Hint | Answer |
There are two of these in the Medieval and Renaissance periods. They indicate the position of the half step (semitone) in the hexachord. | |
Part of mass proclaiming the Gospel during non Lenten season | |
A neume containing a single pitch, notated as a black square. | |
Contrapuntal voice often in the same range as the tenor | |
The process of giving the correct hexachordal names to notes | |
Noon prayer meaning 'Sixth' | |
Part of mass when the priest says, 'Go forth, the mass is ended' | |
devotional chant, not associated with either the Mass or the Office but specifically dedicated to a particular intention, or a particular saint | |
A modern compilation (of over 2000 pages) containing most of the music in plainchant that is needed for choirs to sing the right music at Mass and the Offices | |
Ends on E, ambitus an octave or more | |
The notational system of so-called 'Gregorian' chant, developed over many centuries. It came into focus in the twelfth century, wiht a four-line staff and neumes. | |
Part of mass when the bread and wine are placed on the altar | |
Long Long | |
music that is sung by alternating back and forth between two singers or two groups of singers | |
A musician at the cathedral church of Notre-Dame in the later thirteenth century who composed three-part organa and four-part quadrupla. Compiled the Magnus Liber. | |
Text containing the 'Hours' of the Office, which are prayers said by priests/monks throughout the day | |
A style in which each syllable generally has one note | |
Prayer that follows the Alleluia, just before the Gospel reading of the day, especially on important feast days | |
A single symbol in square notation. One of these normally contains from one to four notes but only ever one syllable. | |
A piece of three-part polyphony, with the tenor singing the liturgical plainsong in slow notes, and two upper voices singing much more elaborate music (mainly by Perotinus) | |
A liturgical prayer, often set to music, framing a whole psalm, or sections of a psalm, or sometimes just a verse from a psalm | |
A prayer depending on a response, of which a part is repeated | |
Ends on D, ambitus less than an octave | |
A smaller note head, after the main pitch, sung lighter. | |
Prayers that change from day to day | |
The scale of six notes, around a central half step (semitone) | |
Ends on G, ambitus an octave or more | |
A technique popular in teh late thirteenth and early fourteenth centuries, using rapid alternation of notes, back and forth, between two voices, one on the beat, the other syncopat | |
A piece of music setting a non-liturgical text, often not in Latin. | |
Text containing music for antiphons for a whole liturgical year | |
A style in which each syllable generally has one neume (even a multi-note neume) | |
| Hint | Answer |
Morning prayer meaning 'Third', said at 9AM | |
FGA-BbCD | |
Ways of categorizing different scales, into which the repertory of 'Gregorian' chant was classified, from about the eighth or ninth century. | |
Part of mass alternating reading from the Bible and singing responsorial psalms | |
Text containing the music for mass, needed by the priest for a complete year | |
The third voice above the tenor, also referred to as the treble | |
Introductory part of mass | |
Note symbols used to notate a descending scale, developed out of their practicality of notation with a quill pen. | |
Text containing additional songs, in verse, sung in honor of specific occasions or people | |
Long Breve | |
The 'Great Book of Organa' comprising the complete two-part organa of Leoninus, but also the additions by Perotinus, including the tripla and quadrupla, made in the late 13th cent. | |
A style in which each syllable generally has more than one neume | |
Ends on F, ambitus less than an octave | |
The second voice above the tenor | |
The middle pitch in a group of three ascending conjunct pitches, written with jagged edges on the top and bottom. It was probably sung lightly, perhaps with a slight tremolo. | |
Part of an organum setting where the Tenor no longer moves in very slow notes, but moves faster in teh same rhythm as the other parts. | |
A song of King David from the Old Testament, shared by Jews and Christians | |
A motet with two texts. | |
A single pitch, usually higher than the preceding one, with a tail descending on the right. | |
Breve Long | |
Early morning prayer, said at midnight | |
A musician at the cathedral church of Notre-Dame who wrote two-part organa. Thirteenth century. | |
Part of mass when the parish proclaims 'Lamb of God, you take away the sins of the world. Have mercy on us. (x2) Lamb of God, you take away the sins of the world. Grant us peace.' | |
The voice in polyphony that holds the plainsong | |
A motet in which the two upper voices change around when a phrase is repeated. | |
Prayers just before bed when the day is complete, said around 9PM | |
Part of mass when the parish proclaims 'Holy, holy, holy Lord. God of power and might.' | |
Text containing music for Vespers | |
Catholic public celebration of the Eucharist, led by a priest | |
Ends on D, ambitus an octave or more | |
CDE-FGA | |
| Hint | Answer |
A counterpoint written below the Tenor | |
Collection of prayers for different hours of the day, but not as complete as the Breviary. Designed for private worship of wealthy individuals who were not priests or monks. | |
A motet with sets of texts in multiple languages (with one being in Latin) | |
Several notes sung on one syllable | |
Long Breve Breve | |
Ends on F, ambitus an octave or more | |
Nighttime prayer meaning 'Praise', said at 3AM | |
The celebration of the rituals of Christianity | |
A textual interpolation in a prayer with its own music | |
Part of mass when the parish consumes of the transubstantiated body of Christ | |
A daily cycle of prayers to be said by priests and monks at various times of the day, based on antiphons that serve to introduce psalms. | |
Short text ('little verse'), followed by an answer or 'response'; the solo part of the responsorial psalmody | |
Part of mass following the Sanctus when the parish proclaims 'Blessed is he who comes in the name of the Lord' | |
A piece of four-part polyphony, wiht the tenor singing the liturgical plainsong in slow notes, and three upper voices singing much more elaborate music (mainly by Perotinus) | |
Part of mass proclaiming the Gospel during Lenten season | |
The practice of alternating solo intonations and choral responses in psalmodic texts | |
Part of mass containing the text 'Glory to God in the highest' | |
Evening prayers, said at 6PM | |
Ends on E, ambitus less than an octave | |
An early composer who wrote the Micrologus, invented solmization, and created the Guidonian Hand. | |
Etymologically meaning 'bound together', this notation binds two pitches into one neume. Contains more than one note but never more than one syllable. | |
Moving from one hexachord to another when singing music that goes beyond the interval of a major sixth | |
A subsection of a chant, antiphon, or psalm. Often sung by soloists | |
Latin term for range, in reference to modes | |
Afternoon prayer meaning 'Ninth', said at 3PM | |
Morning prayer meaning 'First', said at 6AM | |
Part of mass containing the text 'Lord have mercy' | |
a piece of two-part polyphony with the tenor singing the liturgical plainsong in slow notes, and the upper voice singing much more elaborate music. (Mainly composed by Leoninus) | |
Ends on G, ambitus less than an octave | |
Text containing the Psalms of David | |
GAB-CDE | |
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