Can vei la lauzeta mover
Dates: CA. 1170-80
Rhythm: usually accompanying performance treats rhythm freely.
Melody: Limited melodic range; mostly syllabic. Makes use of "ouvert" and "clos" phrase structure within mode 1.
Harmony: consonant
Texture: monophonic (
A chantar m'er de so (p.43)
Dates: Second half of the twelfth century
Rhythm: free, unmeasured.
Melody: conjunct, doesn't span over an octave. Narrow ambitus (melodic range). Makes use of ouvert and clos candence structure
Harmony: comsonant
Texture: monophonic
Timbre: just voice in
Jeu de Robin et de Marion: Rondeau, Robins m'aime
Dates: (CA.1284)
Rhythm: no rhythm indicated. rhythm used is taken from this tune's appearance in a polyphonic motet whose notations show the exact durations. dancelike.
Melody: conjunct, does not span more than a sixth
Harmony: consonant
Texture: monopho
chorus In principio omnes from the Ordo virtutum (pp.36-37)
Dates:
Rhythm: free
Melody: Much wider range than gregorian chant. melodies are much more disjunct than those of gregorian chant. in mode 3 keeping most of the range d to e'. Reciting tone of this mode is C but 5th degree is most common resting point. Cad
Tropes on Puer natus: quem queritis in presepe and Melisma
Dates: Late tenth century
Rhythm: free, no meter. no measures.
Melody: in mode 7, the mode of the introit which comes after, strong emphasis on the final G and reciting tone D. all voices sing antiphon and added melisma at the end.
Harmony: consonant
Text
Jubilemus, exultemus
Date: 1100
Rhythm: first time we se what looks like measures or dividing sections. treated as free as in chant.
Melody: primarily contrary motion, but oblique, parallel and simillar motion also occur.
Harmony: possibly underlying contrapuntal framework. s
Leoninus (1150s-1201) and Colleagues Viderunt omnes
Date: second half of the twelfth century
Rhythm: possibly was originally free. uses poetic meter to dictate rhythms.
Melody: ?
Harmony: Consonant
Texture: only the solo portions are in polyphony, as is typical of this period, with the choral portions rema
Substitute Clausulae on Dominus
Date: Late twelfth or early thirteenth century
Rhythm: in clausulae 26. uses rhythmic mode 5 ( series of perfect longs, spondaic, notes whose duration spans three tempora, the basic unit of time) in the tenor and alternates between modes 5 and 1 ( long sh
Viderunt omnes (organum quadruplum)
Date: 1198
Rhythm: In the orgamun sections of Leoninus's Viderunt Omnes rhythm was probably unmeasured but in Perotin's all upper parts use rhythmic modes throughout. This reflects his general preference for modal rhythm and also solves the practical prob
Palestinalied (p.48)
Date: ca. 1228? 12th-13th century
Rhythm: rhythmically precise notation
Melody: conjunct
Harmony:consonant
Texture: originally notated as a monophonic line without accompaniment, but scenes depicted in contemporary artwork often include instrumentalists p
Cantigas de Santa Maria (1270-1290)- Non sofre Santa maria (p. 51)
Date: Ca. 1270-1290
Rhythm: Rhythmically precise notation
Melody: Narrow ambitus (a sixth) simple and bouncy with a constantly repeating figure transcribed here as a quarternote and two eighth notes. The modal final is G but the prominence of F as the low
Gradual Viderunt omnes
Date:?
Rhythm: free, unmeasured
Melody: in mode 5, with cadences on the final F at the end of both the response and verse, a range that extends an octave above the final and one step below, many phrases that center on the reciting tone C and phrase ending
Epitaph of Seikilos
Date: First Century C.E.
Rhythm: there are signs above the notes representing duration
Melody: uses the vocal notes of the diatonic Iastian tonos, conventionally transcribed as the two octavescale from b-b with two sharps.
Harmony:
Texture: monophonic
Tim
Hymn Christe redemptor omnium
Date:?
Rhythm:?
Melody: neumatic, no more than two notes per syllable
Harmony: consonant
Texture: monophonic
Timbre: chorus
Form: Strophic, hymns are ALWAYS strophic
Articulation: slow, legato
Genre: Hymn Gregorian Chant Office
Author: ?
Introit Puer natus est nobis
Date: Introit was introduced into the mass sometime between the 4th and 7th century
Rhythm: unmeasured
Melody: syllabic psalm verse and Lesser Doxology. In this recitational manner the melody holds mostly one pitch, the reciting tone of the mode, with ope
Kyrie (Plainchant)
Date: origin in the byzantine church, as is evident by greek text. this one is from the tenth century. mode 1.
Rhythm: unmeasured
Melody: conjuct
Harmony: consonant
Texture: because of their very short text, most kyries are melisematic
Timbre: chorus
Form
Alleluia Dies sanctificatus
Date:?
Rhythm: unmeasured
Melody: mode 2, plagal mode on D. Moves in normal octave range from A-A
Harmony: consonant
Texture: melismatic
Timbre: choir
Form: responsorial chant. ABA' (soloist, choir, soloist)
Articulation: slow, legato
Genre: Gregorian Mas
Motets on Tenor "Dominus
Date: thirteenth century.
Rhythm: unmeasured
Melody: All four are based on the same chant melody, the melisma on Dominus from the Gradual Viderunt Omnes. Direct adaptation of a discant clausula, as is common of many motets.
Harmony: consonant
Texture: syl
Sumer is icumen in
Date:1250
Rhythm:?
Melody: conjuct, ionian
Harmony: consonant, lots of sixths and thirds
Texture:imitative polyphony
Timbre: six voices
Form: combines two forms that were common in england at the time: the rota (a round or perpetual canon at the unison) a
In arboris/Tuba sacre fidei/Virgo sum
Date: 1320
Rhythm: isorhythm perfect minims (prolation of 1 semibreve), imperfect longs and breves
Melody: uses hocket
Harmony: use of double leadingtone cadence. musica ficta
Texture:non-imitative polyphony
Timbre: one singer per part (3 parts)
Form: Cre
La Messe de Nostre Dame, Kyrie
Date: 1364
Rhythm: sychopations at the level of the quarternote (semibreve) and eighth note (minim)
Melody: sometimes large leaps. melismatic
Harmony: isorhythmic
Texture: melismatic
Timbre: four voices throughout
Form:
Articulation:
Genre: Mass (Mass Ord
Foy porter
Date: Mid-Fourteenth Century around 1350
Rhythm:
Melody: mostly syllabic
Harmony: consonant
Texture:monophonic
Timbre: one female voice
Form: strophic, Abba...AbbaAbbaA
Articulation:
Genre: Chanson-Virelais
Author: Guillaume de Machaut
Misc: carries on tr
Rose, liz, printemps, verdure
Date:Mid fourteenth century. earliest manuscript 1350
Rhythm:
Melody:
Harmony: consonant
Texture:non-imitative polyphony
Timbre: four singer
Form:ABaAabAB
Articulation:
Genre: Chanson- Rondeau
Author: Guillaume de Machaut
Rose, liz, printemps, Vendure, Fl
Stasimon chorus" from Orestes
Date: 408 BCE
Rhythm:
Melody: disjunct, mixture of diatonic and chromatic
Harmony: dissonant
Texture:
Timbre:
Form:
Articulation:
Genre: greek tragedy
Author: Euripides
Misc: stasimon= an ode the chorus sings while standing still in their place in the orc
Antiphon Tecum principium and Psalm 109
Date:?
Rhythm: unmeasured
Melody: narrow ambitus. syllabic?
Harmony: consonant
Texture: monophony
Timbre: choir and solo
Form:through composed
Articulation:
Genre: Gregorian Chant Office
Author:?
Function: vespers, one of the eight daily services that con
Communion Viderunt omnes
Date:?
Rhythm: no rhythm notated
Melody: no repeated motive but a variety of melodic patterns. conjuct
Harmony:consonant
Texture:monophonic
Timbre: soloist and chorus
Form: through composed
Articulation:
Genre: Gregorian Chant
Function: Part of Mass for C
Gloria (Plainchant)
Date:
Rhythm:
Melody: because the text is long no gloria melodies are melismatic, most like tis one are neumatic. im mode 4
Harmony: none
Texture:monophonic
Timbre: choir
Form: Through-composed
Articulation:
Genre: Gregorial Mass Chant
Author:
Lyrics: Glo
Conductus Ave virgo virginum
Date: Late twelfth or early thirteenth century
Rhythm:
Melody:
Harmony: as in discant, downbeats are mostly consonant with dissonances in between
Texture:homoponic
Timbre: 3 voices
Form: conductus were rhymed metrical strophic poems on sacred topics. AAB
Fourth Estampie Royale
Date: Thirteenth century
Rhythm: triple meter
Melody: mode 6
Harmony:
Texture:
Timbre: medieval fiddle and a bendir (drum from morocco)
Form: Series of phrases each played twice, first time ouvert second clos
Articulation: fast
Genre: Estampie
Author:
Mis
De ma dame vient/Dieus, comment porroie/Omnes
Date: Thirteenth century
Rhythm: and non-imitative polyphony
Melody:
Harmony:
Texture:
Timbre:
Form: Tenor uses the melisma from the Gradual: viderunt omnes
Articulation:
Genre: Motet
Author: Adam de la Halle, was a trouvere
Lyrics: Da ma dame vient li gr
En remirant vo douce
pourtraiture
Date:
Rhythm:
Melody: frequent melismas.
Harmony:
Texture:
Timbre: usually sung by 3 voices but voice is accompanied by 2 instruments in recording
Form: Ballade =aabC
Articulation:
Genre: Chanson-> Ballade, Ars subtilior
Author: Philippus de Caserta
Lyric
Non al suo amante
Date: 1350
Rhythm:
Melody:
Harmony:
Texture:
Timbre:
Form: two stanzas of threelines folowed by a two lined- ritornello
Articulation:
Genre: trecento-> Madrigal
Author: Jacopo da Bologna
Lyrics: Non al suo amante piu Diana piaque
Non avr� ma' pieta
Date: Last Quarter of the fourteenth century
Rhythm: frequent synchopation, varied rhythms
Melody:
Harmony: lots of double leading tone cadences. many thirds and siths
Texture:
Timbre:
Form: Tecento-> Ballata AbbaA, same as Virelai
Articulation:
Genre:
Au
Can vei la lauzeta mover
Dates: CA. 1170-80
Rhythm: usually accompanying performance treats rhythm freely.
Melody: Limited melodic range; mostly syllabic. Makes use of "ouvert" and "clos" phrase structure within mode 1.
Harmony: consonant
Texture: monophonic (
A chantar m'er de so (p.43)
Dates: Second half of the twelfth century
Rhythm: free, unmeasured.
Melody: conjunct, doesn't span over an octave. Narrow ambitus (melodic range). Makes use of ouvert and clos candence structure
Harmony: comsonant
Texture: monophonic
Timbre: just voice in
Jeu de Robin et de Marion: Rondeau, Robins m'aime
Dates: (CA.1284)
Rhythm: no rhythm indicated. rhythm used is taken from this tune's appearance in a polyphonic motet whose notations show the exact durations. dancelike.
Melody: conjunct, does not span more than a sixth
Harmony: consonant
Texture: monopho
chorus In principio omnes from the Ordo virtutum (pp.36-37)
Dates:
Rhythm: free
Melody: Much wider range than gregorian chant. melodies are much more disjunct than those of gregorian chant. in mode 3 keeping most of the range d to e'. Reciting tone of this mode is C but 5th degree is most common resting point. Cad
Tropes on Puer natus: quem queritis in presepe and Melisma
Dates: Late tenth century
Rhythm: free, no meter. no measures.
Melody: in mode 7, the mode of the introit which comes after, strong emphasis on the final G and reciting tone D. all voices sing antiphon and added melisma at the end.
Harmony: consonant
Text
Jubilemus, exultemus
Date: 1100
Rhythm: first time we se what looks like measures or dividing sections. treated as free as in chant.
Melody: primarily contrary motion, but oblique, parallel and simillar motion also occur.
Harmony: possibly underlying contrapuntal framework. s
Leoninus (1150s-1201) and Colleagues Viderunt omnes
Date: second half of the twelfth century
Rhythm: possibly was originally free. uses poetic meter to dictate rhythms.
Melody: ?
Harmony: Consonant
Texture: only the solo portions are in polyphony, as is typical of this period, with the choral portions rema
Substitute Clausulae on Dominus
Date: Late twelfth or early thirteenth century
Rhythm: in clausulae 26. uses rhythmic mode 5 ( series of perfect longs, spondaic, notes whose duration spans three tempora, the basic unit of time) in the tenor and alternates between modes 5 and 1 ( long sh
Viderunt omnes (organum quadruplum)
Date: 1198
Rhythm: In the orgamun sections of Leoninus's Viderunt Omnes rhythm was probably unmeasured but in Perotin's all upper parts use rhythmic modes throughout. This reflects his general preference for modal rhythm and also solves the practical prob
Palestinalied (p.48)
Date: ca. 1228? 12th-13th century
Rhythm: rhythmically precise notation
Melody: conjunct
Harmony:consonant
Texture: originally notated as a monophonic line without accompaniment, but scenes depicted in contemporary artwork often include instrumentalists p
Cantigas de Santa Maria (1270-1290)- Non sofre Santa maria (p. 51)
Date: Ca. 1270-1290
Rhythm: Rhythmically precise notation
Melody: Narrow ambitus (a sixth) simple and bouncy with a constantly repeating figure transcribed here as a quarternote and two eighth notes. The modal final is G but the prominence of F as the low
Gradual Viderunt omnes
Date:?
Rhythm: free, unmeasured
Melody: in mode 5, with cadences on the final F at the end of both the response and verse, a range that extends an octave above the final and one step below, many phrases that center on the reciting tone C and phrase ending
Epitaph of Seikilos
Date: First Century C.E.
Rhythm: there are signs above the notes representing duration
Melody: uses the vocal notes of the diatonic Iastian tonos, conventionally transcribed as the two octavescale from b-b with two sharps.
Harmony:
Texture: monophonic
Tim
Hymn Christe redemptor omnium
Date:?
Rhythm:?
Melody: neumatic, no more than two notes per syllable
Harmony: consonant
Texture: monophonic
Timbre: chorus
Form: Strophic, hymns are ALWAYS strophic
Articulation: slow, legato
Genre: Hymn Gregorian Chant Office
Author: ?
Introit Puer natus est nobis
Date: Introit was introduced into the mass sometime between the 4th and 7th century
Rhythm: unmeasured
Melody: syllabic psalm verse and Lesser Doxology. In this recitational manner the melody holds mostly one pitch, the reciting tone of the mode, with ope
Kyrie (Plainchant)
Date: origin in the byzantine church, as is evident by greek text. this one is from the tenth century. mode 1.
Rhythm: unmeasured
Melody: conjuct
Harmony: consonant
Texture: because of their very short text, most kyries are melisematic
Timbre: chorus
Form
Alleluia Dies sanctificatus
Date:?
Rhythm: unmeasured
Melody: mode 2, plagal mode on D. Moves in normal octave range from A-A
Harmony: consonant
Texture: melismatic
Timbre: choir
Form: responsorial chant. ABA' (soloist, choir, soloist)
Articulation: slow, legato
Genre: Gregorian Mas
Motets on Tenor "Dominus
Date: thirteenth century.
Rhythm: unmeasured
Melody: All four are based on the same chant melody, the melisma on Dominus from the Gradual Viderunt Omnes. Direct adaptation of a discant clausula, as is common of many motets.
Harmony: consonant
Texture: syl
Sumer is icumen in
Date:1250
Rhythm:?
Melody: conjuct, ionian
Harmony: consonant, lots of sixths and thirds
Texture:imitative polyphony
Timbre: six voices
Form: combines two forms that were common in england at the time: the rota (a round or perpetual canon at the unison) a
In arboris/Tuba sacre fidei/Virgo sum
Date: 1320
Rhythm: isorhythm perfect minims (prolation of 1 semibreve), imperfect longs and breves
Melody: uses hocket
Harmony: use of double leadingtone cadence. musica ficta
Texture:non-imitative polyphony
Timbre: one singer per part (3 parts)
Form: Cre
La Messe de Nostre Dame, Kyrie
Date: 1364
Rhythm: sychopations at the level of the quarternote (semibreve) and eighth note (minim)
Melody: sometimes large leaps. melismatic
Harmony: isorhythmic
Texture: melismatic
Timbre: four voices throughout
Form:
Articulation:
Genre: Mass (Mass Ord
Foy porter
Date: Mid-Fourteenth Century around 1350
Rhythm:
Melody: mostly syllabic
Harmony: consonant
Texture:monophonic
Timbre: one female voice
Form: strophic, Abba...AbbaAbbaA
Articulation:
Genre: Chanson-Virelais
Author: Guillaume de Machaut
Misc: carries on tr
Rose, liz, printemps, verdure
Date:Mid fourteenth century. earliest manuscript 1350
Rhythm:
Melody:
Harmony: consonant
Texture:non-imitative polyphony
Timbre: four singer
Form:ABaAabAB
Articulation:
Genre: Chanson- Rondeau
Author: Guillaume de Machaut
Rose, liz, printemps, Vendure, Fl
Stasimon chorus" from Orestes
Date: 408 BCE
Rhythm:
Melody: disjunct, mixture of diatonic and chromatic
Harmony: dissonant
Texture:
Timbre:
Form:
Articulation:
Genre: greek tragedy
Author: Euripides
Misc: stasimon= an ode the chorus sings while standing still in their place in the orc
Antiphon Tecum principium and Psalm 109
Date:?
Rhythm: unmeasured
Melody: narrow ambitus. syllabic?
Harmony: consonant
Texture: monophony
Timbre: choir and solo
Form:through composed
Articulation:
Genre: Gregorian Chant Office
Author:?
Function: vespers, one of the eight daily services that con
Communion Viderunt omnes
Date:?
Rhythm: no rhythm notated
Melody: no repeated motive but a variety of melodic patterns. conjuct
Harmony:consonant
Texture:monophonic
Timbre: soloist and chorus
Form: through composed
Articulation:
Genre: Gregorian Chant
Function: Part of Mass for C
Gloria (Plainchant)
Date:
Rhythm:
Melody: because the text is long no gloria melodies are melismatic, most like tis one are neumatic. im mode 4
Harmony: none
Texture:monophonic
Timbre: choir
Form: Through-composed
Articulation:
Genre: Gregorial Mass Chant
Author:
Lyrics: Glo
Conductus Ave virgo virginum
Date: Late twelfth or early thirteenth century
Rhythm:
Melody:
Harmony: as in discant, downbeats are mostly consonant with dissonances in between
Texture:homoponic
Timbre: 3 voices
Form: conductus were rhymed metrical strophic poems on sacred topics. AAB
Fourth Estampie Royale
Date: Thirteenth century
Rhythm: triple meter
Melody: mode 6
Harmony:
Texture:
Timbre: medieval fiddle and a bendir (drum from morocco)
Form: Series of phrases each played twice, first time ouvert second clos
Articulation: fast
Genre: Estampie
Author:
Mis
De ma dame vient/Dieus, comment porroie/Omnes
Date: Thirteenth century
Rhythm: and non-imitative polyphony
Melody:
Harmony:
Texture:
Timbre:
Form: Tenor uses the melisma from the Gradual: viderunt omnes
Articulation:
Genre: Motet
Author: Adam de la Halle, was a trouvere
Lyrics: Da ma dame vient li gr
En remirant vo douce
pourtraiture
Date:
Rhythm:
Melody: frequent melismas.
Harmony:
Texture:
Timbre: usually sung by 3 voices but voice is accompanied by 2 instruments in recording
Form: Ballade =aabC
Articulation:
Genre: Chanson-> Ballade, Ars subtilior
Author: Philippus de Caserta
Lyric
Non al suo amante
Date: 1350
Rhythm:
Melody:
Harmony:
Texture:
Timbre:
Form: two stanzas of threelines folowed by a two lined- ritornello
Articulation:
Genre: trecento-> Madrigal
Author: Jacopo da Bologna
Lyrics: Non al suo amante piu Diana piaque
Non avr� ma' pieta
Date: Last Quarter of the fourteenth century
Rhythm: frequent synchopation, varied rhythms
Melody:
Harmony: lots of double leading tone cadences. many thirds and siths
Texture:
Timbre:
Form: Tecento-> Ballata AbbaA, same as Virelai
Articulation:
Genre:
Au