Mass For Christmas Day

Introit: Puer natus est nobis

 1896 by by Benedictine Monks

Chant

Mode 7

two chant styles: 1 syllabic psalm verse and the other is neumatic antiphon.

Gradual: Viderunt Omnes

1896 by Benedictine Monks

Chant 

Mode 5

B is flattened in this mode to avoid the tritone with f

ornate verse sung by soloist

Soloist sings opening phrase and is joined later by the entire choir

Mass for Christmas Day: Credo

1896 by Benedictine Monks

Chant

last item to be added to the standard form of the Mass in 1014

Credo melody: syllabic and relatively simple

classified as mode 4

First Psalm with Antiphon: Antiphon Tecum principium and psalm Dixit Dominus

1896 by Benedictine Monks

Gregorian Chant office

preceded and followed by antiphon (Tecum principium) which borrows its text from verse of the psalm.

Simple antiphon syllabic melody in Mode 1

Psalm is sung to a psalm tone

Victimae Pascali Laudes

 Wipo of Burgundy

first half of eleventh century

Sequence

one of 4 sequences retained in liturgy

Form: A BB CC....N

an opening musical phrase, a series of paired sentences and an unpaired sentence

One sentence was deleted because of anti-semetic sentiment

Tropes on Puer natus: Quem queritis in presepe and Melisma

Late Tenth century

Texted (liturgical drama) and untexted trope 

contains two styles of extending chant: new words and music and untexted melismas

contains an eleventh century manuscrip from St. Yriex

Mode 7, same as the Introit

Ordo virtutum: Closing Chorus, In principio omnes

Hildegard of Bingen

CA. 1151

Liturgical Drama

Characters sing in Plainchant

melody is in mode 3

The devil can't sing to show his separation from God

Jeu Robin de Robin et de Marion: Rondeau, Robins m'aime

Adam de la Halle

ca. 1284

Musical Play

singer sings refrain and verse than is joined by instruments on refrain

monophonic rondeau

single melodic line with room for instrumental accompaniment

La quarte estampie royal From Le Manuscrit du roi

Late 13th Century

Estampie

in fast triple meter

phrases played twice but with different ending each time

Final of this is F

Alleluia, Justus ut palma from Ad organum Faciendum

Ca 1100

Alleluia in free organum

organal voice sings one not for each note except for one melisma sung on "lu"

Organal voice above the principle voice

Perfect consonances sound most of the time

Jubilemus, exultemus

Ca. 1100

Versus in Aquitanian Polyphony

two part setting, rhymed metrical text

versus = rhymed Latin poem

upper part is relatively melismatic compared to the tenor 

free rhythm

Viderunt omnes

Leoninus 

Second half of the twelfth century

Organum duplum

two voices 

solo portions in polyphony, choral portions in plainchant

brief discant style on "omnes" 

7th at the close of extended phrases

Viderunt omnes

Perotinus

Ca. 1198

Organum Quadruplum

4 voices 

voice exchange: two voices trade figures

Phrases end with perfect consances

Ave Virgo virginum

ca. Late twelfth or early thirteenth century

Conductus

rhymed, metricl , strophic poems

AAB form

mostly syllabic text 

De ma dame vient/Dieus, comment porroie/ Omnes

Adam de la Halle

Ca. 1260s-1280s

Motet

triplum moves most rapidly

upper voice gives the piece a lot of variety

untexted tenor

Sumer is icumen in

Ca 1250

Rota

6 part polyphony

bottom two voices (marked Pes) create a small rondellus

emphasis on imperfect consonances 

Pes singers sing final cadence

In arboris/Tuba sacre fidei/Virgo sum

Phillipe De Vitry

Ca. 1320

Motet

greater variety of rhythmic patterns

tenor melody consists of two colores

statement of the chant is divided into 3 taleae

utilizes Isorhythm and Hocket

end of Motet is a double leading tone cadence using musica ficta

La Messe de Nostre Dame: Kyrie

Guillame De Machaut

Ca. 1364

Mass (Mass ordinary cycle)

four voices 

use of contratenor

tenor uses a 4 note talea

uses isorhythm

Rose, liz, printemps, verdure

Guillame De Machaut

Mid-fourteenth century

Rondeau

polyphonic chanson

essentially decorative triplum

long melismas at the beginning of lines and sometimes in the middle

Non avra ma' pieta

Francesco Landini

Last quarter of the 14th century

Ballata

frequent syncopation, varied rhythms and many sonorities containing thirds and sixths

melismas on first and penultimate syllables

smoother, more stepwise and rhythmically regular melodies in cantus and tenor

Quam Pulchra Es

John Dunstable

First half of the fifteenth century

Motet or cantilena

3 parts

Largely homophonic

No difference in character between tenor and other voices

mostly syllabic but many cadences feature brief melismas

Resvellies vous

Guillame Du Fay

1423

Ballade

Fermatas to emphasize "noble Charles"

combines elements of three main traditions of french century

Ars Nova: ballade form syncopation

Ars Subtilior: complex rhythmic passages Italian Trecento: smooth vocal passages

Se la face ay pale

Guillaume Du Fay

1430s

Ballade

texted cantus and tenor 

French characterstics: frequent syncopation and angular contratenor line

Italian traits: stepwise melodies in cantus and tenor and syllabic treatment of the text

English influence: pervasive consonance with few ornamental dissonance

Missa Se la face ay pale: Gloria

Guillame Du Fay

Ca 1450

Cantus-firmus mass

carefully constructed mass

top voices provide rhythmic diversity

Head-motive, a musical idea that appears at the beginning of every movement

Repeat These Cards

Done