Musik-Theorie (Prüfung 25.

Jan)

1. Wir können heute nicht mit gewissheit sagen, wie, wann und warum musik bzw. das
Musikmachen entstanden ist. Auf theoritischer Ebene haben sich jedoch zahlreiche Forscher mit
dieser Frage auseinandergesetzt. Beschreiben sie kurz zwei der bekannesten theorien zur
Entstehung der musk.

Today, we can not say with certainty how, when and why music or making music was created. On the
theoretical level, however, many researchers have dealt with this question. Describe briefly two of the
most well-known theories of the genesis of the music.

Charles Darwin’s idea that most bird song functions as a courtship display to attract
sexual mates has been fully supported by biological research, but his idea that human
music evolved to serve the same function have been strangely neglected. Darwin’s
compelling argument is that music’s benefits are primarily reproductive, and best
explained by the same sexual selection processes that shaped bird song. Darwin seems
to have considered music the single best example of mate choice having shaped a
human behavioral trait. He first sets the context by reminding the reader that sounds
generally evolve for reproductive functions.

Carl Stumpf‘s theory is based mainly on the famous concept of fusion.

Tonal fusion (Tonverschmelzung) where tones blend into a unitary percept. Advantage
of tonal fusion: it appears to explain why tones presented to separate ears might still be
judged dissonant... Listeners heard two concurrent tones and were asked to judge
whether they heard a single tone or two tones. Stumpf found that the pitch interval that
most encourages tonal fusion is the aptly named unison

Maybe enough to just write:

a) Charles Darwin: Aus Tierlauten

b) Carl Stumpf: Aus Wortlosen Rufen
c) Herbert Spencer: Aus emotionale Lautäusserungen

2. Aus welchen Quellen bezieht die musikwissenschaft heute informationen über die
Musikpraktiken der frühen Menschheitskulturen (mesopotamien, Altägypten, Israel etc.) ?
Nennen Sie mindestens drei übergeordnete Quellentypen und jeweils mehrere konkrete
Fallbeispiele.

From which sources does musicology today obtain information about the musical practices of
early human cultures (Mesopotamia, Ancient Egypt, Israel, etc.)? Name at least three higher-
level source types and several case studies in each case
 a) Ikonographische Belege (Rollsiegel, figürliche Reliefs und figuren aus Ton/stein, aus
metall oder elfenbein.) Iconography in music is the study of graphical
representations of musical activities. Archaeologists have discovered artifacts and
drawings dating to prehistoric times which depict musicians performing on various
instruments
b) Schriftquellen (wirtschafts- und kulttexte, wihinschriften, mythen, epen, Lehrtexte,
Briefe, Keilschrift... etc) But with the ancient greeks f.x. memorization was key to
performance, not written notation, so only about 45 pieces of music, mostly
fragments, survive from the time in bits of papyri and marble, and in documents
copied in the Middle Ages and Renaissance.
c) Ausgrabungen (ekskafi): (Musikinstrumente, in Mesopotaminen viel seltner als in
ägypten) Aus ton (Rasseln, glocken, Pfeifen, flöten). Aus metall (Glocken, Becken,
Blasinstrumente), Saiteninstrumente (Leiern, Harfen).
Early musical instruments have also been discovered. For example, a recent dig in
the Ukraine uncovered musical instruments made from the bones of a wooly
mammoth dating back to 18,000 B.C.

3. Beschreiben Sie die bedeutendsten Instrumente, die uns heute aus dem alten ägypten bekannt
sind, und umreissen Sie ihre Einsatzgebiete!

Describe the most important instruments known to us from ancient Egypt today and outline their
uses!

a) Flöten: drei bis vier Grifflöcher(holes), verschiedene Anblaswinkel -blowing angle(nur

männer)
b) Klarinette/Doppelklarinette: doppeltes Mundstück mit eingeschnittenen Blättern,
überwiegend horizontal gehalten (nur männer)
c) Harfe: Beliebteste instrument, Bogenharfe, Korpus aus holz=wood, spieler hockte
(skiftos i on the floor) oder sass (Männer und Frauen)
d) Leitung (lead): oft ein sänger oder Cheironom in der mitte oder vor dem esemble
(IMMER MÄNNER)
e) Other stuff: handasmellu=castagnette , trompet, Winkelharfe (small) arpa me gonia

4. Wofür steht der im antiken Griechenland gebräuchliche Begriff "musiké"?

What does the term "music" commonly used in ancient Greece stand for?

From p.p:
"musiké" von den Musen inspirierte Einheit aus Dichtung, Gesang, Tanz und
instrumentalspiel (hat erzieherische Wirkung für seele, wie die Gymnastik für den
Körper).

"musiké" musically inspired unity of poetry, song, dance and instrumental play
(has educational effect on soul, like gymnastics on the body)
 5. Nennen Sie die im antiken Griechenland am häufigsten verwendeten Instrumente!
Gruppieren Sie nach Instrumentfamilien und beschreiben Sie einige spezielle instrumenentypen
genauer (herkunft, material, Aufbau, Funktionweise etc)

Name the instruments most commonly used in ancient Greece!

Group according to instrument families and describe some special instrument types more
precisely (origin, material, structure, function etc.)

Saiten-Instrumente string Blas-Instrumente wind Percussions-Instrumente

instruments instruments
1. Phorminx/Kitharris: 1.Aulos 1. tympanum
Leier,(4 strings at most) often Drum with 2 cases stretched in
from wood. 2. Syrinx: round frame.
Used by the singer as an Panflöte from wood. Mostly played by women.
accompaniment instrument, With wax inside to give the right
played by hand or plectrum tone-hight 2. Kymbala
(guitar pick) Two Curved metal plates theat
3. salpinx you would bang together
2. Lyra/Barbiton Metal Blas-intrument.
Used in wars 3. Krotala (Clappers)
3. Kitharra/ Wiegenkitharra Not castagnette
Lyre made of wood with sterk
enlarged, down straight,
elongated sound

4. Harfe:
Plucked string instrument with
many strings stretched on a
curved frame

6. Beschreiben Sie Kurz einige der bekanntesten musikalischen Mythen der griechischen Antike!
Wozu dienten gennerell mythen? In welcher Form wurden sie bekannt gemacht?

Describe briefly some of the most famous musical myths of Greek antiquity! What were
gennerell myths for? In what form were they made public?

They are 9, but we dont have to name them all, they are on Page 3 in 12.10.2017.

Few samples: Klio (sagnaritun), Melpomene ( Tragödie),Thalia (Komödie), Euterpe(Lyrik

und flötenspiel), Urania (Astronomie) .
The Muses were the Greek goddesses of inspiration in literature, science and the arts.
 They were the daughters of Zeus and Mnemosyne (the personification of memory), and
they were also considered water nymphs.

7. Erklären Sie das Phänomen der episches gesanges (mindestens drei wesentliche Merkmale inkl.
genauer Beschreibung).
Explain the phenomenon of epic (epoi) singing (at least three essential characteristics incl. Exact
description).

Phenomenon of epic song!

- Since the 2nd half of the 8th century v.c. befor christ
- earliest works of epic poetry in hexameter (eksametro) by Homer (Iliad / Odysse)
- Word, music and enmity are a unity, only in communion.
- Generes
a) Aoids
b) Rhapsodies, already written by hand, wanderers without permanent employment
c) Kitharöden, successor of the aoids, who recite some works.

8. In welcher form fand musik in der grischesen Tragödie Verwendung? Wozu wurden diese
Tragödienaufführungen veranstaltet? Nennen Sie drei bedeutende Tragödienschreiber, die im
antiken Griechenland wirkten.

In what form was music used in the Greek tragedy? Why were these tragedy performances
organized? Name three major tragedy writers who worked in ancient Greece.

- 1-3 actors (all male, play with masks), Choir (male, not so important, choir-lieder)
- Gesangsteile:
o Chorlieder am Anfang und zwischen den akten und zum Auszug
o Wechselgesange zwischen Schauspielern oder zwischen schauspieler & chor
o Monodie (solistesche gesangspartien)
- the plot of a tragedy was almost always inspired by episodes from Greek mythology,
which we must remember were often a part of Greek religion. As a consequence of
this serious subject matter, which often dealt with moral right and wrongs, no
violence was permitted on the stage and the death of a character had to be heard
from offstage and not seen. Similarly, at least in the early stages of the genre, the
poet could not make comments or political statements through the play, and the
more direct treatment of contemporary events had to wait for the arrival of the less
austere and conventional genre, Greek comedy
- Aeschylus, Sophocles and Euripides
9. Welche Funktionen sollte die Musik den griechischen Philosophen zufolge ausüben?
Inwiefern unterscheiden sich diesbezüglich die Ansichten des Platon und des Aristoteles?

What functions should the music perform according to the Greek philosophers?
To what extent do the views of Plato and Aristotle differ in this regard?

Plato defined song (melos) as the fusion of word, rhythm, and melody; so Greek music
seems to have been monophonic. Vocal music was more respected than instrumental
because of notions like Aristotle's that voices are found only in creatures with souls. The
word music comes from the Muses, the daughters of Zeus and patron goddesses of
creative and intellectual endeavours.

P.P:

Plato: Musik has special meaning for The state and for education for young people.
Music serves to educate the young guardians, who then as professional warriors
(military outward, police inside) protect the state and musical constitution.
Music should not stand over words and speech, not create virtuous sound effects for
the ear, but moderate ways, which promote the desirable characteristics of the
character.

Aristotle: Aristotle says that by learning to play an instrument or to sing more or less
weil, an individual is assured of being able to partake of the universal delights of music
at will. This alone is a good reason for having and learning music because. as Aristotle
points out, "music has a natural sweetness“.

Much like Plato, Aristotle believes that music is an important aspect of education
for several reasons, which he differentiates from the sheer practicality of subjects
like writing and arithmetic:
(a) music helps students understand and “order” their emotions, because
the flow of melody and rhythm is a metaphor for emotional flux;
(b) it provides a means for them to pursue a “noble” sort of leisure,
contributing to the exalted freedom of the soul (here he is most like Plato); and
(c) it increases their intellectual capacity and judgment, much like the
practice of other arts such as poetry or drawing.

He shows concern that music education could potentially become a rabbit-hole for
students, occupying too much of their time and interest to the detriment of other
subjects more essential to the education of citizens. At the same time, he does
believe music education to be important. The solution he proposes is that students
gain proficiency in music without any real aspiration toward becoming professional
performers
10. Beschreiben Sie in kurzen Worten die Entstehung der Pythagoreischen Schule, nennen Sie die
bedeutenden Vertreter und ihre zentralen musiktheoritische Grundsätze?

Describe in a nutshell the birth of the Pythagorean school, name the important representatives
and their central principles of music theory?

- The organization Pythagoras founded at Croton was called a "school", but, in many
ways, resembled a monastery. The pupils were bound by a vow to Pythagoras and
each other, for studying his religious and philosophical theories
The Pythagoreans believed that music was a purification for the soul, just as
medicine was a purification for the body.
- According to legend, Pythagoras discovered that musical notes could be translated
into mathematical equations, because they are only relevant to string length (such
as the string of a monochord)

11. Wie kam es zur entstehung und flächendeckenden Verbreitung des Gregorischen Chorals?
Gehen Sie sowohl auf sie politischen hintergründe als auch auf die für die Tradierung der
Melodien verantwortlichen Institution ein!

How did the origins and widespread distribution of the Gregorian chant begin? Take into account
both their political backgrounds and the institution responsible for the tradition of the melodies!

Some insist that Gregorian chant developed around 750 from a mix of Roman and
Gallican in France. This Frankish-Roman Carolingian chant, added new chants to
complete the liturgical year, became known as "Gregorian."

Gregorian chant is the central tradition of Western plainchant, a form of monophonic,

unaccompanied sacred song of the Roman Catholic Church. Gregorian chant developed
mainly in western and central Europe during the 9th and 10th centuries.

Gregorian chant was traditionally sung by choirs of men and boys in churches, or by
men and women of religious orders in their chapels. It is the music of the Roman Rite,
performed in the Mass and the monastic Office.

This music consisted of a single line of melody with a flexible rhythm sung to Latin
words by unaccompanied male voices. Manuscripts date from ninth century and used a
system of modes, specific patterns of whole and half steps. This single line of melody,
called monophony, characterized music until about 1000 AD. After christ

Gregorian chant appeared across Europe within a short time. Charlemagne, aggressively
spread Gregorian chant throughout his empire to consolidate religious and secular
power, requiring the clergy to use the new repertory on pain of death. From English and
German sources, Gregorian chant spread to Scandinavia, Iceland and Finland. In 885,
Pope Stephen V banned the Slavonic liturgy, leading to the ascendancy of Gregorian
chant in Eastern Catholic lands including Poland and Austria.
 12. Erläutern Sie die begriffe "proprium" und "ordinarium"! Bringen Sie jeweils mindestens drei
messgesänge als Beispiele!

Explain the terms "proprium" and "ordinarium"! Bring at least three chants as examples!

Proprium Ordinarium. Proprium: The prop

Introit er (Latin: proprium) is a part of the Christian liturgy that varies according to the date,
Kyrie either representing an observance within the liturgical year, or of a particular saint or
Gloria significant event.
Gradual
Sanktus Ordinarium: The ordinary, refers to the part of the Eucharist or of the canonical
Agnus hours that is reasonably constant without regard to the date on which the service is
dei performed
Communion
Ite The Mass ordinary, or the Ordinarium parts of the Mass, is the set of texts of the Roman
Rite Mass that are generally invariable. This contrasts with the proper (Proprium), which
are items of the Mass that change with the feast or following the Liturgical Year.

13. Deuten Sie diese Abbildung und die Stellung der musik innerhalb dieses Gebildes!
abb. Die Philosophie inmitten der sieben freien Künste (hortus deliciarum der herrad von
landsberg (1180))

Interpret this illustration and the position of the music within this structure! (Fig .: Philosophy in
the midst of the seven liberal arts (Hortus Deliciarum the Herrad von Landsberg (around 1180))

The music is seen here as one of the 7 equally set free arts which is part of the general
philosophy in this time. Therefore the music is shown as one amongst many but still it is an
absolutely necessary part of the philosophy.

14. Was ist ein "Tropus" und welche speziellen musikalischen Formen entwickelten sich aus ihm?

What is a "trope" and what special musical forms evolved from it?

A Trope is adding another section, or trope, to a plainchant or section of plainchant, thus making
it appropriate to a particular occasion or festival.

Two important medieval musical-literary forms developed from the trope: the liturgical drama
( in the Middle Ages, type of play acted within or near the church and relating stories from the
Bible and of the saints) and the sequence (a melodic or chordal figure repeated at a new pitch
level).

15. Welche musikalischen Parameter kann die Neumennotation auf welche Weise darstellen?
Welchen Parameter können ihr nicht abgelesen werden? Stellen Sie einige vergleiche mit der
modernen Notenschrift an!
 Which musical parameters can the „Neumennotation“ represent in which way?
Which parameter can not be read? Make some comparisons with „Neumennotation“!

Neumennotation – NO TAKT ( KEIN TAKT )

1. The number of melodietöne

2. Wether the melody goes up or down (The way that the movement
goes)
3. Shades of Rythm (Nuance der Rythmisierung)
4. Betonungen (áhersla)
5. „Litterae signicative“ (Schnell, höher...)
6. Verschiedene verzienungen (different ornamentations)

16. Wofür wurden Neumenhandschriften hergestellt? wurde aus ihnen spontan ein neues Stück
musiziert? Warum werden in den modernen Ausgaben liturgischer Gesangsbücher (inkl.
Transkription in moderne Notenschrift) immer noch Neumen abgedruckt? (plus abb. aus
Graduale Triplex)

What were Neumen manuscripts made for? did they spontaneously make a new piece out of
them? Why are neumes still printed in the modern editions of liturgical hymnals (including
transcription in modern musical notation)? (plus figure from Gradual Triplex).

A neume is the basic element of Western and Eastern systems of musical notation prior to the
invention of five-line staff notation.
The earliest neumes were inflective marks which indicated the general shape but not necessarily
the exact notes or rhythms to be sung.
Later developments included the use of heightened neumes which showed the
relative pitches between neumes, and the creation of a four-line musical staff that identified
particular pitches. Neumes do not generally indicate rhythm, but additional symbols were
sometimes juxtaposed with neumes to indicate changes in articulation, duration, or tempo.
Neumatic notation was later used in medieval music to indicate certain patterns of rhythm
called rhythmic modes, and eventually evolved into modern musical notation. Neumatic
notation remains standard in modern editions of plainchant.
17. Beschreiben Sie einige der frühesten Formen der musikalischen Mehrstimmigkeit und nennen
Sie mindestens ein Lehrwerk, das sich mit einer solchen Praxis auseinandersetzt!

Describe some of the earliest forms of musical polyphony and name at least one textbook
dealing with such a practice!!

Although the exact origins of polyphony in the Western church traditions are unknown, the
treatises Musica enchiriadis and Scolica enchiriadis, both dating from c. 900, are usually
considered the oldest extant written examples of polyphony. They showed examples of two-
voice note-against-note embellishments of chants using parallel octaves, fifths, and fourths.
The Winchester Troper, from c. 1000, is the oldest extant example of notated polyphony book
for chant performance, although the notation does not indicate precise pitch levels or durations.
(Hendrik van der Werf (1997). "Early Western polyphony")

18. Um welche Formen des Organums handelt es sich hier (zwei Notenbeispiele aus der Organum:
musica enchiriadis)? Beschreiben Sie deren Merkmale und Einsatzgebiete! a plainchant melody
with at least one added
voice to enhance the
Which forms of the organum are here (two music examples from the musica
harmony, developed in
enchiriadis)? Describe their characteristics and applications! the Middle Ages.

It is the first surviving attempt to set up a system of rules for polyphony in western art music.

Quintorganum ist eine sehr frühe Form der Mehrstimmigkeit in der gregorianischen Musik aus
etwa dem 9. Jahrhundert n. Chr. Die Hauptmelodie wurde von der sog. Prinzipal-Stimme
gesungen. Dazu wurde die gleiche Melodie exakt eine Quinte tiefer von einer
weiteren Stimme(vox organalis) gesungen.
Das Quartorganum (siehe Organum) ist eine sehr frühe Form der Mehrstimmigkeit in
der gregorianischen Musik etwa im 9. Jahrhundert. Die Hauptmelodie wurde von der Prinzipal-
Stimme gesungen, zusätzlich eine Quarte tiefer von einer weiteren Stimme und manchmal auch
(von Knabenstimmen) eine Oktave höher.
19. Beschreiben Sie einige wesentliche Merkmale der mittelalterlichen Gesellschaft?
Welche Gesellschaftsgruppen existierten, welche Musizierpraktiken pflegten sie jeweils, aus
welchen Bereichen sind uns Quellen überliefert und inwiefern verzerren diese unser Bild vom
mittelalterlichen Musizieren?

Describe some essential features of medieval society?

Which social groups existed, which musical practices did they each cultivate, from which areas
are sources handed down to us and to what extent do these distort our image of medieval music
making?

In the Middle Ages, there was a definite structure in society. You were born into a
class of people and generally stayed in that class for your entire life. Working hard
did not change your status.

7. Oratores (Those who pray)

 Music: Organum, Discantus, Motets (religious music
mother fuckers)
 Priests
 Clerical hierachy, from bishop -> Pope
 Powerful members of the church were powerful politically
 „Regular Clergy“ : Nuns, Monks... (Lived by a rule)

8. Bellatores (Those who fight)

 Music: Trobador- and Trouvére Lieds, Spielleute,
Minnesang
 Supposed to protect the church, to attack enemies, keep
the peace, protect the poor...
 Nobels vs. Knights

9. Laboratores (Those who work)

 Music: Unknown
 Legally free – paid rent for use of land
 Serfs: legally bound to the land, and legally obligated to
provide certain services to the lord of the manor, but they
could not be sold (like slvaes)
 Slaves: uncommon in the middle ages
20. Nennen Sie drei Genres geistlicher Musik im mittelalter und beschreiben Sie deren wesentliche
Merkale!

Name three genres of sacred music in the Middle Ages and describe their essential features!

Organum: An early type of polyphonic music based on plainchant with an

accompaniment sung below or above the melody.

Motette: An unaccompanied choral composition with sacred Latin text. The tenor
had the main line and they added more kinda complicated voices above it. Developed in
europe

Discantus: a form of medieval music in which one singer sang a fixed melody, and
others accompanied with improvisations.

21. Nennen Sie die wichtigsten Gruppen von mittelalterlichen Dichtersängern! Beschreiben Sie ihre
gesellschaftliche Funktion, ihr Repertoire und nennen Sie jeweils einen bekannten Vertretre!

Name the main groups of medieval poet singers! Describe their social function, their repertoire
and name each a well-known representative!

Trobadors: Poet that specialized in the literature language of south France.

- Wilhelm IX von Aquitatien (1071 – 1127)

Trouvéres: Poet that specialized in (altfranzösischen Literatursprache) the literature

language of North France.
- Adam de la Halle

Minnisänger: Poet that specialized in sungen „love songs“ in hochdeutsch.

- Dietmar von Aist

What they all have in common is that they wrote love poetry in the tradition of courtly
love in the High Middle Ages. (q. 20)

22. Welche Funktionen übte der höfische Minnesang aus (für den Herrscher, für den Hofstaat, für
den sänger selbst)?

What were the functions of courtly minnesong (for the ruler, for the court, for the singer
himself)?

Some clearly belonged to the higher nobility – the 14th century Codex Manesse includes
songs by dukes, counts, kings, and the Emperor. Some Minnesänger were clearly
 educated commoners. It is thought that many were members of a class of lower
nobility, vassals of the great lords. The Minnesänger were writing and performing for
their own social class at court, and should be thought of as courtiers rather than
professional hired musicians.
Good entertainment for the court.

23. Warum wird die Kathedrale Notre Dame in Paris heute als das bedeutendste Zentrum der
frühen Mehrstimmigkeit gehandelt? Beschreiben Sie in kurzen worten, welchen Stellenwert die
Stadt Paris für mittelalterliche Europa hatte, welche musiker an Notre Dame wirkten und welche
wesentlichen Musizierpraktiken dort ausgebildet wurden!

Why is Notre Dame Cathedral in Paris today considered the most important center of
early polyphony? Describe in short words how important the city of Paris was for
medieval Europe, which musicians played a part in Notre Dame and which essential
musician practices were trained there!

In 781 Emperor Charlemagne had founded a school at the first cathedral of Notre
Dame whose students chanted during the mass.
When the new Cathedral of Notre Dame de Paris was constructed, the Notre Dame
school became famous for its innovations in vocal counterpoint, or polyphony.
Notre Dame school became famous for composing the first known work for three
voices, each chanting a different part at the same time.
The location of Paris was an important factor in its growth and strategic importance
during the Middle Ages. Due to its position close to the Seine, the city was easilly
supplied with food from the surrounding region.
Biggest city in the world during the middle ages (100.000)
Magister Leoninus

24. Welche Notationsweisen sehen Sie hier abgebildet? Beschreiben Sie beide genauer (Was kann
wie dargestellt werden? Was können sie nicht darstellen?)! Welche Vorteile hat die
Notationsweise gegenüber der linken? (Notenbeispiele Neumen und Modalnotation)

Which notation methods do you see here? Describe both in more detail (what can be shown,
what can not be displayed?)! What advantages does the notation method have over the left?
(Music examples neumes and modal notation)
 Modalnotation: exactly, clearly how long one tone lasts

Modallehre: rhythmic sequence is a regular sequence of short and long note values.
(Brevis - lunga 2: 1)

- Im Modus geordnet
- Immer dreiertakte mensura
- Modalnotation
- Better from Neumen: We have rythm

25. Nennen Sie einige der wesentlichen Funktionen der frühen Motette und gehen Sie dabei auf die
Aspekte Sprache, Textdeutung und Einsatzgebiete näher ein?

Name some of the essential features of the early motet, focusing on the aspects of language,
text interpretation, and uses?

The Motet was invented during 13th century.

It evolved from clausula.
Originally, motet was not an independent composition, but it was -like clausula- an
interpolation. It was performed in rhythmic mode, not in free rhythm like the rest of the
plainsong.
First additional texts were paraphrases of the original text of the tenor.
French texts in vernacular language were employed. An important step in motet's
evolution was the addition of a third voice in Latin or French over two voices' texts.
Thus, the motet divided into secular and church. For a church Motet only texts in Latin
were to be used.

26. Wie kam es zur ausbildung des Begriffes "ars nova" und was verstehet die Musikwissenschaft
heute unter diesem Begriff (Neuheiten, Zeitraum, bedautende Vertreter)?

How did the term "ars nova" develop and what does musicology mean today under this term
(novelties, period, deplored representatives)?

„Ars Antiqua“ – period of musical activity in 13th-century France, characterized by

increasingly sophisticated counterpoint (the art of combining simultaneous voice parts),
EVOLVED into: „ARS NOVA“ which flourished in the 1300s. The Ars Nova, which means
"new art" was an innovative style of writing music that served as a key transition from
the medieval music style to the more expressive styles of the post-1400s Renaissance
 music era. ( The overall effect of these changes was to create music of greater
expressiveness and variety than had been the case in the thirteenth century.)

27. was ist eine isorhythmische Motette? Wie ist diese in der Regel aufgebaut? Nennen Sie
wenigstens zwei Komponisten, die isorythmische Motetten komponiert haben.

What is an isorhythmic motet? How is this usually structured? Name at least two composers who
have composed isorythmic motets.

Isorhythm ("the same rhythm") is a musical technique using a

repeating rhythmic pattern, called a talea, in at least one voice part throughout a
composition. Taleae are typically applied to one or more melodic patterns of pitches
or colores, which may be of the same or a different length than the talea.
Isorhythms first appear in French motets of the 13th century
Machaut - Messe de Notre Dame (first mass for 4 voices, oldest „full“ mass, longest
polyphones work of the middle ages)

- Phillipe de Vitry (1291–1361)

- Guillaume de Machaut (c. 1300–1377)
28. Beschreiben Sie einige wesentliche Merkmale der Trecento-Madrigals und nennen Sie
mindestens einen bedautenden Komponisten, der für diese Gattung Komponiert hat.

Describe some of the essential features of the Trecento Madrigals and name at least one
composer who has composed for this genre.

The Trecento Madrigal is an Italian musical form of the 14th century. It is quite distinct
from the madrigal of the Renaissance and early Baroque, with which it shares only the
name. The madrigal of the Trecento flourished ca. 1300–1370 with a short revival near
1400. It was a composition for two (or rarely three) voices.

Higher voice sing alot of „coloratura“ while the lower voice is mainly singing one long
note and moving slowly.

- Rossi Codex

29. Durch welche musikalischen Merkmale definiert sich eine Kirchentonart/ein Modus?

Which musical characteristics defines a church key / mode?

In the traditional system of eight modes (in use from the 8th century up to 1547) there are
four pairs, each pair comprising an authentic mode and a plagal mode.

But what defines a church key is: it‘s Finalis, Repercussa (Tenor) and Tiefster Ton
30. Wofür steht der Begriff "Renaissance" und warum wurde er als Bezeichnung für eine
musikalische Epoche lange Zeit als problematisch angesehen? Fassen Sie den dazu geführten
Forschungsdiskurs kurz zusammen.

What does the term "renaissance" stand for and why was it regarded as a term for a musical
epoch for a long time as problematic? Summarize the resulting research discourse briefly.

The improvement of European art and literature under the influence of classical
models in the 14th–16th centuries. ( the recovery of the literary and artistic
heritage of Ancient Greece and Ancient Rome)

The Renaissance was a period in European history, from the 14th to the 17th century,
regarded as the cultural bridge between the Middle Ages and modern history.

And it is concidered problematic because the renaissance is influenced by ancient

civilisations and not alot of sources for music remained.

31. In Welcher Zeitperiode wurde vermehrt damit begonnen, die fixen Teile der Messe (Ordinarium)
zyklisch zu vertonen?
Mit Welchen musikalischen Mitteln wurde die Zusammengehörigkeit der einzelnen Messteile
hergestellt? Nennen und beschreiben Sie drei spezifische Messtypen, die sich bis zum Beginn
des 16. jahrhunderts ausgebildet haben!

In which period of time was it increasingly begun to set the fixed parts of the Mass (Ordinarium)
cyclically? By what musical means was the togetherness of the individual parts of the measuring
made? Name and describe three specific types of measurement that developed until the
beginning of the 16th century!

a) In Welcher Zeitperiode – Ordarium Zyklisch zu vertonen

- Codex st. Emmeraum (1436 – 1459 ca)
b) Schon einstimmige vorlagen als zyklus angelegt
- Gleiche Besetzung
- Modus
- Abfolge von mensuren (Taktarten)
- Melodische und rythmische verbingunen.

32. Beschreiben Sie die Fauxbourdon-Technik!

Describe the Beschreiben Sie die Fauxbourdon-Technik!
 is a technique of musical harmonisation used in the late Middle Ages and
early Renaissance. Guillaume Dufay may have been its inventor. The homophony and
mostly parallel harmony allows the text of the mostly liturgical lyrics to be understood
clearly. (Ave Maris Stella – Guillaume Dufay)

33. Erklären Sie, worum es sich bei einer Kontrafaktur handelt und führen Sie mindestens drei
gründe an, warum man sich in fer Renaissance-Zeit sehr häufig dieser Kompositionstechnik
bediente?
Explain what a counterfactum is and name at least three reasons why in Renaissance times very
often this composition technique was used?

In vocal music, contrafactum is "the substitution of one text for another without
substantial change to the music.

That is: to change the lyrics of the song without changing the melody.

The absence of contrast between 'secular' and 'sacred' styles of music in the Middle
Ages 'can be shown simply by the observation that a secular song, if given a set of
sacred words, could serve as sacred music, and vice versa. Only recently has it been
recognized how frequently such interchange took place, and the more we learn about
medieval music, the more important it becomes.

may operate in either direction: to provide words to fit a secular song, or provide words
to fit a religious song

34. Was wurde in einem Fundamentum niedergeschrieben und wozu wurde es verwendert?
What was written in a foundation and what was it used for?

35. Inwiefern revolutionierte der Notendruck die Musikgeschichte?

Wann ungefähr setzte die massentaugliche Producktion von Notendrucken ein und inwiefern
leisteste Ottavino Petrucci Beiträge zu dieser Entwicklung?

To what extent did music printing revolutionize music history? When did the mass production of
printed music begin and how did Ottavino Petrucci contribute to this development?
 The invention of the printing press in 1440 made it cheaper and easier to distribute
music and musical theory texts on a wider geographic scale and to more people. Prior to
the invention of printing, songs and music that were written down and music theory
texts had to be hand-copied, a time-consuming and expensive process.
Ottovino‘s Harmonice Musices Odhecaton, a collection of chansons printed in 1501, is
commonly misidentified as the first book of polyphony sheet music printed
from movable type.

36. Durch welche Merkmale zeichnet sich ein Tenorlied aus?

Wie und wo hat es sich entwickelt?
Nennen Sie einen Komponisten, der Tenorlieder in grösser Zahl komponiert hat

What distinguishes a tenor song? How and where did it develop? Name a composer who
composed tenor songs in large numbers!

No fixed genre, but it is a „eigenschaft“: German lyrics with melody in Tenor

Topics: courtly love, social songs, dance, drinking and mocking songs

Levels of development (Stages):

- Kontrafaktur fremdsprachiger Liedsetste
- Polyphony of newly invented melodies using the simplest polyphony
(melody in the tenor of upper voices)
- Additional differentiation of this polyphony

37. Führen Sie drei verschiedene Typen von Motetten an, die bis in das 16. jahrhundert
gebräuchlich waren, und beschreiben Sie diese näher!

List three different types of motets that were in use until the 16th century and describe them in
more detail!

15th century: independent motets in Italy and England mixed with France. -
Cantilena type: Pamphlets of the Marienfömmig with chansons, very catchy and free rythm

- Musikermotette: Praises certain contemporary musicians

- Staatsmotette: Political text, certain place, Isorythmisch, tied to a specific event. Z
- Psalmmotette: Psalm Soundings Experimental Field Compositional Arts / Text
Interpretation
38. Nennen Sie die wichtigsten Instrumentenfamilien, die sich bis in das 16. jahrhundert ausgebildet
haben, und jeweils zwei bis drei spezifische Instrumententypen!
Name the most important families of instruments that were trained until the 16th century, and
two to three specific types of instruments!

Blasinstrument Familien: (Wind-instruments)

- Blockflöte (Sopran, tenor, Großbass -blockflöte)
-querflöten
- Gemshörner
- Sordune

Streichinstrumenten famillien: (String- instruments)

- Geigen
- Gamben
- Rebecs
- Liren (Lira da braccio, Lira da gamba)

39. Nennen Sie Einige der wesentlichen Merkmale des madrigals im 16. jahrhundert und gehegung
zur Intern Sie dabei aus folgende Aspekten ein:
1) Soziale und kulturpolitische Voraussetzung
2) Komponische Struktur
3) Neigung zue Intertextualität
4) bedeutende madrigal-kompositionen im 16. Jahrhundert

List some of the key features of the madrigal in the 16th century and focus on internals in the
following ways:
1) Social and cultural policy requirement
2) Component structure
3) tendency to intertextuality
4) significant madrigal compositions in the 16th century
 40. Verfassen Sie eine Kurzbiographie über Werk unf Wirken des Komponisten William Byrd!
Ordnen Sie eine schaffenszeit in einen gr-ssen musikhistorischen Kontext ein (In welche,
Zeitraum eirkte er ungefähr? Welche Komponisten waren seine Zeitgenossen? Wer führte zu
seienen Lebzeiten wo seine Werke auf?...)

Write a short biography about the work and work of the composer William Byrd! Arrange a
creative period in a great musical-historical context (in which period did he produce
approximately? Which composers were his contemporaries?) Who introduced his works during
his lifetime ...)

William Byrd c.1539/40– 4 July 1623, was an English composer of the Renaissance. He wrote in
many of the forms current in England at the time, including various types of sacred and
secular polyphony. An organist and composer of the Shakespearean age who is best known for
his development of the English madrigal. He also wrote virginal and organ music that elevated
the English keyboard style.

He was a pupil of the organist and composer Thomas Tallis. In 1575 Elizabeth I granted him and
Tallis a joint monopoly for the importing, printing, publishing, and sale of music and the printing
of music paper. The death of Tallis in 1585 may have prompted Byrd to set his musical house in
order, for in the next three years he published four collections of his own music.

His virginal and organ music brought the English keyboard style to new heights and pointed the
way to the achievements of other English composers, such as John Bull, Giles Farnaby,

41. Warum kann die Zeit um 1600 als ein Wendepunkt in der Musikgeschichte angesehen werden?
Why can the time around 1600 be seen as a turning point in music history?

The year 1600 in music involved some significant events. The Renaissance time period is from 1400-1600
and we say that in the year 1600, the Baroque time period started.

One key distinction between Renaissance and Baroque instrumental music is in instrumentation; that is,
the ways in which instruments are used or not used in a particular work

Another crucial distinction between Renaissance and Baroque writing is its texture: the shift
from contrapuntal polyphony, in which all voices are theoretically equal, to monodyand treble-bass
polarity, along with the development of basso continuo. In this new style of writing, solo melody and
bass line accompaniment were now the important lines, with the inner voices filling in harmonies.

A third major difference between Renaissance and Baroque music lies in which instruments were
favored and used in performance.

- one can see in the Baroque an overwhelming preference for those instruments
that were capable of carrying a melodic line alone: those that were louder and
higher, that could achieve a variety of dynamics, emotional expression, none of
which the Renaissance instruments were designed to do