401 EXAM TWOTerms1) Ars Novaa. Ars Nove musice (The Art of New Music 1321) by Johannes de Murisb. Ars Nova (The New Art, 1322-23) attributed Philippe de Vitryc. New Notation: smaller note values: minims and semiminims, duple divisions allowed as well as triple2) Mode (div of long into breves), time (breves into semiB), prolation (SB into minims), minim3) Mensuration sign… ancestor of time signatures4) Isorhythm (iso + rhythm= same rhythm), repetitionin a voice part (usually tenor) of an extended patterns of durations throughout a section/entire composition5) Color… repeated melodic pattern6) Talea… repeated rhythmic pattern7) Hocket… device of alternating rapidly between two voices, each resting white the other sings, as if a single melody is split between them8) Contratenor… voice composed after or in conjunction with the tenor and in about the same range, helping to form the harmonic function9) forms fixes… schemes of poetic and musical repetition, each featuring a refrain, used in late medieval and 15th century Frenchchansons (ballade, rondeau, virelai)10) virelai… Abba Abba Abba Aa. related nature to love11) rondeau…AB aA ab ABa. love12) ballade… aabC aabC aabCa. most serious, appropriate for philosophical or historical themes, celebrating event/person, serious love songs13) cantus… 14-16th centuries, highest voice14) treble-dominated style… style common in 14-15 centuries, in which the main melody is in the CANTUS, the upper voice carrying the text, supported by a slower-moving tenor and contratenor15) Ars Subtilior… Style of polyphony from the late 14-early 15 century in S France and N Italy, extreme complexity in rhythm and notationa. Coined in 20th century from phrase “artem magis subtiliter” (more subtle craft)b. Is an extention of Ars Nova to new extremesc. Uses rhythmic devices to create maximum independence between partsd. Ego (showing off one’s skill), Fantasy (exploring limits of possible), Decoration (filling in space to add beauty)16) Trecento… (Italian short for 1300) The 1300s, particularly with reference to Italian art, lit, and music of the timea. Trecento meter… allows meters Ars Noca notation does notb. Includes duple, triple, and quadruple subdiv of semibrevec. Quadruple subdiv notated in modern editions as 2*/4 and 3*/417) Madrigal (JACOPO DA BOLOGNA)a. From “matricale”b. Idyllic, pastoral, satirical, or love poemc. Form: terzetti (2+ 3 line stanzas) ritornello (2 lines, dif meter and music) (aab)d. mid century stylei. 2 (or 3) voices, both sing text, no instrumentii. melismas on 1st/last accented syllables, mostly syllabic in betweeniii. top voice sinks to cadence, bottom voice rises— opposite of French18) Caccia (GHERARDELLO DA FIRENZE)a. Related to French “chase”… text often descriptive, on huntb. 3 voice piece, top 2 in canon over a free tenorc. irregular in poetic form; often in 2 sections with second section called ritornello, like in Madrigalsd. free untexted tenor in slow motion below19) Ballata (FRANCESCO LANDINI)a. A bba Ab. Originates as dance songc. mid century style20) Landini cadence... decorated 6th to octave cadence… tenor descends by step, the upper voice decorates its ascent by first descending to lower neighbor and then skip up a third21) Haut and bas instruments… (French high and low)terms for loud instruments like cornets and sackbuts/ soft instruments like vielles and harps22) Musica ficta… 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 parts23) Double leading-tone cadence… CADENCE popular in 14-15 centuries, in which the bottom voice moves down a whole tone and upper voices move up a semitone, forming a major 3rd and major 6th expanding to open 5th and octave24) Humanism… movement in renaissance to revive ancient Greek and Roman culture and to study things pertaining to human knowledge and experience25) Imitation, imitative counterpoint… device of repeating melody/motive announced in one part in one or more other parts, often at different pitch level and sometimes with minor melodic or rhythmic alterations// contrapuntal texture marked by IMITATION between voices26) Contenance angloise… (French “English guise”) characteristic quality of early 15th century English music, marked by pervasive CONSONANCE with frequent use of harmonic 3rds and 6ths, often in parallel motion27) Faburden… English style of IMPROVISED polyphony from the late middle ages and renaissance, in which a CHANT in the middle voice is joined by an upper voice moving in parallel a perfect fourth above it and a lower voice that follows below the chant mostly in parallel thirds, moving to a fifth below to mark the beginning and end of phrases and ends of words28) Carol… English song usually on religious subjecta. Religious poetry on incarnationb. Form: burden, burden II, verse, burden II, etcc. Style: parallel 6ths, 3rds, 6-3 sonorities/ no parallel 5ths or 8ves/ all voices equally active29) Paraphrase… technique in which a chant or other melody is reworked, often by altering rhythms and adding notes, and placed in a polyphonic setting30) Motet… changes meaninga. 14th- some 15th century… feature isorhythm and may include contratenorb. 15th century on… any polyphonic setting of a Latin text (other than mass) could be called motet31) Fauxbourden… Continental style of polyphony in the early renaissance, in whih two voices are written, moving mostly in parallel 6ths and ending each phrase on octave, while a third unwritten voice is sung in parallel perfect 4ths below upper voice32) Cyclic polyphonic mass… meow33) Plainsong mass… a mass in which each movement is based on a chant to the same text (kyrie is based on a chant kyrie, gloria on a chant Gloria, so on)34) Cantus-firmus mass… polyphonic mass which the same cantus firmus is used in each movement, normally the tenor35) Cantus-firmus/imitation mass… polyphonic mass in which each movement is based on the same polyphonic work, using that work’s tenor (sometimes the superius) as a cantus firmus, normally in the tenor, and borrowing some elements from the other elements from the other voices of the model to use in the other voices of the mass36) (contratenor) Bassus, (contratenor) Altus… contratenor parts that lie relatively high or low in comparison to tenor.37) Superius… (Latin “highest”) In 15th and 16th century