Terms

• Chapter 1

  • Modal System with greek names and mode numbers

  • Tetrachord Types

  • Ambitus, Dominant, and Finalis (of each mode)

  • Monophonic

  • Rhythmic modes
     

• Chapter 2

  • Parallel Organum

  • Free Organum

  • Melismatic Organum

  • Notre Dame Organum

  • Discant

  • Clausula
     

• Chapter 3

  • Isorhythm, Color, Talea

  • Tenor

  • Successive counterpoint

  • Motet

   

• Chapter 4

  • Ars nova, Ars antiqua

  • Augmentation

  • Diminution

  • Double-leading cadence

  • Phrygian cadence

  • Lower leading tone

  • Upper leading tone

  • Panisorythm

  • Hocket
     

• Chapter 5

  • Paraphrase technique

  • Double suspension

  • Escape tone

  • Homophony

  • Single leading cadence

  • Suspension
     

• Chapter 6
   

  • Fauxbourdon

  • Landini cadence or under third

  • Cantus firmus technique

  • Retrograde

   

Compose:

• All cadences studied so far:

  • chant

  • modal

  • Double leading tone (can include 4-3 7-6 suspensions)

  • Single leading tone (can include 4-3 7-6 suspensions)

  • Landini (can include 4-3 7-6 suspensions)

  • Octave leap (can include 4-3 7-6 and 9-8 suspensions)

Listening

For each piece played in class describe the following (if applicable):  

• Texture (monophonic/polyphonic – are the rhythms similar? which parts move faster/slower)
• Describe the setting of the text (no text, single text, multiple texts etc.)
• Describe the rhythm of each part (free, drone, rhythmic mode, triple, duple,
• Describe the counterpoint (homophonic, independent)
• Describe the starting and ending sonorities (perfect, imperfect)
• Describe the cadences (modal, double leading tone, under third, tonal etc.)
• Describe the “inner sonorities” (perfect consonances, triads, etc)
• Who might be the composer?
  • God
  • Guido D’Arezzo
  • Leonin
  • Perotin
  • Petrus de Cruce
  • Machaut
  • Dunstable
  • Dufay