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
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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
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