1. Medieval Liturgical Roots and the Documentation of the Western Canon © 2011 Taylor & Francis.

2. Public-sphere worship and rituals included music © 2011 Taylor & Francis.

3. In Orthodox Judaism, women were not allowed to sing in the presence of men Women could not officially sing during the Christian Mass until after 1900 © 2011 Taylor & Francis.

4.  “the voice of woman”; a belief in Orthodox Judaism that women must not sing in the presence of men due to the potential to distract men in prayer © 2011 Taylor & Francis.

5. Music from public- sphere rituals was preserved by the Christian Church and was studied in educational settings © 2011 Taylor & Francis.

6. Written music was widely distributed. For centuries, texts were set in Latin © 2011 Taylor & Francis.

7.  A writing room used for copying manuscripts, writing, and studying, usually in a convent or monastery; associated with the preservation of musical manuscripts © 2011 Taylor & Francis.

8. Women were usually banned from accessing formal education. For centuries, most women in Western culture could not read. © 2011 Taylor & Francis.

9. Hildegard von Bingen wrote a significant amount of music, much of which was performed in her convent © 2011 Taylor & Francis.

11. “singing school”; church- sponsored school for the teaching of ecclesiastical chant © 2011 Taylor & Francis.

12. Women studying in a Georgetown Convent c. 1900 Photo courtesy of the Library of Congress © 2011 Taylor & Francis.

13.  Sacred genres remained important for centuries  Some sacred genres eventually functioned as concert pieces rather than as liturgical works © 2011 Taylor & Francis.

14.  Ritual for public worship: usually has a prescribed format © 2011 Taylor & Francis.

15. Sacred music genres such as the mass and office became core components of musicological study © 2011 Taylor & Francis.

16.  Roman church liturgy; also a musical genre or setting for certain parts of this liturgy © 2011 Taylor & Francis.

17.  Liturgy of eight prayer services in which psalms, readings, and prayers are recited or sung at specified hours © 2011 Taylor & Francis.

18.  A monophonic, liturgical song; sometimes referred to as “Gregorian” chant or plainsong © 2011 Taylor & Francis.

20.  Music having a single melody without accompaniment or harmonizing parts, as in chant © 2011 Taylor & Francis.

21. Named in honor of Pope Gregory (r. 590- 604 – Administrative abilities – Decrees about chant – Not a musician – Actual composers of chant generally unknown © 2011 Taylor & Francis.

22. Definition – Unaccompanied vocal music – Sacred Latin text – For religious services in Church and Monastery – Composed for fifteen centuries Composers generally anonymous © 2011 Taylor & Francis.

23. Musical Style – Rhythm Meter and regular rhythms absent Meant to encourage pious reflection – Monophonic Soloists can alternate with unison choir No instrumental accompaniment – Syllabic and melismatic text setting © 2011 Taylor & Francis.

24.  Mass texts that remain the same on most days of the year; musical settings may change © 2011 Taylor & Francis.

25.  Mass texts that change according to specific days of the church calendar © 2011 Taylor & Francis.

26.  Type of chant sung before or after the recitation of a psalm in the Office; also associated with psalmody in the Mass © 2011 Taylor & Francis.

27.  A verse or set of verses used in the Office; often performed with soloist alternating with group © 2011 Taylor & Francis.

28.  German, Benedictine nun, poet, mystic artist, scientist, and theologian  Tenth child—tithed to the church by her parents  Lived in the Benedictine Monastery of Disibodenberg  Rceived her education from the abbess Jutta of Spanheim  1136 – became superior of the Monastery  Received many visions and revelations from God © 2011 Taylor & Francis.

29. Extraordinary intellect and imagination – Advised popes and kings – Founded a convent – Renaissance woman Naturalist and pharmacologist Wrote scientific books, poetry, and a play Composer © 2011 Taylor & Francis.

30.  Major work by Hildegard  Visions in poetry and music  26 revelations  Written in a divine command to record her visions © 2011 Taylor & Francis.

31.  Her music was different from her male counterparts  Intense poems  Free verse (through composed)  Musical elaboration  Long lines  Word painting  Greater use of melismas  Greater range (2 -3 octaves)  Many of her texts addressed Virgin Mary, Saint Ursula, and other women © 2011 Taylor & Francis.

32.  works in which new music is used for each section, as opposed to forms in which segments recur © 2011 Taylor & Francis.

33.  Collection of chants in a cycle  Addressed the life-giving role of women  Innovation in composition  Free verse © 2011 Taylor & Francis.

34. allegorical drama in which the characters personify abstractions, such as vice, virtue, and charity © 2011 Taylor & Francis.

35.  Morality play  Medieval drama  Moral attributes are personified and dramatized:  Innocence  Humility  Obedience  Hope  Story of Anima (the soul) and its struggle to resist evil  All part sung by women represent the Virtues  God – very unusual for this gender at this time  Devil – only male character, does not sing © 2011 Taylor & Francis.

37. Restrictions on women’s educational access and liturgical participation resulted in a predominance of sacred compositions by men, a predominance that lasted for centuries Preservation of a canon that restricted women perpetuated the belief that women “could not” compose © 2011 Taylor & Francis.

38. The vast majority of published sacred works by women date from the latter half of the 20 th century. © 2011 Taylor & Francis.