, it is seen how the triplum became faster than the duplum, and the duplum faster than the
tenor, simply due to the rhythmic divisions and number of notes. As time continued into the early 14th
century, composers expanded on Franconian notation and used it to their advantage as they
distinguished each voice more greatly from the others. As a result of the increased number of notes in
the upper voices, the tempo slowed down. Additionally the function of the voices also changed, as the
tenor then became the harmonic structure of the piece, partially due to the slow and steady change of
pitch and rhythm. Moving up in voice part, the duplum began to function as the accompaniment to the
triplum which functioned as the main melodic voice. This is seen in NAWM 23 by Petrus de Cruxu, and
additionally, the vertical sonorities show development of the voices within the motet. There gradually
became more dissonances, in the sense of 14th century dissonance where a fourth was considered to be
dissonant unlike today. Finally, the idea of a cadence changed so that the piece ended with the voices of
the root, the fifth and the octave above. This was common, seen both in this piece but also many
motets, and was achieved by stepwise motion in the tenor.

Overall the motet not only changed from a mainly liturgical piece to a secular piece but also
many other aspects developed and changed throughout the 13th and 14th centuries. From changes in the
number of voices, the rhythmic activity of the voices, and the function of the voices as they worked
together, to changes in the text, specifically the languages of the text and the source of the melodies
and rhythms themselves all evolved during these centuries.