BGSU 2012 Music History Entrance Exam (Early Medieval)
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42 terms
Terms | Definitions |
|---|---|
 Notker Balbulus (840-912) | Added prosulae (added text to existing melisma). Did so as a way to better memorize the chants. Considered early composer and monk at St. Gall Abbey. |
| Tuotilo | Friend and Student of Notker at St. Gall Abbey. |
| Guido d'Arezzo | Responsible for systematic and consistent application of the eight-mode system (Dorian, Phrygian, etc.). Usually attributed Guidonian hand that features the entire gamut of solmization syllables. |
| Adam de la Halle | Famous trouvere, Wrote the "The Play of Robin and Marion", which is considered the earliest surviving secular French play with music. |
| Bernart de Ventadorn | (1140-1190) is one of most famous troubadours. |
| Guiraut de Bornelh | One of most famous troubadours |
| Walter von der Vogelweide | Famous Minnesinger |
| Hans Sachs | Most famous Meistersinger. |
| Jongleurs | Performers of Troubadours Music, Expected to embellish and improvise. |
| Goliardic poets | Wandering minstrels who wrote songs of love, gambling, drinking, and other pleasures of life that they chased. |
| Troubadours | 12th and 13th Centuries Southern France. Wrote Songs in Occitan (Related to French and Spanish) |
| Trouveres | 12th and 13th Centuries Northern France. Wrote Songs in medieval French |
| Minnesinger | 12th & 13th centuries Singer of "Minne" or courtly love. German version of trobadours. |
| Meistersinger | 14th - 16th Centuries, Continued traditions of Minnesingers |
| Gregorian Chant | Plainchant named after the supposed creator Pope Gregory I |
| Antiphonal psalmody | Type of recitation in which order is Antiphon (Plainchant) - Psalm Recitation - Antiphon Music of the Divine Office in Medieval Roman Church. |
| Responsorial psalmody | Plainchant Psalm Recitation in which chorus and soloist alternate in Medieval Roman Church. |
| Direct psalmody | Psalms sung without either refrain or alternating singers in Medieval Roman Church. |
| Syllabic setting | One note per syllable of text. |
| Neumatic setting | Two or more notes per syllable (plainchant). |
| Neume | Sign used in early chant notation to indicate pitch. |
| Jubilus | Long melisma on final syllable in Alleluia. |
| Liber usualis | book of commonly used Gregorian chants in the Catholic tradition. |
| Liturgical drama | Liturgical passage in chant theatrically portrayed |
| Modal system | Consistent and systematic use attributed to Guido of Arezzo. Modes Used for plainchant which include: Dorian, Phrygian, Lydian, Mixolydian, and their Hypo's (8 total). |
| Hexachord | Group of six notes seperated by whole step except 3rd and 4th note by half-step (First six-notes together of a major scale). |
| Solmization | Attributing distinct syllable to each note in a scale. |
| Gamut | Entire range of available pitches. |
| Mutation | A technique in which A particular note during the course of a chant would function as a new syllable within a different hexachord (like modulation). |
| Roman liturgy | Established ritual or process of worship in the Roman church which included all services done during the Roman Catholic liturgical year. |
| Pastourelle | A French (or Provencal) medieval lyric characterized by its pastoral theme, usually the attempted seduction of a shepherdess by a gallant knight. |
| Lauda | Most important form of sacred vernacular song in late medieval Italy. |
| Roman Mass | Roman Catholic service took place every day and was open to public. Consisted of mixture of sung, spoken, and recited elements. |
| Sequence | Chant or hymn sung during the celebration of the Eucharist. The melodies (when sung) were modal and primarily syllabic. |
| Trope | Musical or textual addition to existing plainchant, Many times at beginning or end. Sometimes within. |
| Antiphone | typically brief, syllabic melodic that preceeds and follws a Psalm recitation in the Divine office practices. |
| Psalm tone | Musical formula/modal melodies used for reciting various Psalms. |
| Estampie | Medieval dance/form popular during 13th and 14th Centuries, in the form aa, bb, cc, etc. |
| Conductus | Sacred, non-liturgical vocal composition for one or more voices. |
| Chanson de geste | Longest form of of troubadour music |
| Cantigas | Medieval monphonic song, which were sometimes narratives of miracles or praise to the Holy Virgin. |
| Melismatic setting | Five or more Notes per Syllable on long sustained vowels as in the Alleluia |
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