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Organum
''Organum'' () is, in general, a plainchant melody with at least one added voice to enhance the harmony, developed in the Middle Ages. Depending on the mode and form of the chant, a supporting bass line (or '' bourdon'') may be sung on the same text, the melody may be followed in parallel motion (parallel organum), or a combination of both of these techniques may be employed. As no real independent second voice exists, this is a form of heterophony. In its earliest stages, organum involved two musical voices: a Gregorian chant melody, and the same melody transposed by a consonant interval, usually a perfect fifth or fourth. In these cases the composition often began and ended on a unison, the added voice keeping to the initial tone until the first part has reached a fifth or fourth, from where both voices proceeded in parallel harmony, with the reverse process at the end. Organum was originally improvised; while one singer performed a notated melody (the ''vox principal ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pérotin
Pérotin () was a composer associated with the Notre Dame school of polyphony in Paris and the broader musical style of high medieval music. He is credited with developing the polyphonic practices of his predecessor Léonin, with the introduction of three and four-part harmonies. Other than a brief mention by music theorist Johannes de Garlandia in his '' De Mensurabili Musica'', virtually all information on Pérotin's life comes from Anonymous IV, a pseudonymous English student who probably studied in Paris. Anonymous IV names seven titles from a ''Magnus Liber''—including '' Viderunt omnes'', ''Sederunt principes'' and ''Alleluia Nativitas''—that have been identified with surviving works and gives him the title ''Magister Perotinus'' (Pérotinus the Master) meaning he was licensed to teach. It is assumed that Perotinus was French and named Pérotin, a diminutive of Peter, but attempts to match him with persons in contemporary documents remain speculative. Identity ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gregorian Chant
Gregorian chant is the central tradition of Western plainchant, a form of monophonic, unaccompanied sacred song in Latin (and occasionally Greek) of the Roman Catholic Church. Gregorian chant developed mainly in western and central Europe during the 9th and 10th centuries, with later additions and redactions. Although popular legend credits Pope Gregory I with inventing Gregorian chant, scholars believe that it arose from a later Carolingian synthesis of the Old Roman chant and Gallican chant. Gregorian chants were organized initially into four, then eight, and finally 12 modes. Typical melodic features include a characteristic ambitus, and also characteristic intervallic patterns relative to a referential mode final, incipits and cadences, the use of reciting tones at a particular distance from the final, around which the other notes of the melody revolve, and a vocabulary of musical motifs woven together through a process called centonization to create families of rel ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Modal Rhythm
In medieval music, the rhythmic modes were set patterns of long and short durations (or rhythms). The value of each note is not determined by the form of the written note (as is the case with more recent European musical notation), but rather by its position within a group of notes written as a single figure called a "ligature", and by the position of the ligature relative to other ligatures. Modal notation was developed by the composers of the Notre Dame school from 1170 to 1250, replacing the even and unmeasured rhythm of early polyphony and plainchant with patterns based on the metric feet of classical poetry, and was the first step towards the development of modern mensural notation. The rhythmic modes of Notre Dame Polyphony were the first coherent system of rhythmic notation developed in Western music since antiquity. History Though the use of the rhythmic modes is the most characteristic feature of the music of the late Notre Dame school, especially the compositions of Pé ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Léonin
Léonin (also Leoninus, Leonius, Leo; ) was the first known significant composer of polyphonic organum. He was probably French, probably lived and worked in Paris at the Notre Dame Cathedral and was the earliest member of the Notre Dame school of polyphony and the ars antiqua style who is known by name. The name Léonin is derived from "Leoninus," which is the Latin diminutive of the name Leo; therefore it is likely that Léonin's given French name was Léo. Overview All that is known about him comes from the writings of a later student at the cathedral known as Anonymous IV, an Englishman who left a treatise on theory and who mentions Léonin as the composer of the ''Magnus Liber,'' the "great book" of organum. Much of the ''Magnus Liber'' is devoted to clausulae—melismatic portions of Gregorian chant which were extracted into separate pieces where the original note values of the chant were greatly slowed down and a fast-moving upper part is superimposed. Léonin m ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Polyphony
Polyphony ( ) is a type of musical texture (music), texture consisting of two or more simultaneous lines of independent melody, as opposed to a musical texture with just one voice, monophony, or a texture with one dominant melodic voice accompanied by chord (music), chords, homophony. Within the context of the Western musical tradition, the term ''polyphony'' is usually used to refer to music of the late Medieval music, Middle Ages and Renaissance music, Renaissance. Baroque music, Baroque forms such as fugue, which might be called polyphonic, are usually described instead as counterpoint, contrapuntal. Also, as opposed to the ''species'' terminology of counterpoint, polyphony was generally either "pitch-against-pitch" / "point-against-point" or "sustained-pitch" in one part with melismas of varying lengths in another. In all cases the conception was probably what Margaret Bent (1999) calls "dyadic counterpoint", with each part being written generally against one other part, with ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gradual
The gradual ( la, graduale or ) is a chant or hymn in the Mass, the liturgical celebration of the Eucharist in the Catholic Church, and among some other Christians. It gets its name from the Latin (meaning "step") because it was once chanted on the step of the ambo or altar. In the Tridentine Mass, it is sung after the reading or chanting of the epistle and before the Alleluia, or, during penitential seasons, before the tract. In the Mass of Paul VI, the gradual is usually replaced with the responsorial psalm. Although the Gradual remains an option in the Mass of Paul VI, its use is extremely rare outside monasteries. The gradual is part of the proper of the Mass. A gradual can also refer to a book collecting all the musical items of the Mass. The official such book for the Roman Rite is the Roman Gradual (). Other such books include the Dominican Gradual. History The Gradual, like the Alleluia and Tract, is one of the responsorial chants of the Mass. Responsorial ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musica Enchiriadis
''Musica enchiriadis'' is an anonymous musical treatise of the 9th century. It is the first surviving attempt to set up a system of rules for polyphony in western art music. The treatise was once attributed to Hucbald, but this is no longer accepted.Hoppin, Richard H. ''Medieval Music''. Norton, 1978, pp.188-193. Some historians once attributed it to Odo of Cluny (879-942).Finney, Theodore M. A History of Music. Harcourt, Brace and Company, 1935, p. 61 It has also been attributed to Abbot Hoger (d. 906).Wright, Craig and Simms, Bryan. Music in Western Civilization. Schirmer Cengage Learning, 2010, p. 52 This music theory treatise, along with its companion text, '' Scolica enchiriadis'', was widely circulated in medieval manuscripts, often in association with Boethius' '' De institutione musica''.Erickson, Raymond. "Musica enchiriadis, Scholia enchiriadis". ''The New Grove Dictionary of Music and Musicians''. London: Macmillan, 2001. It consists of nineteen chapters; the fir ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Perfect Fourth
A fourth is a musical interval encompassing four staff positions in the music notation of Western culture, and a perfect fourth () is the fourth spanning five semitones (half steps, or half tones). For example, the ascending interval from C to the next F is a perfect fourth, because the note F is the fifth semitone above C, and there are four staff positions between C and F. Diminished and augmented fourths span the same number of staff positions, but consist of a different number of semitones (four and six, respectively). The perfect fourth may be derived from the harmonic series as the interval between the third and fourth harmonics. The term ''perfect'' identifies this interval as belonging to the group of perfect intervals, so called because they are neither major nor minor. A perfect fourth in just intonation corresponds to a pitch ratio of 4:3, or about 498 cents (), while in equal temperament a perfect fourth is equal to five semitones, or 500 cents (see additive synth ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Scolica Enchiriadis
''Scolica enchiriadis'' is an anonymous ninth-century music theory treatise and commentary on its companion work, the ''Musica enchiriadis''. These treatises were once attributed to Hucbald, but this is no longer accepted.Hoppin, Richard H. ''Medieval Music''. Norton, 1978, pp.188-193. . The ''Scolica enchiriadis'' is written as a tripartite dialogue, and despite being a commentary on the ''Musica enchiriadis'', it is nearly three times as long.Erickson, Raymond. "Musica enchiriadis, Scholia enchiriadis". ''The New Grove Dictionary of Music and Musicians''. London: Macmillan, 2001. Much of the theory discussed by the treatise is indebted to Augustinian conceptions of music, especially its affirmations of the importance of mathematics to music as kindred disciplines of the ''quadrivium''. Later sections draw heavily on the music theory of Boethius and Cassiodorus, two early medieval authors whose works on music were widely read and circulated hundreds of years after their death. T ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Plainchant
Plainsong or plainchant (calque from the French ''plain-chant''; la, cantus planus) is a body of chants used in the liturgies of the Western Church. When referring to the term plainsong, it is those sacred pieces that are composed in Latin text. Plainsong was the exclusive form of Christian church music until the ninth century, and the introduction of polyphony. The monophonic chants of plainsong have a non-metric rhythm. Their rhythms are generally freer than the metered rhythm of later Western music, and they are sung without musical accompaniment. There are three types of chant melodies that plainsongs fall into, syllabic, neumatic, and melismatic. The free flowing melismatic melody form of plainsong is still heard in Middle Eastern music being performed today. Although the Catholic Church (both its Eastern and Western halves) and the Eastern Orthodox churches did not split until long after the origin of plainsong, Byzantine chants are generally not classified as plai ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Benedicamus Domino
''Benedicamus Domino'' (Latin: "Let us bless the Lord") is a closing salutation that was formerly used in the Latin Mass instead of the '' Ite, missa est'' in Masses which lack the Gloria (i.e., Masses of the season during Advent, Septuagesima, Lent, and Passiontide; ferial Masses ''per annum'' at which the Mass of the preceding Sunday was repeated, except in Eastertide; most votive Masses). The response, said afterwards, is ''Deo gratias'' ("Thanks be to God"). It is also sung as a versicle at the end of all Offices. History and liturgical use Apparently the chant was unknown in Rome before about AD 1000, and may have originated in the Gallican liturgy. In modern chantbooks, the music given for the chant is exactly the same as for the '' Ite missa est'', but it is not known how much that was true in the medieval period as well.Hoppin, Richard. ''Medieval Music''. New York: Norton, 1977. Page 142. The text was frequently troped, especially by adding text between the two words, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
University Of The Sorbonne
, image_name = Coat of arms of the University of Paris.svg , image_size = 150px , caption = Coat of Arms , latin_name = Universitas magistrorum et scholarium Parisiensis , motto = ''Hic et ubique terrarum'' (Latin) , mottoeng = Here and anywhere on Earth , established = Founded: c. 1150Suppressed: 1793Faculties reestablished: 1806University reestablished: 1896Divided: 1970 , type = Corporative then public university , city = Paris , country = France , campus = Urban The University of Paris (french: link=no, Université de Paris), metonymically known as the Sorbonne (), was the leading university in Paris, France, active from 1150 to 1970, with the exception between 1793 and 1806 under the French Revolution. Emerging around 1150 as a corporation associated with the cathedral school of Notre Dame de Paris, it was considered the second-oldest university in Europe. Haskins, C. H.: ''The Rise of Universities'', Henry Holt and Company, 1923, p. 292. Officially charter ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
