Music History Listening

Ad organum faciendum
Alleluia Justus ut palma; Anonymous; 1100; free rhythm; mostly 1:1; V.O above V.P with some voice crossing; unison cadences; all motions used; Latin/Malin
St. Martial organum; Aquitanian polyphony
Jubilemus exultemus; Anonymous; 12th century; free rhythm; high ratio 3-15:1; all diatonic intervals; all motions used; 6->8; 3->4 cadences; all motions used; Latin/ Southwest France; note-against-note; florid organum
Organum purum
Viderunt Omnes; Leonin;12th century; Notre Dame/Latin; monophonic and polyphonic; free rhythm; V.O above V.P; free rhythm; very high ratio; all diatonic intervals; perfect intervals @ cadences; similar, contrary, oblique; avoided tritones
Organum quadruplum
Viderunt Omnes; Perotin; late 12th/early 13th century; Notre Dame/Latin; four voices; melismatic; voice crossing; has modal rhythm; uses all diatonic intervals
Early Motet
Viderunt Omnes on Dominus; Anonymous; 13th century; modal rhythm; two different texts; two voices; adaption of a discant clausula; apart of the Dominus melisma; Latin/Notre Dame;
Roz, liz, printemps, verdure; Machaut; Mid 14th century; ABaAabAB; one text - French; three voices and one instrument playing the tenor; cantus is the main melody; France; all voices are in different rhythmic modes; consonant cadences; melismas; uses 3rds and 6ths
Ars Nova Mass Cycle
Kyrie; Machaut; 1364; Latin/France; modal rhythms; syncopations; tenor is isorhythmic; four voices; unison on original chants; hocketing; DLT cadences
Non avra ma' pieta; Landini; 14th century; Italy/French; syncopation; Landini cadences; 6ths and 3rds; three parts; ABbaA; for elite audiences; all voice parts in the same register;