Known Listenings MuHis 330

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Author:
jbmetzger
ID:
132921
Filename:
Known Listenings MuHis 330
Updated:
2012-02-05 10:50:45
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Music history 330
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The listening pieces for music history 330.
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  1. Mass For Christmas Day, Introit: Puer Natus Est
    Nobis
    Gregorian Chant. Syllabic. Latin. Sacred. Performed antiphonally. Mode 7 - Mixolydian. Part of the Proper. ABB’A. Circa 800. Sung during the procession. Monophonic
  2. Mass for Christmas Day, Kyrie
    Melismatic. Sacred. Performed antiphonally. Part of the Ordinary. AAABBBCCC’. Gregorian Chant. Mode 1 - Dorian. Uses Greek instead of Latin. Monophonic
  3. Mass for Christmas Day, Gloria
    Part of the Ordinary. Gregorian Chant. Mode 4. 10th C. Melismatic. Monophonic. Arrhtyhmic.
  4. Mass for Christmas Day, Gradual: Viderunt Omnes
    Latin. Melismatic. Sacred. Sung responsorially between soloist and the choir. Mode 5. Part of the Proper. Gregorian Chant. Circa 800. Responsorial. ABA. Monophonic. Arrhythmic.
  5. Mass for Christmas Day, Alleluia: Dies Sanctificatus
    Part of the Proper. Gregorian Chant. Mode 2. Responsorial. ABA’. Has a jubilus. Monophonic. Arrhythmic.
  6. How is an Alleluia sung?
    The soloist sings the first phrase of “alleluia" to the asterisk; the choir repeats this and continues with the following melisma. The soloist sings the verse, joined by the choir for the last words. The respond is sung again without the repetition.
  7. Mass for Christmas Day, Credo
    Part of the Ordinary. Gregorian Chant. Mode 4. Added to the Mass in 1014. Syllabic. Monophonic. Arrhythmic.
  8. Mass for Christmas Day, Sanctus
    Part of the Ordinary. Gregorian Chant. Mode 8. 11th C setting. Neumatic. AA’A’’. Monophonic.
  9. Mass for Christmas Day, Agnus Dei
    • Part of the Ordinary • Gregorian Chant • Mode 6 • ABCBAB • Monophonic. Arrhythmic.
  10. Victimae Paschali Laudes
    • Composed by Wipo of Burgundy • Sequence • First half of the 11th C. • Syllabic • Follows the Alleluia • ABBCC…N • Monophonic. Arrhythmic.
  11. Ordo Virtutum, Conclusion, In Principio Omnes
    • By Hildegard of Bingen • Sacred music drama • Circa 1151 • An independent Latin play • Mode 3, kind of. It doesn’t really use C but rather B. • Used a lot of ascending 5ths. • Neumatic • Monophonic. Arrhythmic.
  12. Can Vei La Lauzeta Mover
    • Bernart de Ventadorn • Troubadour song • Circa 1170-80 • Fin’amor • No rhythm • Monophonic • French • Canso • Strophic • Syllabic • Through-composed • ABABCDCD.
  13. A chantar
    • Comtessa de Dia • Canso • Second half of 12th C. • Strophic • AAB • No rhythm
  14. Viderunt Omnes
    • Léonin • Circa 1160-1200 • Solo and choir • Florid organum, then it goes into a discant on “omnes” and “dominus”, ending in florid organum. • Only the solo part is polyphonic. • In the discant, the tenor is rhythm mode 5 and the duplum is rhythm mode 1. • Ends in a clausula.
  15. Viderunt Omnes
    • Pérotin • Circa 1200 • Four voices. • Discant • Repetition • Voice exchange • Much more dissonance.
  16. De Ma Dame vient/Dieus, Comment porroie/Omnes
    • Adam de la Halle • Motet • Circa 1260s-1280s. • Repeats rhythm. • Three voices • Syllabic • Uses Franconian notation
  17. In arboris/Tuba Sacre fidei/Virgo Sum
    • Vitry • Isorhythm • Latin instead of French • Stratified • Motet • Circa 1320 • Lots of repetition • Led to Ars Nova • Upper voices syllabic
  18. La Messe De Nostre Dame
    • Machaut • Part of the mass – Kyrie • Circa 1364 • Isorhythmic • Syncopation • 4 voices • Latin • Polyphonic
  19. Foy Porter, Honneur Garder
    • Machaut • Virelai • Mid 14th C. • AbbaA • Monophonic • Strophic • 1 voice • Secular • Syllabic • Dancelike
  20. Rose, Liz, Printemps, Verdure
    • Machaut • Rondeau • Mid 14th C. • 4 voices • ABaAabAB • Long melismas at the beginning of lines.
  21. En Remirant Vo Douce Poourtaiture
    • Philippus de Caserta • Ballade • Circa 1370 • Rhythmically complex • Lots of dissonance • Melismatic • Strophic • Musical rhyme • Ars Subtilior • Polyphonic • 3 voices • In recording, the voice is accompanied by recorder

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