Assignment: Grout and Palisca, Chaper 3
Read: 72-93
Skim: 94-96
Read: 96-97
Study Questions:
2. What are the Musica enchiriadis and the
Scolica
enchiriadis? What is the
meaning of organum?--p.
75
3. What types of early organum are described in the Enchiriadis treatises?--p. 75
4. What advances were made in organum during the
11th century? What are the
consonant intervals
at this time?--p. 76
5. What is the Winchester Troper? Why is it not possible
to transcribe it with accu-
racy?--p. 76
6. Which chants received polyphonic settings in the 11th century?--p. 76*
7. What is the style of late 11th-century polyphony?--p. 76 (and NAWM 14)
8. What are the new characteristics of 12th-century
Aquitanian or St. Martial po-
lyphony (florid organum)?--p.
77
9. What is the origin of the term tenor?--p. 77
10. What is the distinction between organum purum and discant?--p. 77
11. What is versus? In what way is Congaudeant
catholici typical and in what ways
is it unusual?--p.
77 (and NAWM 15)**
12. Know the six rhythmic modes. How are these patterns made more flexible?--p. 79-80
13. What is a perfectio? What is the modern
metrical equivalent of all 13th-century
polyphony?--p. 80
14. In general (not in detail) how were the rhythmic modes notated?--p. 80
15. Where did the entire art of polyphonic composition
center from the 12th to the
mid-14th century?--p.
80
16. Who were Léonin and Pérotin?--p. 80
17. What is the Magnus liber organi? How many
voice parts does this work con-
tain?--p. 81
18. Be able to describe the difference between organum
duplum and discant in the
two-voice style of
Léonin--p. 81-85 What is the controversy over the rhythm of
the duplum
style?--p. 83 What is a clausula?--p. 83
19. How does the style of Pérotin differ from
that of Léonin with regard to rhythm,
number of voice parts,
and phrase structure?--p. 85-86 What is a substitute
clausula?--p.
85
20. What are the characteristics of the text of a conductus?--p. 87
21. What are two important identifying characteristics of the conductus?--p. 88***
22. What is "conductus style"?--p. 89
23. How did the motet evolve from the substitute clausula?--p. 89****
24. What three modifications of the motet occurred by c. 1250?--p. 90
25. What changes occurred in the rhythm of motets
during the second half of the
13th century (i.e.,
in the Franconian and Petronian motets)?--p. 91-93*****
26. What were the consonant intervals at the end
of the 13th century? What were the
standard cadences?--p.
93
**The most unusual, in fact, unique
feature is the presence of three voice parts. All other surviving exam-
ples
of Aquitanian polyphony (florid organum) are for two voices.
***Line 4 on p. 88 should read "fairly long untexted passages" (as in the previous edition).
****Note that the Latin term motetus
has a secondary meaning as the name for the duplum voice in a mo-
tet.
*****The change involving the upper voices is much more significant than that involving the tenor.