Music History Final Part 1

Numerical Ratios Pythagoras:

Doctrine of Imitation:

Guido of Arezzo invented solmization to help with sight-singing – syllables representing sequence of whole and half steps in notes C-D-E-F-G-A (ut, re, mi, fa, sol, la). Derived syllables from hymn “Ut queant laxis.”

Music of the Cosmos: Musica [blank_start]Mundana[blank_end]

Trope:

Franconian notation: New system of notation devised by composer and theorist Franco of Cologne called Franconian notation. New format of notation--as opposed to the previous score notation--in which voice parts separated to not waste valuable parchment with the long-held notes in the tenor.

French for “hiccup”, frequently used in isorhythmic works – two voices trade notes in a melody, with one resting while the other sings. Called a: [blank_start]Hocket[blank_end]

Double Leading Tone Cadence

[blank_start]Imitative polyphony[blank_end]: voices imitate or echo a musical phrase in another voice at a different pitch

[blank_start]Homophony[blank_end]: Upper voices move together in same rhythm with accompaniment in the lower voices

Contenance Angloise:

Successive notes in semitone relationship; previously most music diatonic

[blank_start]Sequence[blank_end]: Syllabic musical setting of a sacred text sung after the Alleluia. Originally thought to have originated as a prosula of the jubilus. Notker Balbulus from the 9th-10th c. a known composer of sequences. All but four sequences banned by Council of Trent (most famous of the four include “Victimae Paschali Laudes” for Easter and the “Dies Irae” or “Day of wrath” for the Requiem mass).

Tradition began with troubadours in southern France with the langue [blank_start]d’oc[blank_end]

Northern France tradition began with the trouvères in the langue d’oïl (after the regional words for “yes”) (vernacular song)

A [blank_start]portative organ[blank_end] was a type of organ that was light enough to travel wiith

“New Art”, a new musical style inaugurated in part by French composer and poet Philippe de Vitry (1291-1361).

[blank_start]Ars Subtilor[blank_end]: New style of secular music that emerged in the later 14th c. in southern France and northern Italy. Genre consisted mainly of polyphonic songs in the formes fixes, especially ballades. Called Ars subtilior (the more subtle manner or the subtler art) because of the refined style of these songs and the composers’ willingness to push musical possibilities to new extremes. Phrase derived in part from writings of composer and theorist Philippus de Caserta at the court of Avignon. Rhythmic complexity – Caserta and others developed new notational signs and practices for more complex rhythms, including voices in contrasting meters, beats subdivided in multiple different ways, and syncopations. Rhythmic complexity of this music would not be matched until the 20th c.

[blank_start]Squarcialupi Codex[blank_end]: Several manuscripts preserve polyphonic secular song from after 1330, namely the Squarcialupi Codex (copied much later from 1410-15).

[blank_start]Triumphs of Oriana[blank_end] – a collection of 25 madrigals by different composers compiled by Morley, with each madrigal ending with the words “Long live the fair Oriana” (previously thought to refer to Queen Elizabeth).

Principal form of improvisatory keyboard music in the second half of the 16th c., “to touch”

Chorale: a style of harmonization influenced by Calvinist psalm tunes in which chorales have the main melody in the highest voice and are accompanied by block chords; after 1600, organ played all voice parts while congregation sang main melody.

[blank_start]prima pratica[blank_end] (“first practice,” the 16th-c. style of vocal polyphony in which counterpoint rules held precedence over the text)

[blank_start]seconda pratica[blank_end] (“second practice,” the modern style in which composers may stray from previous 16th-c. norms and employ dissonance more freely for purposes of text expression).