Music History ch. 1-2

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Author:
kaila.lifferth
ID:
158366
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Music History ch. 1-2
Updated:
2012-06-15 17:48:11
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music
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Music History
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  1. Diatonic scale
    7 note major scale, playable on all white keys of piano
  2. heterophony
    musical texture in which a melody is performed by two or more parts simultaneously in more than one way, for example, one voice performing it simply, and the other with embellishments
  3. Polyphony
    Musical texture consisting of two or more simultaneous lines of independent melody
  4. Harmonia
    Ancient Greek term with multiple meanings: (1) the union of parts in an orderly whole; (2) interval; (3) scale type; (4) style of melody
  5. Ethos
    (1) Moral and ethical character or way of being; (2) Character, mood, or emotional effect of a certain tonos, mode, meter, or melody
  6. Diastematic
    Having to do with intervals. In diastematic motion, the voice moves between sustained pitches separated by discrete intervals; in diastematic notation, the approximate intervals are indicated by relative height.
  7. Tetrachord
    In Greek and medieval theory, a scale of four notes spanning a perfect fourth. This includes diatonic, chromatic, and enharmonic.
  8. Diatonic tetrachord
    whole step, whole step, half step
  9. chromatic tetrachord
    augmented step, half step, half step
  10. enharmonic tetrachord
    major third, quarter step, quarter step
  11. Greater Perfect System
    In ancient Greek music, a system of tetrachords spanning two octaves
  12. monophony
    music consisting of unaccompanied melody
  13. Rite
    The set of practices that defines a particular Christian tradition, including a church calendar, a liturgy, and a repertory of chant
  14. liturgy
    The prescribed body of texts to be spoken or sung and ritual actions to be performed in a religious service.
  15. plainchant, plainsong
    A unison unaccompanied song. Particularly a liturgical song to a Latin text.
  16. Chant dialect
    One of the repertories of ecclesicastical chant, including Gregorian, Byzantine, Ambrosian, and Old Roman chant.
  17. Gregorian chant
    The repertory of ecclesiastical chant used in the Roman Catholic church
  18. Byzantine chant
    The repertory of ecclesiastical chant used in the Byzantine rite and in the modern Greek Orthodox church
  19. Ambrosian chant
    A repertory of ecclesiastical chant used in Milan
  20. Old Roman chant
    A repertory of ecclesiastical chant preserved in eleventh and twelfth century manuscripts from Rome representing a local tradition; a near relative of Gregorian chant.
  21. echos (pl. echoi)
    One of the eight modes associated with Byzantine chant
  22. centonization
    a process of composing a new melody by combining standard motives and formulas, used in Byzantine chant.
  23. Neume
    a sign used in notation of chant to indicate a certain number of notes and general melodic direction (in early forms of notation) or particular pitches (in later forms)
  24. Heighted neums/ Diastematic neumes
    In an early form of notation, neumes arranged so that their relative height indicated higher or lower pitch.
  25. Musica mundana, musica humana, musica instrumentalis
    Three kinds of music identified by Boethius (ca. 480-524), respectively the music governing the universe; the music that harmonizes the human body and soul and their parts; and audible music produced by voices or instruments.
  26. final
    The main note in a mode; the normal closing note of a chant in that mode.
  27. Tenor
    (1) the reciting tone in a mode or chant; (2) In polyphony of the 12th and 13th centuries, the voice part that has the chant or other borrowed melody, often in long-held notes.
  28. Authentic mode
    a mode in which the range normally extends froma a step below the final to an octave above it.
  29. Plagal mode
    a mode in which the range normally extends from a fourth (or fifth) below the final to the fifth or sixth above it.
  30. Solmization
    A method of assigning syllables to steps in a scale, used to make it easier to identify and sing the whole tones and semitones in a melody (ut, re, mi, fa, sol, la). Introduced by Guido of Arezzo.
  31. hexachord
    (1) a set of six pitches; (2) in medieval and Renaissance solmization, the six notes represented by the syllables ut, re, mi, fa, sol, la, which could be transposed to three positions: the "natural hexachord, C-D-E-F-G-A; the "hard" hexachord, G-A-B-C-D-E; and the "soft" hexachord, F-G-A-B flat-C-D
  32. Mutation
    In solmization, the process of changing from one hexachord to another.

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