Question 1

Ad organum faciendum

Accepted Answer

A Mannual written on the rules of Organum

Question 2

Aquitanian polyphony versus florid

Accepted Answer

...

Question 3

Ars cantus mensurabilis

Accepted Answer

is a musical treatise from the mid-13th century, c. 1260-1280 (Medieval Period) written by german music theorist Franco of Cologne [1] The treatise was written shortly after De Mensurabili Musica, another musical treatise of the 13th century by Johannes de Garlandia, which summarised a set of 6 rhythmic modes in use at the time.[2] Ars cantus mensurabilis was the first treatise to suggest that individual notes could have their own rhythmic durations. This new rhythmic system was the foundation for mensural notation system and the ars nova stlye.

Question 4

Ars Nova

Accepted Answer

Style of POLYPHONY from fourteenth-century France, distinguished from earlier styles by a new system of rhythmic NOTATION that allowed duple or triple division of NOTE values, SYNCOPATION, and great rhythmic flexibility.

Question 5

Ars Subtilior

Accepted Answer

Style of POLYPHONY from the late fourteenth or very early fifteenth centuries in southern France and northern Italy, distinguished by extreme complexity in rhythm and NOTATION.

Question 6

Avignon

Accepted Answer

is a French commune in southeastern France

Question 7

ballade

Accepted Answer

(1) French FORME FIXE, normally in three stanzas, in which each stanza has the musical FORM aab and ends with a REFRAIN. (2) Instrumental piece inspired by the GENRE of narrative poetry.

Question 8

ballata

Accepted Answer

Fourteenth-century Italian song GENRE with the FORM AbbaA, in which A is the ripresa or REFRAIN, and the single stanza consists of two piedi (bb) and a volta (a) sung to the music of the ripresa.

Question 9

bar form

Accepted Answer

Song FORM in which the first section of MELODY is sung twice with different texts (the two STOLLEN) and the remainder (the ABGESANG) is sung once. AAB

Question 10

bard

Accepted Answer

a bard was a professional poet, employed by a patron, such as a monarch or nobleman, to commemorate the patron\'s ancestors and to praise the patron\'s own activities.

Question 11

haut

Accepted Answer

In the fourteenth through sixteenth centuries, term for loud instruments such as CORNETTS and SACKBUTS

Question 12

hocket

Accepted Answer

In thirteenth- and fourteenth-century POLYPHONY, the device of alternating rapidly between two voices, each resting while the other sings, as if a single MELODY is split between them; or, a COMPOSITION based on this device.

Question 13

hurdy-gurdy

Accepted Answer

An instrument with MELODY and DRONE strings, bowed by a rotating wheel turned with a crank, with levers worked by a keyboard to change the pitch on the melody string(s)

Question 14

isorhythm

Accepted Answer

It consists of an order of durations or rhythms, called a talea (\"cutting\", plural taleae), which is repeated within a tenor melody whose pitch content or series, called the color (repetition), varied in the number of members from the talea. The term was coined in 1904 by Friedrich Ludwig (1903-04, 223) to describe this practice in 13th century polyphonic motets, but it later became more widely applied, especially to periodic repetition or rhythmic recurrence in tenors and other parts of 14th- and early 15th-century compositions, motets in particular

Question 15

jongleur

Accepted Answer

(French) Itinerant medieval musician or street entertainer.

Question 16

lai

Accepted Answer

A lai is a lyrical, narrative poem written in octosyllabic couplets that often deals with tales of adventure and romance. Lais were mainly composed in France and Germany, during the 13th and 14th centuries

Question 17

Landini

Accepted Answer

was an Italian composer, organist, singer, poet and instrument maker. He was one of the most famous and revered composers of the second half of the 14th century, and by far the most famous composer in Italy.

Question 18

Landini cadence

Accepted Answer

In a typical Medieval cadence, a major sixth musical interval is expanded to an octave by having each note move outwards one step. In Landini\'s version, an escape tone in the upper voice narrows the interval briefly to a perfect fifth before the octave. There could also be an inner voice; in the example the inner voice would move from Fâ¯ to G, in the same rhythm as the lower voice. Used in the 14th and 15th century named after Landini because he used it frequently.

Question 19

lauda

Accepted Answer

Italian devotional song

Question 20

LÃ©onin

Accepted Answer

(fl. 1150s â d. ? 1201) is the first known significant composer of polyphonic organum. He was probably French, probably lived and worked in Paris at the Notre Dame Cathedral and was the earliest member of the Notre Dame school of polyphony and the ars antiqua style who is known by name. LÃ©onin as the composer of the Magnus Liber, the \"great book\" of organum

Question 21

madrigal

Accepted Answer

(1) Fourteenth-century Italian poetic form and its musical setting having two or three stanzas followed by a RITORNELLO. (2) Sixteenth-century Italian poem having any number of lines, each of seven or eleven syllables. (3) POLYPHONIC or CONCERTATO setting of such a poem or of a sonnet or other nonrepetitive VERSE form. (4) English polyphonic work imitating the Italian GENRE

Question 22

mensuration signs

Accepted Answer

In ARS NOVA and RENAISSANCE systems of rhythmic NOTATION, signs that indicate which combination of time and prolation to use (see MODE, TIME, AND PROLATION). The predecessors of TIME SIGNATURES.

Question 23

minim

Accepted Answer

a musical note having the time value of half a whole note

Question 24

Minnesinger

Accepted Answer

a poet-composer of medieval germany who wrote monophonic songs, particularly about love, in middle high german in 12th and 14th centuries. Also used bar form AAB monophonic.

Question 25

minstrel

Accepted Answer

Thirteenth-century traveling musician, some of whom were also employed at a court or city

Question 26

modal notation

Accepted Answer

..., a new type of notation that came into music gradually around 1150-1170 and that allowed composers to specify rhythmic duration as well as pitch; in modal duration the context determines the rhythm as opposed to the modern system of mensural notation in which each sign note) indicates a specific duration

Question 27

motet

Accepted Answer

..., an unaccompanied choral composition with sacred lyrics, Polyphonic choral work set to a sacred Latin text other than that of the mass; one of two main forms of sacred Renaissance music.

Question 28

Musica enchiriadis

Accepted Answer

music theory treatise describing a type of polyphonic singing called Organum, includes parallel organum. 9th century

Question 29

musica ficta

Accepted Answer

In POLYPHONY of the fourteenth through sixteenth centuries, the practice of raising or lowering by a semitone the pitch of a written note, particularly at a CADENCE, for the sake of smoother HARMONY or motion of the parts

Question 30

Notre Dame polyphony

Accepted Answer

..., The polyphonic style that developed in the late 12th and early 13th centuries in Paris as practiced by LÃ©onin and PÃ©rotin. Likely the first polyphonic style to be primarily composed rather than improvised, this style was more grand and elaborate because of the rhythmic variety found in the rhythmic modes and includes the first body of works for more than two independent voices.

Question 31

oblique motion

Accepted Answer

occurs when one voice (or more) remains on the same pitch while the other ascends or descends.

Question 32

organal voice (vox organalis)

Accepted Answer

The organal voice that sings a fifth or fourth below the principal voice.

Question 33

organum

Accepted Answer

..., Medieval polyphony that consists of Gregorian chant and one or more additional melodic lines

Question 34

organum duplum

Accepted Answer

..., In NOTRE DAME POLYPHONY, an ORGANUM in two voices.

Question 35

organum purum

Accepted Answer

..., style of organum within 12th- and 13th-century compositions including Leonin, Perotin, and other\'s Alleluia, \"Pascha Nostrum\" (from the Mass for Easter Day ) which includes long drones in the vox principalis (the tenor, or lower part, in this case, and the music derived from chant) and unmeasured, melismatic melody in the vox organalis (the upper part, newly composed).

Question 36

Papal Schism

Accepted Answer

in 1378 when the Pope in France went to Rome and elects new cardinals. The Cardinals in France hired a new Pope. They had a council and got rid of both Popes and elected a new one

Question 37

PÃ©rotin

Accepted Answer

also called Perotin the Great, was a European composer, believed to be French, who lived around the end of the 12th and beginning of the 13th century. He was the most famous member of the Notre Dame school of polyphony and the ars antiqua style

Question 38

Petronian motet

Accepted Answer

further stratification between high and low voices  highest voice: very ornate with rhythmic indications that are quite arbitrary (rhythms grouped in fives, but would have been \"swung\")  middle voice: moves in slightly slower values  tenor: almost returns to an organal state of being held in very long values (full measure, dotted quarters)  moments of harmonic stability which revolves around 3 chords ( I IV I)  interweaving motion between the voices  become more secular toward the end of the 13th century  composers begin tho take the liberty of writing MUSICA FICTA in these pieces  longer than Franconian motets;  composers are trying to find away to organize their compositions musically

Question 39

piedi

Accepted Answer

In the Ballata style the first and last \"A\" is called a ripresa, the \"b\" lines are piedi (feet), while the fourth line is called a \"volta\"

Question 40

pipe and tabor

Accepted Answer

Two instruments played by one player, respectively a high whistle fingered with one hand and a small drum beaten with a stick or mallet.

Question 41

polyphony

Accepted Answer

Music or musical TEXTURE consisting of two or more simultaneous lines of independent MELODY. See also COUNTERPOINT

Question 42

portative organ

Accepted Answer

..., Medieval or RENAISSANCE organ small enough to be carried, played by one hand while the other worked the bellows.

Question 43

positive organ

Accepted Answer

..., originated in 14th century, but remained popular through Renaissance; slightly larger than portative organ, but still portable; one keyboard, no pedals, small pipes

Question 44

principal voice (vox principalis)

Accepted Answer

Principal voice that contains the plainsong melody

Question 45

psaltry (psalterium)

Accepted Answer

medieval instrument, played by plucking strings attached to a frame over a wooden sounding board: it is a remote ancestor of the harpsichord and piano.

Question 46

quadruplum

Accepted Answer

(Latin, \'quadruple\') (1) In POLYPHONY of the late twelfth through fourteenth centuries, fourth voice from the bottom in a four-voice TEXTURE, added to a TENOR, DUPLUM, and TRIPLUM. (2) In NOTRE DAME POLYPHONY, an ORGANUM in four voices.

Question 47

rhythmic modes

Accepted Answer

system of six durational patterns used in polyphony of the late 12th and 13th centuries used as the basis of the rhythmic notation of the notre dame composers

Question 48

ripresa

Accepted Answer

the refrain in ballatta, the A in A b b a A. The first and last A is called the ripresa

Question 49

ritornello

Accepted Answer

Short, recurring instrumental passage found in both the aria and the Baroque concerto.

Question 50

Roman de Fauvel

Accepted Answer

..., contains 169 pieces of music; earliest musical works to exemplifiy the Ars Nova are the motets of Philippe de Vitry, which appear in this book. Most pieces are in 3-voices with Latin texts. His motets use isorhythm.

Question 51

rondeau

Accepted Answer

(pl. rondeaux) (1) French FORME FIXE with a single stanza and the musical FORM ABaAabAB, with capital letters indicating lines of REFRAIN and lowercase letters indicating new text set to music from the refrain. (2) FORM in seventeenth- and eighteenth-century instrumental music in which a repeated STRAIN alternates with other strains, as in the pattern AABACA.

Question 52

rota

Accepted Answer

FORM of medieval English POLYPHONY in which two or more voices sing the same MELODY, entering at different times and repeating the melody until all stop together. See CANON.

Question 53

shawm

Accepted Answer

Double reed instrument, similar to the Oboe, used in the medieval, Renaissance, and Baroque Periods.

Question 54

Squarcialupi Codex

Accepted Answer

Musical manuscript with 354 compositions. Large size, gold leaf, copied in 1415 to document the important music of the 1300s in Florence, the sum total of the song repertory of trecento Florencem, named after antonio squarcialupi, organince at the cathedral of florence

Question 55

stops

Accepted Answer

Mechanism on an organ to turn on or off the sounding of certain sets of pipes. (2) The particular set of pipes controlled by such a mechanism

Question 56

talea

Accepted Answer

in an isorhythimic composition an extended rhythmic pattern repeated one or more times usually in the tenor compare color

Question 57

tempus

Accepted Answer

IIn medieval systems of NOTATION, the basic time unit

Question 58

tenor (in florid organum, discant, and motet)

Accepted Answer

almost always sang the plainsong melody or served as the vox pricipalis.

Question 59

transverse flute

Accepted Answer

Flute blown across a hole in the side of the pipe and held to one side of the player; used for medieval, RENAISSANCE, and BAROQUE forms of the flute to distinguish it from the RECORDER, which is blown in one end and held in front.

Question 60

Trecento

Accepted Answer

Italian, literally \"three hundred\"; it refers to the 1300s â the fourteenth century, especially in reference to Italian art of that century (the Middle Ages).

Question 61

triplum

Accepted Answer

(from Latin triplus, \'triple\') (1) In POLYPHONY of the late twelfth through fourteenth centuries, third voice from the bottom in a three- or four-voice TEXTURE, added to a TENOR and DUPLUM. (2) In NOTRE DAME POLYPHONY, an ORGANUM in three voices.

Question 62

trobairitz

Accepted Answer

Female Troubadour

Question 63

troubadour

Accepted Answer

A medieval poet and musician who traveled from place to place, entertaining people with songs of courtly love

Question 64

trouvÃ¨re

Accepted Answer

Aristocratic poet musicians in 12th and 13th centuries in the north of France who tried to find/invent new kinds of music

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