L&S 2 Asst 3

Music History I: Listening & Analysis Assignment 4In-Class Questions relevant to Chapter 5 Prepare for Wed., September 23d: anthology p. 58-94 (2 pages of quest.)

Examples 14, a-b-c: p. 58-9

1. Name the manuscript source of these examples. When were they written down? They all illustrate the earliest kind of organum, which is defined in general as???

Musica Enchiriadis

2. How many distinct voice parts are there in each case? What is the vertical relationship (which on top, which on bottom) between the original chant voice and the added voice(s)? What is the general intervallic relationship between all the voices in Ex. A and B? (What kind of intervals occur between the voices?) Name the adjective used to describe the varied intervallic relationship in Ex. C.

2 Voices. P5 apart (Organal P5 lower). Ex C is Oblique Organum meaning some spots move and some stay on the same pitch.3. Why are there so few manuscript sources of this type of organum? Because it was part of the treatise of rules for singers to apply during performance so they didnt need written out parts.Examples 15: p. 61, Alleluia

1. How much later in time is this piece than the 3 previous examples of organum? How has the vertical placement of chant and added voice now changed? 210-250 years later. Organal voice is now higher than the chant. No longer parallel motion with the original chant. 2.The commentator lists 4 different types of motion that occur between the voices in this piece. Name them. Parallel, Oblique, Similar, Contrary3.Analyze all the types of vertical intervals (by number only) that occur here. Are they all perfect consonances? What 3 types of vertical intervals are missing? (1, 3, 4, 5, 8) No, they are not because thirds are not perfect. Missing are the 2nd, 6th, and 7th.4.Listen again to the plainchant (monophonic) Alleluia on p. 16. What is the name of the long melisma on the last syllable of the word Alleluia? Jubilus5.Name the mode of the chant on p. 61. (Youll have to figure out where it actually ends, which is NOT at the bottom of the page.) DorianExamples 16: p. 63, Jubilemus: St. Martial organum

1.Although this piece was apparently written at about the same time as Ex. 15, there are at least 2 new significant differences in the relationship between the chant voice and the added voice. How do they differ rhythmically? Which new intervals occur now between the 2 voices? More oblique motion. More melisma. Now includes 2nds.2.Which voice is syllabic? How would you describe the other voice? Principal voice (bottom line) is syllabic. Top voice (Organal voice) is Melismatic.3.Find examples of seconds, sevenths, and tritones between the two voices. What denigrating phrase did medieval musicians associate with the interval of a tritone? It was the devils interval.4. Which numbered sections on p. 64 qualify as discant? Why?

5 and 7 because discant parts are generally significantly higher than other parts.Example 17, p. 67-75: Compare to the monophonic setting on p. 151.Look at the first two words of the text: Viderunt omnes. Why did Leonin decide to set these two words polyphonically and then switch back to monophony for the rest of the text through Deo omnis terra? Why did Leonin decide to set only the om of Viderunt omnes as a discant clausula and the previous syllables as pure or florid or St. Martial organum? ?????????????????2.In what city was the School of Notre Dame located? What country did Anonymous IV (who wrote so much about the School of Notre Dame) come from? School of Notre Dame is in Paris comprised of composers who worked in and around the Notre Dame Cathedral. England3.Is Viderunt Omnes from the Proper or the Ordinary of the mass? Proper4.Why does the passage at the top of p. 68 qualify as discant clausula? Because its a high pitched phrase.5. Notate the rhythms associated with each of the 6 rhythmic modes.6. Look at the discant clausula for the word Dominus starting on the third system of p. 69. Identify the predominant rhythmic mode reflected by each voice. TrocheeExample 18a and b, p. 76-7: substitute clausulae; compare to the discant clausula starting on the third system of p. 69

1.What do the letters T and D refer to at the start of each score? Tenor and Duplum2.The lower voice in all 3 examples has the same series of pitches, but how do they differ? How do the upper voices of the 3 examples compare to each other? Different rhythmic modes. Different pitches, same rhythmic modes.Example 19, p. 79-94: Perotins Viderunt omnes

1.Has Perotin chosen the same portions of the chant to set as discant clausulae? No2.What is the biggest immediate overall difference between Leonins and Perotins settings? Leonin only uses the rhythmic modes during discant clausulae sections. How does this compare to Perotins setting? ????????3.How can you tell when a cadence occurs in Perotins setting? What intervals do you find at cadence? How would you describe the vertical dissonances at the start of the second system on p. 81? (Think of types of non-harmonic tones.) P5 at cadence. Rest after cadence. Suspension.4. What do Tr and Q stand for at the start of the score on p. 79? Triplum and QuadruplumReview Questions

1.In which century did musical notation begin to develop in Western Europe?

What historical factors, both musical and otherwise, explain this development? 800. Charlemagne standardized the music of the church.2.Hildegard von Bingen would have been a slightly older contemporary of Leonin. Why did she apparently not write polyphonic music? Because a lot of female composers music was listed as anonymous3.Why was the tenor voice so named in Latin? Identify a related but more modern Italian musical expression mark. Where might the idea of holding out tones in one voice have come from in earlier (possibly secular) music? From tenere which means to hold. Tenor voice had long sustained lines. Modern term tenuto. ????4.What was the most important contribution of the Notre Dame School to early music notation? Music printing press?