Transparency Masters for Listen, seventh edition pot

Transparency Masters for

Listen, seventh edition

Joseph Kerman and Gary Tomlinson
1
2
3
4
5
6
7
8
9
10
11
12
13a–b


14
15
16
17
18
19
20
21
22
23
24

25
26a–b
27


28
29
30
31
32a–b
33
Listening Chart 1: Wagner, Prelude to The Valkyrie
Listening Exercise 1: Rhythm, Meter, and Syncopation
Listening Exercise 2: Rhythm, Meter, and Tempo
Listening Exercise 3: Pitch and Dynamics
Orchestral Seating Plan
Listening Exercise 4: The Orchestra in Action
Diatonic and Chromatic Scales
Listening Exercise 5: Melody and Tune
Listening Exercise 6: Texture
Major and Minor Modes
Listening Exercise 7: Mode and Key
Listening Exercise 8: Musical Form
Listening Chart 2: Britten, The Young Person’s Guide to the Orchestra


The Medieval Modes
Plainchant, “In paradisum”
Hildegard of Bingen, “Columba aspexit”
Bernart de Ventadorn, “La dousa votz”

Pérotin, “Alleluia. Diffusa est gratia”
Machaut, “Dame, de qui toute ma joie vient,” rst stanza
Dufay, “Ave maris stella”
Josquin, Pange lingua Mass, Kyrie; from the Gloria
Map: Dispersion of the High Renaissance Style
Josquin, “Mille regrets”
Palestrina, Pope Marcellus Mass, from the Gloria
Gabrieli, “O magnum mysterium”
Monteverdi, The Coronation of Poppea, from Act I
Purcell, Dido and Aeneas, Act III, nal scene


The Basic and Festive Baroque Orchestras
Ritornello Form
Listening Chart 3: Vivaldi, Violin Concerto in G, rst movement
Listening Chart 4: Vivaldi, Violin Concerto in G, second movement
Listening Chart 5: Bach, Brandenburg Concerto No. 5, I
Fugue Form
5
10
11
13
21
22
28
31
35
36
38
42

45


51
52
53
55
59
61
67
71–72
74
74
76
86
91
94


114
121
122
126
129
132
UNIT I: Fundamentals
UNIT II: Early Music: An Overview
UNIT III: The Eighteenth Century
No. Page(s)Title
CONTENTS

i
34
35
36
37
38
39
40
41
42a–c
43a–b
44
45
46
47a–b
48a–c
49a–b
50a–c
51
52a–b
53
54
55
56a–c
57a–c
58a–e
59a–b
60a–b
61a–b
62a–b

63
64a–b
65a–b
66a–d
67
68a–b
69a–b
70
71
72
73a–b
Listening Chart 6: Bach, The Well-Tempered Clavier, Book 1, Fugue in C Major
Handel, Julius Caesar, “La giustizia”
Handel, Messiah, “There were shepherds”; “Glory to God”
Handel, Messiah, Hallelujah Chorus
Bach, Cantata No. 4, “Christ lag in Todesbanden” (Stanzas 3, 4, and 7)
Map: Centrality of Vienna in the Classical Period
The Classical Orchestra
Sonata Form
Listening Chart 7: Mozart, Symphony No. 40 in G Minor, rst movement
Listening Chart 8: Haydn, Symphony No. 95 in C Minor, second movement
Listening Chart 9: Haydn, Symphony No. 95 in C Minor, third movement
Listening Chart 10: Haydn, Symphony No. 95 in C Minor, fourth movement
Double-Exposition Form
Listening Chart 11: Mozart, Piano Concerto No. 23 in A, rst movement
Mozart, Don Giovanni, from Act I, scene iii
Listening Chart 12: Beethoven, Symphony No. 5 in C Minor, rst movement
Listening Chart 13: Beethoven, Symphony No. 5 in C Minor, complete work
A Typical Romantic Orchestra
Schubert, “Erlkönig”

R. Schumann, Dichterliebe, “Im wunderschönen Monat Mai”
R. Schumann, Dichterliebe, “Die alten, bösen Lieder”
C. Schumann, “Der Mond kommt still gegangen”
Listening Chart 14: Berlioz, Fantastic Symphony, fth movement
Verdi, Rigoletto, from Act III, scene i
Wagner, The Valkyrie, Act I, scene i
Puccini, Madame Buttery, from Act II, “Un bel dì”
Listening Chart 15: Tchaikovsky, Overture-Fantasy, Romeo and Juliet
Listening Chart 16: Brahms, Violin Concerto in D, third movement
Listening Chart 17: Mahler, Symphony No. 1, third movement, Funeral March
Map: Paris and Vienna as Musical Centers
Listening Chart 18: Debussy, from Three Nocturnes, Clouds
Listening Chart 19: Stravinsky, The Rite of Spring, Part I (excerpt)
Berg, Wozzeck, Act III, scenes iii and iv
Listening Chart 20: Ives, Second Orchestral Set, II, “The Rockstrewn Hills Join in
the People’s Outdoor Meeting”
Listening Chart 21: Ravel, Piano Concerto in G, rst movement
Listening Chart 22: Bartók, Music for Strings, Percussion, and Celesta, second
movement
Listening Chart 23: Prokoev, Alexander Nevsky Cantata, 5, “The Battle on Ice”
Listening Chart 24: Ligeti, Lux aeterna
Listening Chart 25: Reich, Music for 18 Musicians (excerpts)
Saariaho, From the Grammar of Dreams (Songs 1, 3, and 4)
135
144
147
148
152
155
162

169
173
179
182
185
189
191
198–199
218
220
232
241
243
244
248
258
266–267
276–277
280
285
294
299
318
320
324
332–335
338
342
346
353

364
369
372
UNIT IV: The Nineteenth Century
UNIT V: The Twentieth Century and Beyond
ii
74a–c
75
76
77
78
79
80
Adams, El Niño, “Pues mi Dios ha nacido a penar,” “When Herod Heard,” and
“Woe unto Them That Call Evil Good”
Navajo song, “K’adnikini’ya’”
Inca processional music, “Hanaq pachap kusikuynin”
Japanese gagaku, Etenraku
Balinese gamelan, Bopong
Japanese kabuki, Dojoji
South African popular song, “Anoku Gonda”
375
64
82
203
206
301
409
Copyright © 2012 by Bedford/St. Martin’s
ISBN-13 978-0-312-67212-6

ISBN-10 0-312-67212-8
All rights reserved.
Manufactured in the United States of America.
For information, write:
Bedford/St. Martin’s, 75 Arlington Street, Boston, MA 02116 (617-399-4000)
Instructors who have adopted Listen, Seventh Edition, as a textbook for a course are authorized to
duplicate portions of this set of transparency masters for their students.
iii
Transparency 1 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson
Copyright © 2012 by Bedford/St. Martin’s
Wagner, Prelude to The Valkyrie
2 min., 41 sec.
0:00 A Scale theme in low strings; crescendo and rise in pitch
0:48 B Preliminary climax: Lightning theme in horns and woodwinds
0:59 A Scale theme, brie y subsiding; then crescendo
1:20 B؅ Main climax: Lightning theme, extended, in full brass
1:45 Collapse: Timpani roll; sporadic lightning strikes; diminuendo
2:09 A Scale theme
Access Interactive Listening
Chart 1 at bedfordstmartins
.com/listen
DVD
9
LISTENING CHART 1
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Transparency 2 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson
Copyright © 2012 by Bedford/St. Martin’s
16
Rhythm, Meter, and Syncopation

In Unit I of this book, we illustrate the concepts that are introduced with listening
examples drawn from the Companion DVD. Follow the timings in these Listening
Exercises, which are simpli ed versions of the Listening Charts provided for complete
compositions later in the book. The charts are explained on page xxviii.
For samples of duple, triple, and compound meters, listen to the following tracks
on the DVD.
Duple meter Count  two |  two . . . etc., for about half a minute.
Duple meter Count  two
THREE four |  two THREE four . . . etc.
Triple meter Count  two three |  two three . . . etc.
Compound meter Count  two three
FOUR  ve six |  two three FOUR  ve
six . . . etc.
Syncopation: In Scott Joplin’s “Maple Leaf Rag,” listen to the piano left hand, with its
steady  two |  two beat in duple meter, while the right hand cuts across it with
syncopations in almost every measure.
DVD
10, 14
LISTENING EXERCISE 1
12, 19
17
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Transparency 3 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson
Copyright © 2012 by Bedford/St. Martin’s
Rhythm, Meter, and Tempo
A more advanced exercise: Our excerpt, from the middle of Rhapsody on a Theme by
Paganini, for piano and orchestra, by Sergei Rachmaninov, consists of four continuous
segments in different meters and tempos, here labeled A, B, C, and D. (If you note a

family likeness among the segments, that is because they are all variations on a single
theme. See page 174.)
0:00 A The piano starts in duple meter ( two |  two). The loud orchestral interruptions
are syncopated. (After the interruptions the meter is somewhat obscured, but it gets clearer.)
0:33 Clear duple meter by this time; then the music comes to a stop.
0:49 B No meter. The piano seems to be engaged in a meditative improvisation, as if it is dreaming
up the music to come.
1:45 Orchestral instruments suggest a slow duple meter? Not for long.
2:24 C Slow triple meter ( two three |  two three)
3:47 Ritardando (getting slower)
3:56 D Fast triple meter, assertive (note one or two syncopated notes)
4:26 Faster triple meter
LISTENING EXERCISE 2
DVD
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Transparency 4 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson
Copyright © 2012 by Bedford/St. Martin’s
Pitch and Dynamics
High and low pitch and loud and soft dynamics are heard so instinctively that they
hardly need illustration. Listen, however, to the vivid way they are deployed in one
of the most famous of classical compositions, the “Un nished” Symphony by Franz
Schubert. Symphonies usually consist of four separate big segments, called movements;
musicologists are still baf ed as to why Schubert wrote two superb movements for this
work and started but never  nished the rest.
 
0:00 Quiet and mysterious Low range pp
0:15 Rustling sounds Middle range
0:22 Wind instruments High

0:35 Single sharp accent sf
0:47 Gets louder Higher instruments Long crescendo, leading to f, then ff,
added more accents
1:07 Sudden collapse piano followed by diminuendo
1:15 New tune First low, then high (Marked pp by Schubert, but usually
played p or mp)
1:52 Cuts off sharply; big sound ff, more accents
(Similar pitch and dynamic effects for the rest of the excerpt)
3:07 Sinking passage Individual pitches, lower and lower
3:45 Ominous Lowest pitch of all pp
LISTENING EXERCISE 3
12
DVD
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Transparency 5 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson
Copyright © 2012 by Bedford/St. Martin’s
Timpani
Trumpets
Percussion
Harps
French horns
Trombones Tuba
Double
basses
Clarinets
Bassoons
Second violins
Flutes
Oboes

Violas
Cellos
First violins
Conductor
ORCHESTRAL SEATING PLAN
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Transparency 6 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson
Copyright © 2012 by Bedford/St. Martin’s
DVD
The Orchestra in Actio n
Take a break from reading now and listen to
The Young Person’s Guide to the Orchestra, a
work devised by Benjamin Britten in 1946 to
introduce the many tone colors of orchestral
instruments. A full chart of this work is given on
page 45. For now, the chart below will lead you
one by one through the various sections and
instruments of the orchestra.
0:00 Full orchestra
0:42  choir
1:11
 choir
1:42  choir
2:07 
2:26 Full orchestra
2:50 Flutes and piccolo
3:29 Oboes
4:32 Clarinet family: bass clarinet (1:42),
clarinet (1:57), and E- at clarinet

(1:46)
5:14 Bassoon
19–24
2:24
19
20
0:39
1:42
LISTENING EXERCISE 4
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6:11 Violins
6:56 Violas
7:45 Cellos
8:43 Double bass
9:40 Harp
10:31 French horns
11:11 Trumpets
11:47 Trombones, tuba
12:48 
14:43 Full orchestra
21
22
23
24
0:45
1:34
2:32
3:29
0:40
1:16

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Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson
Copyright © 2012 by Bedford/St. Martin’s
Transparency 7
B
Ł
ŁŁ²
Ł
ŁŁ²
Ł
Ł
Ł
ŁŁ²
Ł
ŁŁ²
Ł
ŁŁ²
Ł
Ł
Ł
Ł
CHROMATIC SCALE
(one octave)
DIATONIC SCALE
(one octave) C
Half
step
Whole
step

Half
step
D
Half
step
Whole
step
Half
step
E
Half
step
Half
step
F
Half
step
Whole
step
Half
step
G
Half
step
Whole
step
Half
step
A
Half

step
Whole
step
Half
step
Half
step
Half
step
C
DEFGABCC
D
²
(E
−
)
C
²
(D
−
)
F
²
(G
−
)
G
²
(A
−

)
A
²
(B
−
)
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Diatonic and Chromatic Scales
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Transparency 8 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson
Copyright © 2012 by Bedford/St. Martin’s
Melody and Tune
Division into phrases, parallelism and contrast between phrases, sequence, climax,
and cadence: These are some characteristics of tunes that we have observed in “The
Star-Spangled Banner.” They are not just inert characteristics — they are what make the
tune work, and they are present in tunes of all kinds. Our example is a song by George
and Ira Gershwin from the Depression era, which was also the jazz era: “Who Cares?”
from the musical comedy Of Thee I Sing (1932).
In “The Star-Spangled Banner” the climax matches the text perfectly at “free.”
Here “jubilee” makes a good match for the climax, and a melodic sequence  ts the
words “I care for you / you care for me” neatly. “Who cares?” comes at 0:57 on our
recording by the great jazz singer Ella Fitzgerald, after an introduction (called the verse)
typical of such songs — a sort of subsidiary tune, with words that will not be repeated.
0:12 Verse: Let it rain and thunder . . . (eight more lines) Includes a long sequence
0:48 Tempo changes
0:57 Tune: Who cares if the sky cares to fall in the sea? First phrase of the tune
Who cares what banks fail in Yonkers? Contrasting phrase
Long as you’ve got a kiss that conquers. Parallel phrase — starts like the preceding, ends higher
Why should I care? Life is one long jubilee, Threefold sequence (“Should I care / life is one / jubilee”)
Climax on “jubilee”

So long as I care for you and you care for me. Free sequence (“I care for you”/ “You care for me”) —
cadence
1:55 Tune played by the jazz band, today’s “big band”
(with saxophone breaks: see page 382)
LISTENING EXERCISE 5
DVD
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Transparency 9 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson
Copyright © 2012 by Bedford/St. Martin’s
Texture
A famous passage from Beethoven furnishes a clear example of monophonic, polyphonic,
and homophonic textures — the initial presentation of the so-called Joy Theme in
Symphony No. 9, the “Choral” Symphony. The theme, a tune known around the world,
takes its name from the words set to it, an enthusiastic ode to the joy that comes from
human freedom, companionship, and reverence for the deity. The words are sung by
soloists and a chorus.
But before anyone sings, the theme is played several times by the orchestra, in a
way that suggests that joy is emerging out of nothingness into its full realization. Beginning
with utterly simple monophony, and growing successively higher and louder, it is
enriched by polyphony and then reaches its grand climax in homophony.
0:00 Joy Theme Low register Monophony: a single melodic line; cellos and double basses
playing together, with no accompaniment whatsoever
0:49 Theme An octave higher Polyphony, non-imitative: the theme with two lines of
counterpoint, in low strings (cello) and a mellow wind
instrument (bassoon)
1:36 Theme Two octaves higher
2:21 Theme Three octaves higher Homophony: full orchestra with trumpets prominent
Our example of imitative polyphony comes from the Symphony of Psalms, another sym-

phony with chorus, a major work by the twentieth-century composer Igor Stravinsky.
0:00 A slow, winding melody, unaccompanied, played by an oboe
0:25 The same melody enters in another instrument, a  ute, as the oboe continues with new material;
this produces two-part imitative counterpoint.
0:58 Third entry, second  ute plays in a lower register — three-part counterpoint
1:20 Fourth entry, second oboe — four-part counterpoint
14
15
LISTENING EXERCISE 6
14, 15
DVD
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Transparency 10 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson
Copyright © 2012 by Bedford/St. Martin’s
AB DEFGABCDEFGA
Middle
C
Ł
Ł
Ł
Ł
Ł
Ł
Ł
Ł
Ł
Ł
Ł
Ł

Ł
Ł
Ł
Ł
Ł
Ł
Ł
Ł
Ł
Ł
Ł
Ł
Ł
Ł
Ł
Ł
Ł
Ł
Ł
MAJOR MODE
DIATONIC
SCALE
MINOR MODE
C
Focal point
D
E
Half
step
F

G
A
Whole
step
Whole
step
Whole
step
Whole
step
Whole
step
B
Half
step
Focal point
C
A
B
C
D
E
F
G
A
Focal point
B
C
D
E

F
G
A
Focal point
A
Whole
step
B
Half
step
C
Whole
step
D
Whole
step
E
Half
step
F
Whole
step
G
Whole
step
A
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Major and Minor Modes
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Transparency 11 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson

Copyright © 2012 by Bedford/St. Martin’s
Mode and Key
Modality is probably most obvious when you hear a minor-mode melody (or phrase
of melody) and then hear it with the mode changed to major. A short passage from
the String Quartet in A Minor by Franz Schubert is a lovely illustration of this change.
0:00 pp A melancholy melody in the minor mode. Listen to the  rst violin above the rustling
accompaniment in the lower string instruments.
0:47 The beginning of the melody returns, changed to the major mode.
Listen to more of the Schubert quartet for a change in key:
1:04 ff Agitated; back in the minor mode. Lower instruments alternate with the solo violin.
1:39 p A quiet cadence, still in the same key, but followed by modulation
1:56 p Reaching a new key, for a new theme. This theme is in the major mode, calm and sunny.
For a series of modulations to several different keys, go to a passage from Beethoven’s
Piano Concerto No. 5, the “Emperor” Concerto. Here the key changes stand out clearly
because the modulations are carried out so brusquely — a Beethoven specialty.
0:00 Lively music for the piano, f, followed by a f response from the orchestra
0:28 Modulation (French horns)
New key: Similar music for piano, but pp, followed by the same orchestral response, f
1:03 Similar modulation (French horns). The music seems to be searching for a place to settle.
Another new key: piano, p, and orchestra, f, as before
1:36 The piano bursts in, f, in the same key but in the minor mode. It begins modu lating to
further new keys in a more complicated way than before.
LISTENING EXERCISE 7
DVD
16, 17
16
17
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Transparency 12 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson

Copyright © 2012 by Bedford/St. Martin’s
16
18
Musical Form
“The Star-Spangled Banner” has one of the simplest forms, a a b. “Oh, say can you
see . . . the twilight’s last gleaming” is a, “Whose broad stripes . . . gallantly streaming”
is the second a, and the rest of the anthem is b. Section b makes a de nite contrast with
a by means of its new melody and higher range, as we’ve seen on page 30.
When sections of music are not identical but are considered essentially parallel,
they are labeled a, a؅, a؆, and so on. The  rst theme of Schubert’s Quartet in A Minor
is in a a؅ a؆ form.
0:00 a Melancholy
0:21 a؅ Begins like a, but the melody lasts longer and goes higher and
lower than in a
0:47 a؆ The beginning now turns luminously to the major mode.
Smaller form elements (a, b, a؅) can be nested in larger ones, marked with capital let-
ters: A, B, A؅. A more extended example comes from an all-time classical favorite, the
Christmas ballet The Nutcracker by Pyotr Ilyich Tchaikovsky. Tchaikovsky used the
Dance of the Sugar-Plum Fairy mainly to show off the celesta, a rare instrument (see
page 20). The A B A؅ form of the dance breaks down into a a؅ b b a a؅.
0:00 Introduction: The 2/4 meter is previewed by low stringed instruments.
0:08 A a Solo for celesta, with comments by a bass clarinet
0:23 a؅ Begins like a, but the ending is different — on a new pitch and harmony
0:37 B b Contrast with a
0:44 b
0:51 Transition: The music has a preparatory quality.
1:07 A؅ a Celesta an octave higher, with a quiet new click in the violins
1:22 a
؅ The high celesta is a very striking sound.
The new orchestration is what gives this A B A؅ form its prime mark — not changes in

melody or harmony, as is usually the case. More strictly, the form could be marked intro-
duction A (a a؅) B (b b) transition A؅ (a؆ a؅؆), but this level of detail is seldom needed.
LISTENING EXERCISE 8
16, 18
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Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson
Copyright © 2012 by Bedford/St. Martin’s
Transparency 13a
19
20
Britten, The Young Person’s Guide to the Orchestra
17 min., 13 sec.
0:00 THEME Full orchestra Note the prominent sequence in the middle of the Purcell tune.
You will hear snatches of this in some of the variations.
0:23 Transition Diminuendo (getting softer). Further transitions occurring be-
tween thematic statements and variations will not be indicated
on this chart.
0:42 Theme  choir
1:11 Theme  choir Ending is changed.
1:42 Theme
 choir Theme is changed further.
2:07  “Theme” only in principle; only some rhythms remain.
2:26 THEME Full orchestra Same as the  rst time
2:50 Variation 1 Flutes and piccolo (harp accompaniment)
3:04 Piccolo and  ute play in harmony.
3:29 Variation 2 Oboes Beginning of the tune transformed into a slow, romantic melody
in oboe 1; oboe 2 joins in two-part polyphony.
4:32 Variation 3 Clarinet family Solos for bass clarinet (1:42), clarinet (1:57), and E- at clarinet

(1:46)
5:14 Variation 4 Bassoon Typical qualities of the bassoon: staccato (comic effect) and
legato (melodious)
LISTENING CHART 2
0:14
0:39
1:42
2:24
19–24
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Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson
Copyright © 2012 by Bedford/St. Martin’s
Transparency 13b
24
21
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6:11 Variation 5 Violins With chordal accompaniment
— particularly clear homophonic
texture
6:56 Variation 6 Violas Slower
7:45 Variation 7 Cellos Another slow, romantic melody: falls into a aЈ form (clarinet in
the background)
8:43 Variation 8 Double bass Solo
— humorous
9:40 Variation 9 Harp In the background is a string tremolo, caused by bowing a single
note extremely rapidly, so that it sounds like a single
trembling note.

10:31 Variation 10 French horns
11:11 Variation 11 Trumpets With snare drum, suggesting a fast military march
11:47 Variation 12 Trombones, tuba Typical qualities of the trombone: humorously pompous, and
mysterious chords
12:48 Variation 13  Timpani and bass drum (heard throughout the variation),
cymbals (0:18), tambourine (0:28), triangle (0:32), snare drum
(0:40), Chinese block (0:44), xylophone (0:50), castanets (1:01),
gong (1:07), whip (1:14), marimba and triangle (1:41)
Percussion instruments are described starting on pages 19–20.
14:43 FUGUE Full orchestra Imitative polyphony starts with  utes, then oboe, clarinet (same
order as above!).
16:30 THEME Full orchestra Climax: slower than before. The tune is superimposed on the fugue.
Access Interactive Listening Chart 2 at bedfordstmartins.com/listen
0:45
1:34
2:32
3:29
0:40
1:16
1:47
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Transparency 14 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson
Copyright © 2012 by Bedford/St. Martin’s
Ł
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Focal point
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DORIAN
PHRYGIAN
LYDIAN
MIXOL
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The Medieval Modes
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Transparency 15 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson
Copyright © 2012 by Bedford/St. Martin’s
Plainchant antiphon, “In paradisum”
LISTEN
0:00 In paradisum deducant te Angeli:
in tuo adventu suscipiant te Martyres,
et perducant te in civitatem sanctam
Jerusalem.
0:36 Chorus Angelorum te suscipiat,
et cum Lazaro quondam paupere
aeternam habeas requiem.
May the Angels lead you to paradise,
and the Martyrs, when you arrive,
escort you to the holy city of Jerusalem.
May the Angel choir sustain you,

and with Lazarus, who was once poor,
may you be granted eternal rest.
1
1
1
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Transparency 16 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson
Copyright © 2012 by Bedford/St. Martin’s
Hildegard of Bingen, “Columba aspexit”
0:02 A Columba aspexit
Per cancellos fenestrae
Ubi ante faciem eius
Sudando sudavit balsamum
De lucido Maximino.
0:28 A؅ Calor solis exarsit
Et in tenebras resplenduit;
Unde gemma surrexit
In edi catione templi
Purissimi cordis benevoli.
0:56 B Iste turis . . .
1:29 B؅ Ipse velox . . .
2:03 C O pigmentarii . . .
3:15 D O Maximine . . .
The dove entered
Through the lattices of the window,
Where, before its face,
Balm emanated
From incandescent Maximinus.

The heat of the sun burned
And dazzled into the gloom,
Whence a jewel sprang forth
In the building of the temple
Of the most pure loving heart.
He is the high tower of Lebanon . . .
The swift hart sped to the fountain . . .
O you makers of incense . . .
O Maximinus . . .
(two more stanzas)
2
1
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Transparency 17 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson
Copyright © 2012 by Bedford/St. Martin’s
Bernart de Ventadorn, “La dousa votz”
0:07 St. 1: La dousa votz ai auzida I have heard the sweet voice
Del rosinholet sauvatge Of the woodland nightingale
Et es m’insel cor salhida And my heart springs up
Si que tot lo cosirer So that all the cares
E’ls mals traihz qu’amors me dona, And the grievous betrayals love has given me
M’adousa e m’asazona. Are softened and sweetened;
Et auria’m be mester And I would thus be rewarded,
L’autrui joi al meu damnatge. In my ordeal, by the joys of others.
0:48 St. 2: Ben es totz om d’avol vida In truth, every man leads a base life
C’ab joi non a son estatge . . . Who does not dwell in the land of joy . . .
1:28 St. 3: Una fausa deschauzida One who is false, deceitful,
Trairitz de mal linhage Of low breeding, a traitress

M’a trait, et es traida . . . Has betrayed me, and betrayed herself . . .
1
3
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Transparency 18 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson
Copyright © 2012 by Bedford/St. Martin’s
Pérotin, “Alleluia. Diffusa est gratia”
0:00 Chant , —— Hallelujah.
0:37 Organum Diffusa est gratia in labiis tuis; Grace has been poured out upon your lips;
propterea benedixit te deus therefore, God has blessed you
2:36 Chant in aeternum. eternally.
3:06 , ——
1
4
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Transparency 19 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson
Copyright © 2012 by Bedford/St. Martin’s
Guillaume de Machaut,
“Dame, de qui toute ma joie vient”
0:00 a Dame, de qui toute ma joie vient Lady, source of all my joy,
Je ne vous puis trop amer et chierir I can never love or cherish you too much,
0:35 a؅ N’assés loer, si com il apartient Or praise you as much as you deserve,
Servir, doubter, honourer n’obeïr. Or serve, respect, honor, and obey you.
1:19 b Car le gracious espoi, For the gracious hope,
Douce dame, que j’ay de vous vëoir, Sweet lady, I have of seeing you,
Me fait cent fois plus de bien et de Gives me a hundred times more joy and

joie boon
Qu’en cent mille ans desservir ne Than I could deserve in a hundred
porroie. thousand years.
LISTEN
1
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Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson
Copyright © 2012 by Bedford/St. Martin’s
Transparency 20
Dufay, “Ave maris stella”
0:00 STANZA 1: Plainchant
Ave maris stella, Hail, star of the ocean,
Dei Mater alma, Kind Mother of God,
Atque semper Virgo, And also still a virgin,
Felix coeli porta. Our blessed port to heaven.
STANZA 2: Dufay’s paraphrase
0:22 Sumens illud Ave May that blessed “Ave”
Gabrielis ore, From Angel Gabriel’s mouth
Funda nos in pace, Grant us peace,
Mutans Hevae nomen. Reversing the name “Eva.”
STANZA 3: Plainchant
1:13 Solve vincla reis . . .
STANZA 4: Paraphrase
1:35 Monstra te esse matrem . . .
STANZA 5: Plainchant
2:26 Virgo singularis . . .
STANZA 6: Paraphrase
2:48 Sit laus Deo Patri, Praise be to God the Father,

Summo Christo decus, To Christ on high,
Spiritui Sancto, To the Holy Spirit:
Tribus honor unus, Three honored as one.
Amen. Amen.
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Transparency 21 Listen, Seventh Edition, by Joseph Kerman and Gary Tomlinson
Copyright © 2012 by Bedford/St. Martin’s
Josquin, Pange lingua Mass, Kyrie
0:09 Kyrie eleison. Lord have mercy.
0:53 Christe eleison. Christ have mercy.
2:10 Kyrie eleison. Lord have mercy.
LISTEN
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