995:. Any conductus is a new composition on new texts and is always composed in the rhythmic modes. Perotin set several texts by Philippe le Chancelier, while some texts refer to contemporary events. Two-part conductus form the larger part, though conductus exist for one to four voices. Three and four part conductus are, by necessity, composed throughout in discantus style. As in organa tripla, handling three voices (or four) precludes the kind of rhythmic freedom found in dupla. In conductus the distinction is made between 'cum littera' and 'sine litera', texted sections and melismatic sections. The texted parts can sometimes go beyond the modal measure and then fall back into regular mode in the melismatic section. Again according to Anonymous IV, Pérotin wrote a number of replacement clausulae from organa dupla by Léonin. As the tenor in organa dupla in discant sections proceeds always in the 5th mode (all longs in a rhythmic group ordine), Pérotin, who was a generation removed from Léonin, saw fit to improve them by introducing different modes for the tenor and new melodic lines for the dupla, increasing the rhythmic organization and diversity of the section. However, in the largest compilation of Notre-Dame repertoires (F) no less than 462 clausulae exist, many recurrences of the same clausulae (Domino, et gaudebit in variant settings, according to. 'written in a variety of styles and with varying competence' A further innovation was the
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explores the harmonious interplay with the tenor, building up to a change of harmony at the end of a melisma where another syllable is produced at a different pitch. Where the
Gregorian chant is no longer syllabic but uses ligatures and melismas, both voices proceed in a rhythmic mode. This section of discantus is concluded, on the last syllable of a word or phrase, by a copula, in which the tenor sustains either the penultimate or the last tone and the duplum switches back to a florid cadence, to conclude on a consonance. Thus, in organum duplum of Léonin these compositional idioms alternate throughout the complete polyphonic setting, which is concluded in monophonic chant for the last phrase. Thus, three different styles in the organaliter section are alternated and linked according to the text, leaving the last part of the text to be sung choraliter in monophonic chant. The verse of the chant is worked out according to the same principles.
999:, to be found in W2, in which the upper part of a discant section is supplied with a new text, so that when the tenor utters a single syllable of chant, the upper part will pronounce several syllables or words. As such it reminds of the prosulae that were composed, replacing a long melisma in a chant with new, additional words. This would have been the first instance of two different texts being sung in harmony. In turn, the motellus gave birth to the motet which is a poly-textual piece in discant, which obviously sparked a lot a creativity as it soon became a prolific form of composition.
38:
935:(Lat. coming together) which in the words of Johannes de Garlandia "is between organum and discant". and according to Waite a bridge section between modal and non-modal sections. It seems that for most instances we can take Garlandia literally where he says 'between' organum and discant. In organa dupla, the copula is very similar to a short, cadential organum purum section but in organa tripla or conducti it is seen that irregular notation is used. Either the last notes of ligatures are affixed with a
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929:, to name a few, are not always as clear as could be desired. Nevertheless, much information can be distilled from the comparative research of their writings. Organum purum is one of three styles of organum, which is used in section where the chant is syllabic thus where the tenor can not be modal. As soon as the chant uses ligatures, the tenor becomes modal and it will have become discant, which is the second form. The third form is
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organal voices are in discantus. Note that organum purum is not possible in three-part organa, all three parts are modal and need to be organized according to the rhythmic modes. Pérotin even went as far as composing two four-part organa (quadrupla), "Viderunt omnes" and "Sederunt principes" which were performed in Notre-Dame in 1198 on New Year's Day and in 1199 on the feast of St
Stephen (a decree of
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721:, however, that would make these two men great. Modal rhythm is defined clearly as a succession of (usually) unequal notes arranged in a definite pattern. The Notre-Dame composers' development of musical rhythm allowed music to be free from its ties to text. While it is well known that Léonin composed a great deal of organum, it was the innovations of Pérotin, who spent much of his time revising the
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sections in two-part conductus, copulae in general and monophonic conductus would be that part of the repertory which is not strictly modal. In monophonic song, be it chant or a conductus simplex by
Perotin, there is no need to vary from the classical standards for declamation that were a rooted tradition at the time, going back to St. Augustine's
1024:. It has been firmly established by extensive research in chant traditions (Gregorian Semiology) that there is a fluency and variability in the rhythm of declamatory speech that should also govern chant performance. These principles extend to the not strictly modal sections or compositions, as a contrasting quality with musica mensurabilis.
1307:. New Haven: Yale University Press, 1954. Second edition 1976. Apart from a selective transcription of the organa dupla by Leonin, this dissertation contains many quotations from the contemporary theorists preceding the transcription. Of particular interest is 'The Notation of Organum Duplum, p. 106–27, from which quotes are taken.
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whether they describe the 'actual' practice or a deviation of it. As key-concept behind the creative outburst that manifested in the 11th and 12th centuries is the vertical and harmonic expansion of dimension, as the strongly resonant harmony of organum magnified the splendour of the celebration and heightened its solemnity.
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The organa that were created in Paris were disseminated throughout Europe. The three main sources are W1, St. Andrews, Wolfenbüttel 677, olim
Helmstedt 628; the large and illuminated copy made in Florence, owned by Piero de Medici, the Pluteo 29.1 of the Bibliotheca Mediceo-Laurenziana (F), which is
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in that it has mostly one note or maybe two per syllable of text, which is set in florid organum over a sustained tenor. "Domino" is in its
Gregorian form set in melismatic style with three or more notes to a syllable and here both tenor and duplum proceed in discantus set in the six rhythmic modes,
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took place between 1163 and 1238 and this period coincides with the various phases of development of the Paris style of organum. The
Cathedral of Notre-Dame and the University of Paris served as the center of musical composition and as a transmitter of musical theory in the 12th and 13th centuries.
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compassing the ecclesiastic year, the first of its kind; it also introduces the use of the rhythmic modes as a creative principle. Thus, when in a discussion of organum of the Paris School the word "modal" or "mode" is used, it refers to the rhythmic modes and specifically not to the musical modes
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and therefore non-modal) end up as organum purum: the tenor sustains each single note of the chant over which the organal voice drapes a new florid line, written mostly in ligatures and compound neumes. Starting from a consonant, mostly the octave, sometimes lead in by 7–8 over 1, the duplum line
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There are arguments that support a relative freedom of rhythm in organa dupla but others who say that the interpretation of the music should always be according to modal or
Franconian principles. Willi Apel and William G. Waite insisted upon a rigorously modal interpretation. Though Waite in his
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In the range of forms of compositions found in the later two manuscripts that contain the Notre-Dame repertory (F and W2) one class of distinction can be made: that which is (strictly) modal and that which is not. Organum duplum in its organum purum sections of syllabic setting, the cum littera
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Pérotin "is the best composer of discantus", according to
Anonymous IV, an English student, writing ca.1275, who has provided at least a few morsels of factual information on Paris Organum and its composers. Pérotin further developed discantus in three part Organum (Organum Triplum) where both
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resounded with ever more complex forms of polyphony. Exactly what developments took place where and when in the evolution of polyphony is not always clear, though some landmarks remain visible in the treatises. As in these instances, it is hard to evaluate the relative importance of treatises,
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or a preparation of a cadence, where they are also referred to as "copulae". Garlandia states simply: "a copula is where are any number of lines are found". referring to the plicae or rest-signs. Thus organum duplum on a texted chant as a gradual, responsory or the verse of an
Alleluia can be
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of Léonin into strict modal rhythm. Apel argued that the long values for dissonances (in violation of the basic principle of consonance) produced by modal rhythms in Notre-Dame organa, can be reconciled by a statement made by several medieval theorists that "the tenor pauses, if a dissonance
666:. Considering that the trained singers had imbibed an oral tradition that was several centuries old, singing a small part of the chant repertory in straightforward heterophony of parallel harmony or other ways of "singing by the ear" would come naturally. It is made clear in the
707:. These two men were "the first international composers of polyphonic music". The innovations of Léonin and Pérotin mark the development of the rhythmic modes. These innovations are grounded in the forms of Gregorian chant, and adhere to the theoretical rhythmic systems of
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appears". Debates on interpretation are ongoing. However, Waite was working in the 1950s, and his point of view has been supplanted by newer research: "...but view that the entire corpus should be transcribed according to the rhythmic modes is no longer accepted" (
979:, where "dies" starts off with a little melisma which is judiciously set as a large non-modal florid section over all the notes of the tenor on "di(-es)", reserving discantus for "nò(-bis)" instead of having a short section in discantus right away at the beginning.
1298:, revised and augmented throughout by Sir Henry Stuart Jones, with the assistance of Roderick McKenzie. Oxford: Clarendon Press. Online access at Perseus Digital Library, Tufts University, Gregory R. Crane, editor-in-chief (Accessed 26 December 2013).
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for the major liturgical ceremonies in the yearly cycle. In hindsight, this turned out to be a major event, as this was the first large-scale project attributable to a single composer. Not only is it a compilation for practical use during mass and
1285:, revised, enlarged, and in great part rewritten by. Charlton T. Lewis, Ph.D. and., LL.D. Oxford. Clarendon Press. 1879. Online access at Perseus Digital Library, Tufts University, Gregory R. Crane, editor-in-chief (Accessed 26 December 2013).
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The earliest
European sources of information concerning organum regard it as a well-known practice. Organum is also known to have been performed in several different rites, but the main wells of information concerning its history come from
1075:: ὄργανον, "instrument, implement, tool, for making or doing a thing" "organ of sense or apprehension", "musical instrument", "surgical instrument", "work or product", "instrument of philosophy" "instrument or table of calculations" .
1380:". Music 3H dissertation (double module). Tutor: Dr Fitch. N.p.: University College, n.d.. Consonance, rhythm and the origins of organum (good bibliography here too) (Archive from 27 September 2007; accessed 25 December 2013).
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usually have several types of it found in their culture. In its original conception, organum was never intended as polyphony in the modern sense; the added voice was intended as a reinforcement or harmonic enhancement of the
488:) 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
975:, the protracted vocalization of the last syllable, which is to be sung choraliter, and as such is absent from all extant original manuscripts. The above stated general principles have been used freely, as in Alleluia V.
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519:, 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
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dissertation, notably in chapter 4: The notation of organum duplum' acknowledged that in organum duplum and monophonic conducts relative freedom may have been taken, he transcribed a selection of the
1348:, (F) Pluteo 29.1, Bibliotheca Mediceo-Laurenziana, Firenze, facsimile by Institute of Medieval Music. Brooklyn: Medieval Manuscripts in Reproduction. Vols. 10 and 11, ed. Luther Dittmer.
1071:: "an implement, instrument, engine of any kind", of musical instruments, "a pipe", of hydraulic engines, "an organ, water-organ"; "an implement, instrument"; "a musical instrument" from
1272:. New York, Cincinnati, and Chicago. American Book Company. Online access at Perseus Digital Library, Tufts University, Gregory R. Crane, editor-in-chief (Accessed 26 December 2013).
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by far the most extensive copy of the repertory. Finally W2, Wolfenbüttel 1206, olim Helmstedt 1099, which was compiled the latest (and contains the greatest number of motets).
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which embarked on new forms that were in every sense original and no longer based on Gregorian chant and as such constituted a break with the musical practice of the ancients.
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The presence of Léonin and Pérotin at the Notre-Dame School made Paris the centre of the musical world in the 12th century. Léonin, magister cantus of Notre-Dame, compiled the
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to be finalized with a florid cadence over a sustained tenor. Thus, in larger texts, depending on how the words were set to music, syllabic parts (having no
987:, Bishop of Paris, exists which stipulates the performance of 'organa tripla vel quadrupla') Apart from organa, Pérotin extended the form of the Aquitanian
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which divides the notes in smaller values, or a series of disjunct rests is used in jolting succession in both parts, creating what is also called
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that octave doubling (magadization) was acceptable, since such doubling was inevitable when men and boys sang together. The 9th-century treatise
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that caused the notation of the tenor line to stay the same, even when the methods of penning music were changing. It was the use of
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649:. The analogue evolution of sacred architecture and music is evident: during previous centuries monophonic Mass was celebrated in
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as an accompaniment or harmonic reinforcement. This kind of organum is sometimes called parallel organum, although terms such as
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was at a parallel perfect interval below, usually a fourth. Thus the melody would be heard as the principal voice, the
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of Léonin, that caused generations of organum and motet composers to exploit the principles of the rhythmic modes.
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535:). Over time, composers began to write added parts that were not just simple transpositions, thus creating true
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In the Notre-Dame repertory the Alleluia itself is only composed organaliter in the opening section, before the
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having become a reputed institution that attracted many students, not all of them French. The construction of
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treats the subject in greater detail. For parallel singing, the original chant would be the upper voice,
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The first document to describe organum specifically, and give rules for its performance, was the
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Magnus Liber Organi, Parisian Liturgical Polyphony from the Twelfth and Thirteenth Centuries
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Various articles, including "Organum", "Musica enchiriadis", "Hucbald", "St Martial" in
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The relevant contemporary authors who write about the organum of the Notre-Dame school,
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1389:: Musical transcriptions. (Archive from 27 September 2007; accessed 25 December 2013).
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The history of organum would not be complete without two of its greatest innovators,
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As Parisian Organum is rooted in Gregorian chant tradition, it is categorized under
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Cultural and intellectual life flourished in Paris during the 12th century with the
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is a good example of the principles used. "Benedicamus" is usually mixed syllabic—
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943:. These features also can be frequently found in two-part discantus on special
863:. Léonin wrote organa dupla based on existing chants like the Alleluia and the
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melody with at least one added voice to enhance the harmony, developed in the
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churches; in the course of the 12th and 13th centuries the newly consecrated
531:), another singer—singing "by ear"—provided the unnotated second melody (the
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620:(c. 895), a treatise traditionally (and probably incorrectly) attributed to
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at occasions of High Feasts of importance to further the splendour of the
482:. Depending on the mode and form of the chant, a supporting bass line (or
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1322:, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980.
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Ad organum faciendum et Item de organo, Musical Theorists in Translation
19:
This article is about a style of music. For the musical instrument, see
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767:. Statements consisting only of original research should be removed.
586:. Statements consisting only of original research should be removed.
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492:. In its earliest stages, organum involved two musical voices: a
1342:(W1, the earlier ms. of Notre Dame Polyphony) J. H. Baxter, 1931
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1459:. London, New York, and Toronto: Oxford University Press, 1954.
1332:"Ad organum faciendum" (ca. 1100) Jay A. Huff, ed. and trans.,
1237:, 485–556. Oxford and New York: Oxford University Press, 1990.
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31:
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in the Notation Course Medieval Music 1100–1450, Princeton).
624:. The oldest methods of teaching organum can be found in the
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515:. In these cases the composition often began and ended on a
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1368:, 7 vols., general editor Edward H. Roesner. Monaco: Les
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1472:. Oxford and New York: Oxford University Press, 1990.
1336:, vol. 8 Institute of Mediaeval Music, Brooklyn, NY )
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Apel, Willi. 1949. "From St. Martial to Notre Dame".
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1253:, edited by Erich Reimer, 2 vols. Supplement to the
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1387:Appendix to "The Organa of the Winchester Troper"
1233:, revised edition, edited by Richard Crocker and
1119:
1290:Liddell, Henry George, and Robert Scott. 1940. "
1320:The New Grove Dictionary of Music and Musicians
1095:
1277:Lewis, Charlton T., and Charles Short. 1879. "
952:beginning of text set to organum: organaliter:
861:Magnus Liber Organi de Gradali et Antiphonario
1499:
1218:Journal of the American Musicological Society
421:
8:
1355:. New York: W. W. Norton & Co., 1978.
892:two forms of organum technique are evident:
1225:Fuller, Sarah. 1990. "Early Polyphony". In
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1430:. New York: W. W. Norton & Co., 1950.
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1446:. New Haven: Yale University Press, 1995.
783:Learn how and when to remove this message
602:Learn how and when to remove this message
82:Learn how and when to remove this message
1444:Musica enchiridas and Scolica enchiridas
1410:Donald J Grout & Claude V. Palisca.
1031:which is thus called in contrast to the
45:This article includes a list of general
2044:List of Galician-Portuguese troubadours
1305:The Rhythm of Twelfth Century Polyphony
1259:10–11. Wiesbaden: Franz Steiner Verlag.
1088:
1061:
112:
105:
1464:Richard Crocker and David Hiley, eds.
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961:organum purum >> copula >>
955:organum purum >> copula >>
836:
1175:
1143:
1107:
7:
1414:. New York: W. W. Norton & Co.,
1398:. New York: W. W. Norton & Co.,
1199:
1187:
636:. The societies that have developed
1870:Other troubadours and trobairitz...
1378:The Organa of the Winchester Troper
23:. For the experimental group, see
964:discantus >> copula >>
958:discantus >> copula >>
51:it lacks sufficient corresponding
14:
890:Organa de Gradali et Antiphonario
2880:
2871:
2870:
1428:Source Readings In Music History
967:closing lines of text choraliter
925:, the St. Emmeram Anonymous and
837:Problems playing this file? See
822:
737:
711:. It is the composers' love for
556:
447:
36:
1466:The New Oxford History of Music
1453:The New Oxford History of Music
1227:The New Oxford History of Music
523:; while one singer performed a
1270:An Elementary Latin Dictionary
696:were used in early treatises.
1:
1865:William IX, Duke of Aquitaine
1470:The Early Middle Ages to 1300
1340:An Old St. Andrews Music Book
1249:Johannes de Garlandia. 1972.
1231:The Early Middle Ages to 1300
1457:Early Medieval Music to 1300
1256:Archiv für Musikwissenschaft
991:which was henceforth called
1536:List of musical instruments
1264:Lewis, Charlton, T. 1890. "
763:the claims made and adding
582:the claims made and adding
2939:
1412:A History of Western Music
1292:ὄργανον, τό, (ἔργον, ἔρδω)
1220:2, no. 3 (Autumn): 145–58.
1159:Johannes de Garlandia 1972
848:University of the Sorbonne
794:
18:
2852:
2398:Matheus de Sancto Johanne
2393:Johannes Symonis Hasprois
2324:
2136:
2063:
2039:Galician-Portuguese lyric
1984:Jehan le Cuvelier d'Arras
1899:Andrieu Contredit d'Arras
1671:
1521:
1370:Éditions de l'Oiseau-Lyre
1283:Freund's Latin Dictionary
16:Type of plainchant melody
2428:Antonio Zacara da Teramo
1396:Music in the Middle Ages
948:schematized as follows:
25:David Jackman (musician)
1954:Gillebert de Berneville
1531:List of music theorists
1451:Dom Anselm Hughes, ed.
1442:Claude V. Palisca, ed.
1296:A Greek-English Lexicon
885:that rule over melody.
66:more precise citations.
2227:Gherardello da Firenze
1914:Le Chastelain de Couci
1707:Philippe le Chancelier
1120:Liddell and Scott 1940
808:
499:, and the same melody
2908:Medieval music genres
2536:Johannes de Garlandia
1850:Raimbaut de Vaqueiras
1251:De mensurabili musica
923:Johannes de Garlandia
807:
147:Movements and schools
2857:Also music theorist*
2541:Johannes de Grocheio
2358:Conradus de Pistoria
2345:Philippus de Caserta
2294:Philippus de Caserta
2263:Antonello da Caserta
2212:Andreas de Florentia
2103:Guillaume de Machaut
1764:Bernart de Ventadorn
1749:Aimeric de Peguilhan
1692:Albertus Parisiensis
1642:Adam of Saint Victor
1602:Saint Martial school
1559:Notker the Stammerer
1096:Lewis and Short 1879
1050:Saint Martial school
852:Notre-Dame Cathedral
818:(organum by Pérotin)
622:Hucbald of St. Amand
474:) is, in general, a
21:organum (instrument)
2468:Contenance angloise
2258:Bartolino da Padova
2157:Marchetto da Padova
2088:Magister Franciscus
1964:Guillaume le Vinier
1959:Gontier de Soignies
1904:Audefroi le Bastart
1790:Folquet de Marselha
1647:Wulfstan the Cantor
1637:Hildegard of Bingen
1607:Adémar de Chabannes
1592:Fulbert of Chartres
1554:Abbey of Saint Gall
1546:Early (before 1150)
1351:Richard H. Hoppin,
1346:Magnus Liber Organi
1009:Magnus Liber Organi
673:Scolica enchiriadis
401:Renaissance music →
2913:Musical techniques
2796:Neo-Medieval music
2786:Medieval folk rock
2566:Berno of Reichenau
2546:Iacobus de Ispania
2388:Petrus de Goscalch
2289:Niccolò da Perugia
2284:Grazioso da Padova
2232:Lorenzo da Firenze
2192:Vincenzo da Rimini
2177:Giovanni da Cascia
2009:Other trouvères...
1994:Perrin d'Angicourt
1944:Gautier de Dargies
1919:Chrétien de Troyes
1855:Raimon de Miravalh
1845:Raimbaut d'Aurenga
1303:William G. Waite.
977:Dies sanctificatus
902:Benedicamus Domino
873:Benedicamus Domino
809:
748:possibly contains
668:Musica enchiriadis
634:Musica enchiriadis
617:Musica enchiriadis
567:possibly contains
2895:
2894:
2863:Renaissance music
2571:Aurelian of Réôme
2556:Johannes de Muris
2526:Franco of Cologne
2504:
2503:
2486:Arnold de Lantins
2445:
2444:
2441:
2440:
2368:Johannes Cuvelier
2320:
2319:
2316:
2315:
2312:
2311:
2279:Giovanni Mazzuoli
2274:Matteo da Perugia
2246:
2245:
2222:Francesco Landini
2200:
2199:
2182:Jacopo da Bologna
2165:
2164:
2132:
2131:
2128:
2127:
2119:Philippe de Vitry
2098:Jehan de Lescurel
2019:
2018:
2004:Raoul de Soissons
1949:Gautier d'Espinal
1939:Gautier de Coincy
1880:
1879:
1800:Giraut de Bornelh
1779:Cerverí de Girona
1759:Arnaut de Mareuil
1729:
1728:
1725:
1724:
1687:Notre-Dame school
1597:Heriger of Lobbes
1526:List of composers
927:Franco of Cologne
827:
797:Notre-Dame school
793:
792:
785:
750:original research
729:Notre-Dame school
632:, along with the
630:Bamberg Dialogues
612:
611:
604:
569:original research
438:
437:
176:Notre-Dame school
92:
91:
84:
2930:
2884:
2874:
2873:
2680:Liturgical drama
2447:
2354:
2351:Johannes Ciconia
2326:
2322:
2304:Zacara da Teramo
2268:Johannes Ciconia
2248:
2238:Paolo da Firenze
2217:Donato da Cascia
2202:
2167:
2147:
2138:
2134:
2122:
2065:
2061:
2056:Late (1300–1400)
1999:Philippe de Rémi
1929:Conon de Béthune
1909:Blondel de Nesle
1894:Adam de la Halle
1882:
1820:Peire d'Alvernha
1731:
1718:
1673:
1669:
1664:High (1150–1300)
1653:Wipo of Burgundy
1618:
1588:
1580:
1571:Stephen of Liège
1508:
1501:
1494:
1485:
1480:
1460:
1447:
1438:
1422:
1406:
1390:
1381:
1308:
1299:
1286:
1273:
1260:
1245:
1221:
1203:
1197:
1191:
1185:
1179:
1173:
1162:
1156:
1147:
1141:
1135:
1129:
1123:
1117:
1111:
1105:
1099:
1093:
1076:
1066:
867:of the mass and
829:
828:
806:
788:
781:
777:
774:
768:
765:inline citations
741:
740:
733:
607:
600:
596:
593:
587:
584:inline citations
560:
559:
552:
473:
472:
469:
468:
465:
462:
459:
456:
453:
430:
423:
416:
364:Liturgical drama
262:Adam de la Halle
94:
87:
80:
76:
73:
67:
62:this article by
53:inline citations
40:
39:
32:
2938:
2937:
2933:
2932:
2931:
2929:
2928:
2927:
2923:Music of Europe
2918:Polyphonic form
2898:
2897:
2896:
2891:
2890:
2867:
2848:
2800:
2769:
2706:
2656:Gregorian chant
2575:
2561:Walter Odington
2521:Guido of Arezzo
2500:
2457:Johannes Alanus
2437:
2413:Jacob Senleches
2349:
2308:
2242:
2196:
2161:
2124:
2117:
2050:
2015:
1876:
1805:Guiraut Riquier
1784:Comtessa de Dia
1769:Bertran de Born
1737:
1721:
1715:Petrus de Cruce
1713:
1658:
1622:Notker Physicus
1613:
1583:
1575:
1540:
1517:
1512:
1463:
1450:
1441:
1426:Oliver Strunk.
1425:
1409:
1394:Gustave Reese.
1393:
1384:
1375:
1315:
1313:Further reading
1302:
1289:
1276:
1263:
1248:
1224:
1215:
1212:
1207:
1206:
1198:
1194:
1186:
1182:
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1157:
1150:
1142:
1138:
1130:
1126:
1118:
1114:
1106:
1102:
1094:
1090:
1085:
1080:
1079:
1067:
1063:
1058:
1041:
844:
843:
835:
833:
832:
831:
830:
823:
820:
810:
804:
799:
789:
778:
772:
769:
754:
742:
738:
731:
678:vox principalis
664:Gregorian chant
608:
597:
591:
588:
573:
561:
557:
550:
545:
529:vox principalis
503:by a consonant
494:Gregorian chant
450:
446:
434:
392:
391:
390:
349:Gregorian chant
306:
298:
297:
296:
226:
218:
217:
216:
148:
138:
137:
88:
77:
71:
68:
58:Please help to
57:
41:
37:
28:
17:
12:
11:
5:
2936:
2934:
2926:
2925:
2920:
2915:
2910:
2900:
2899:
2893:
2892:
2889:
2888:
2878:
2860:
2859:
2858:
2854:
2853:
2850:
2849:
2847:
2846:
2845:
2844:
2839:
2834:
2829:
2824:
2814:
2808:
2806:
2802:
2801:
2799:
2798:
2793:
2791:Medieval metal
2788:
2783:
2777:
2775:
2771:
2770:
2768:
2767:
2762:
2757:
2752:
2747:
2742:
2737:
2732:
2731:
2730:
2725:
2714:
2712:
2708:
2707:
2705:
2704:
2697:
2692:
2687:
2682:
2677:
2676:
2675:
2665:
2664:
2663:
2661:Pope Gregory I
2653:
2648:
2647:
2646:
2641:
2636:
2626:
2621:
2616:
2611:
2610:
2609:
2599:
2594:
2589:
2583:
2581:
2577:
2576:
2574:
2573:
2568:
2563:
2558:
2553:
2548:
2543:
2538:
2533:
2531:Johannes Cotto
2528:
2523:
2518:
2512:
2510:
2506:
2505:
2502:
2501:
2499:
2498:
2493:
2488:
2483:
2478:
2473:
2472:
2471:
2462:John Dunstaple
2459:
2453:
2451:
2443:
2442:
2439:
2438:
2436:
2435:
2430:
2425:
2423:Johannes Susay
2420:
2415:
2410:
2405:
2403:Gacian Reyneau
2400:
2395:
2390:
2385:
2383:Martinus Fabri
2380:
2375:
2370:
2365:
2360:
2355:
2347:
2342:
2336:
2334:
2318:
2317:
2314:
2313:
2310:
2309:
2307:
2306:
2301:
2296:
2291:
2286:
2281:
2276:
2271:
2265:
2260:
2254:
2252:
2251:3rd generation
2244:
2243:
2241:
2240:
2235:
2229:
2224:
2219:
2214:
2208:
2206:
2205:2nd generation
2198:
2197:
2195:
2194:
2189:
2184:
2179:
2173:
2171:
2170:1st generation
2163:
2162:
2160:
2159:
2153:
2151:
2144:
2130:
2129:
2126:
2125:
2123:
2115:
2113:Jehan Vaillant
2110:
2105:
2100:
2095:
2090:
2085:
2083:Denis Le Grant
2080:
2075:
2073:
2058:
2052:
2051:
2049:
2048:
2047:
2046:
2036:
2031:
2026:
2020:
2017:
2016:
2014:
2013:
2012:
2011:
2001:
1996:
1991:
1989:Moniot d'Arras
1986:
1981:
1976:
1971:
1969:Guiot de Dijon
1966:
1961:
1956:
1951:
1946:
1941:
1936:
1931:
1926:
1921:
1916:
1911:
1906:
1901:
1896:
1890:
1888:
1878:
1877:
1875:
1874:
1873:
1872:
1862:
1857:
1852:
1847:
1842:
1837:
1832:
1827:
1825:Peire Cardenal
1822:
1817:
1812:
1807:
1802:
1797:
1795:Gaucelm Faidit
1792:
1787:
1781:
1776:
1771:
1766:
1761:
1756:
1751:
1745:
1743:
1727:
1726:
1723:
1722:
1720:
1719:
1711:
1710:
1709:
1704:
1699:
1694:
1683:
1681:
1666:
1660:
1659:
1657:
1656:
1650:
1644:
1639:
1634:
1629:
1624:
1619:
1611:
1610:
1609:
1599:
1594:
1589:
1581:
1573:
1568:
1567:
1566:
1561:
1550:
1548:
1542:
1541:
1539:
1538:
1533:
1528:
1522:
1519:
1518:
1515:Medieval music
1513:
1511:
1510:
1503:
1496:
1488:
1482:
1481:
1461:
1448:
1439:
1423:
1407:
1391:
1382:
1376:Robert Howe. "
1373:
1363:
1353:Medieval Music
1349:
1343:
1337:
1330:
1314:
1311:
1310:
1309:
1300:
1287:
1274:
1261:
1246:
1222:
1211:
1208:
1205:
1204:
1202:, p. 155.
1192:
1180:
1163:
1148:
1136:
1134:, p. 487.
1124:
1112:
1100:
1087:
1086:
1084:
1081:
1078:
1077:
1060:
1059:
1057:
1054:
1053:
1052:
1047:
1045:Medieval music
1040:
1037:
969:
968:
965:
962:
959:
956:
953:
856:Île de la Cité
834:
821:
813:
812:
811:
802:
801:
800:
795:Main article:
791:
790:
745:
743:
736:
730:
727:
610:
609:
564:
562:
555:
549:
546:
544:
541:
436:
435:
433:
432:
425:
418:
410:
407:
406:
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404:
394:
393:
389:
388:
381:
376:
371:
366:
361:
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351:
346:
341:
340:
339:
334:
329:
319:
314:
308:
307:
304:
303:
300:
299:
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289:
284:
279:
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269:
264:
259:
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220:
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161:
156:
150:
149:
146:
145:
142:
141:
140:
139:
120:
115:
114:
110:
109:
107:Medieval music
103:
102:
90:
89:
44:
42:
35:
15:
13:
10:
9:
6:
4:
3:
2:
2935:
2924:
2921:
2919:
2916:
2914:
2911:
2909:
2906:
2905:
2903:
2887:
2883:
2879:
2877:
2869:
2868:
2865:
2864:
2856:
2855:
2851:
2843:
2840:
2838:
2835:
2833:
2830:
2828:
2825:
2823:
2820:
2819:
2818:
2815:
2813:
2810:
2809:
2807:
2803:
2797:
2794:
2792:
2789:
2787:
2784:
2782:
2779:
2778:
2776:
2772:
2766:
2763:
2761:
2758:
2756:
2753:
2751:
2748:
2746:
2743:
2741:
2738:
2736:
2733:
2729:
2726:
2724:
2721:
2720:
2719:
2718:British Isles
2716:
2715:
2713:
2709:
2703:
2702:
2698:
2696:
2693:
2691:
2688:
2686:
2683:
2681:
2678:
2674:
2671:
2670:
2669:
2666:
2662:
2659:
2658:
2657:
2654:
2652:
2649:
2645:
2642:
2640:
2637:
2635:
2632:
2631:
2630:
2627:
2625:
2622:
2620:
2617:
2615:
2612:
2608:
2605:
2604:
2603:
2600:
2598:
2595:
2593:
2590:
2588:
2585:
2584:
2582:
2580:Musical forms
2578:
2572:
2569:
2567:
2564:
2562:
2559:
2557:
2554:
2552:
2549:
2547:
2544:
2542:
2539:
2537:
2534:
2532:
2529:
2527:
2524:
2522:
2519:
2517:
2514:
2513:
2511:
2507:
2497:
2496:W. de Wycombe
2494:
2492:
2489:
2487:
2484:
2482:
2479:
2477:
2474:
2470:
2469:
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2454:
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2389:
2386:
2384:
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2379:
2376:
2374:
2371:
2369:
2366:
2364:
2363:Baude Cordier
2361:
2359:
2356:
2352:
2348:
2346:
2343:
2341:
2338:
2337:
2335:
2333:
2332:
2331:Ars subtilior
2327:
2323:
2305:
2302:
2300:
2297:
2295:
2292:
2290:
2287:
2285:
2282:
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2269:
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2264:
2261:
2259:
2256:
2255:
2253:
2249:
2239:
2236:
2233:
2230:
2228:
2225:
2223:
2220:
2218:
2215:
2213:
2210:
2209:
2207:
2203:
2193:
2190:
2188:
2187:Maestro Piero
2185:
2183:
2180:
2178:
2175:
2174:
2172:
2168:
2158:
2155:
2154:
2152:
2148:
2145:
2143:
2139:
2135:
2120:
2116:
2114:
2111:
2109:
2108:P. des Molins
2106:
2104:
2101:
2099:
2096:
2094:
2091:
2089:
2086:
2084:
2081:
2079:
2076:
2074:
2072:
2071:
2066:
2062:
2059:
2057:
2053:
2045:
2042:
2041:
2040:
2037:
2035:
2032:
2030:
2027:
2025:
2022:
2021:
2010:
2007:
2006:
2005:
2002:
2000:
1997:
1995:
1992:
1990:
1987:
1985:
1982:
1980:
1977:
1975:
1972:
1970:
1967:
1965:
1962:
1960:
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1945:
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1900:
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1891:
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1887:
1883:
1871:
1868:
1867:
1866:
1863:
1861:
1858:
1856:
1853:
1851:
1848:
1846:
1843:
1841:
1838:
1836:
1833:
1831:
1828:
1826:
1823:
1821:
1818:
1816:
1813:
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1808:
1806:
1803:
1801:
1798:
1796:
1793:
1791:
1788:
1785:
1782:
1780:
1777:
1775:
1772:
1770:
1767:
1765:
1762:
1760:
1757:
1755:
1754:Arnaut Daniel
1752:
1750:
1747:
1746:
1744:
1741:
1736:
1732:
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1708:
1705:
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1667:
1665:
1661:
1654:
1651:
1648:
1645:
1643:
1640:
1638:
1635:
1633:
1632:Peter Abelard
1630:
1628:
1625:
1623:
1620:
1616:
1615:Odo of Arezzo
1612:
1608:
1605:
1604:
1603:
1600:
1598:
1595:
1593:
1590:
1586:
1582:
1578:
1574:
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1560:
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1555:
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1551:
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1543:
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1527:
1524:
1523:
1520:
1516:
1509:
1504:
1502:
1497:
1495:
1490:
1489:
1486:
1479:
1478:9780193163294
1475:
1471:
1467:
1462:
1458:
1454:
1449:
1445:
1440:
1437:
1436:0-393-09742-0
1433:
1429:
1424:
1421:
1420:0-393-97527-4
1417:
1413:
1408:
1405:
1404:0-393-09750-1
1401:
1397:
1392:
1388:
1385:Robert Howe.
1383:
1379:
1374:
1371:
1367:
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1014:Peter Jeffery
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1004:
1000:
998:
994:
990:
986:
985:Odon de Sully
980:
978:
974:
966:
963:
960:
957:
954:
951:
950:
949:
946:
942:
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819:
817:
816:Quid tu vides
798:
787:
784:
776:
773:December 2013
766:
762:
758:
752:
751:
746:This section
744:
735:
734:
728:
726:
724:
723:organum purum
720:
716:
715:
714:cantus firmus
710:
709:St. Augustine
706:
702:
697:
695:
691:
687:
686:vox organalis
683:
682:vox organalis
679:
675:
674:
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665:
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652:
648:
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639:
635:
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627:
623:
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603:
595:
592:December 2013
585:
581:
577:
571:
570:
565:This section
563:
554:
553:
548:Early organum
547:
542:
540:
538:
534:
533:vox organalis
530:
526:
522:
518:
514:
510:
509:perfect fifth
506:
502:
498:
495:
491:
487:
486:
481:
477:
471:
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443:
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419:
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263:
260:
258:
255:
253:
250:
248:
245:
243:
240:
238:
235:
233:
230:
229:
225:Major figures
222:
221:
213:
212:
211:Ars subtilior
208:
206:
203:
201:
200:
196:
194:
191:
189:
186:
184:
181:
177:
174:
173:
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160:
159:Saint Martial
157:
155:
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151:
144:
143:
135:
131:
127:
123:
119:
118:
117:
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111:
108:
104:
100:
96:
95:
86:
83:
75:
65:
61:
55:
54:
48:
43:
34:
33:
30:
26:
22:
2861:
2827:Architecture
2699:
2694:
2651:Geisslerlied
2629:Formes fixes
2551:Notker Labeo
2516:Anonymous IV
2491:Leonel Power
2476:Thomas Fabri
2466:
2329:
2150:Predecessors
2068:
1974:Jehan Bretel
1810:Jaufre Rudel
1676:
1585:Odo of Cluny
1469:
1465:
1456:
1452:
1443:
1427:
1411:
1395:
1372:, 1988–1993.
1365:
1352:
1345:
1339:
1333:
1319:
1304:
1295:
1282:
1269:
1254:
1250:
1230:
1226:
1217:
1195:
1183:
1146:, p. 2.
1139:
1127:
1115:
1103:
1091:
1064:
1026:
1021:
1018:
1008:
1005:
1001:
988:
981:
976:
970:
930:
919:Anonymous IV
916:
901:
897:
893:
889:
888:In Léonin's
887:
860:
845:
815:
779:
770:
747:
722:
719:modal rhythm
712:
698:
693:
689:
685:
681:
677:
671:
667:
660:
633:
629:
625:
615:
613:
598:
589:
566:
532:
528:
527:melody (the
507:, usually a
483:
441:
440:
439:
399:
383:
378:
344:Geisslerlied
322:Formes fixes
209:
197:
168:
128: /
124: /
78:
72:October 2008
69:
50:
29:
2817:Middle Ages
2812:Early music
2774:Derivations
2607:Chansonnier
1979:Jehan Erart
1924:Colin Muset
1830:Peire Vidal
1678:Ars antiqua
1235:David Hiley
1132:Fuller 1990
1029:Ars antiqua
490:heterophony
480:Middle Ages
305:Major forms
170:Ars antiqua
126:Instruments
64:introducing
2902:Categories
2842:Philosophy
2837:Literature
2805:Background
2711:Traditions
2078:F. Andrieu
1934:Gace Brulé
1774:Castelloza
1740:Trobairitz
1735:Troubadour
1627:St. Godric
1176:Waite 1954
1144:Waite 1954
1108:Lewis 1890
1083:References
869:responsory
839:media help
757:improve it
655:cathedrals
643:plainchant
576:improve it
521:improvised
501:transposed
476:plainchant
183:Troubadour
154:Saint Gall
47:references
2755:Lithuania
2619:Conductus
2509:Theorists
2481:Roy Henry
2408:Rodericus
2299:Sant Omer
2034:Minnesang
1200:Apel 1949
1188:Apel 1949
1022:De Musica
993:conductus
911:ligatures
898:discantus
761:verifying
694:diaphonia
638:polyphony
580:verifying
537:polyphony
317:Conductus
292:Dunstaple
242:Hildegard
193:Minnesang
134:Theorists
122:Composers
2876:Category
2781:Bardcore
2760:Portugal
2728:Scotland
2701:Planctus
2685:Madrigal
2624:Estampie
2587:Antiphon
2142:Trecento
2070:Ars nova
2029:Goliards
1886:Trouvère
1860:Sordello
1840:Perdigon
1815:Marcabru
1039:See also
1033:Ars nova
997:motellus
945:cadences
906:neumatic
690:sinfonia
651:abbatial
628:and the
505:interval
385:Planctus
369:Madrigal
205:Trecento
199:Ars nova
188:Trouvère
113:Overview
99:a series
97:Part of
2745:Germany
2723:England
2695:Organum
2673:Tydorel
2644:Virelai
2639:Rondeau
2634:Ballade
2602:Chanson
2378:Egidius
2373:Egardus
2093:Grimace
2024:Casella
1702:Pérotin
1577:Hucbald
1564:Tuotilo
1279:Organum
1266:Organum
1210:Sources
973:Jubilus
877:Vespers
865:gradual
854:on the
755:Please
705:Pérotin
647:liturgy
626:Scolica
574:Please
543:History
525:notated
485:bourdon
442:Organum
379:Organum
337:Virelai
332:Rondeau
327:Ballade
287:Ciconia
282:Landini
277:Machaut
257:Pérotin
252:Walther
247:Bernart
164:Goliard
60:improve
2886:Portal
2832:Poetry
2740:France
2735:Cyprus
2450:Others
2433:Trebor
2418:Solage
2340:Borlet
1835:Peirol
1738:&
1697:Léonin
1476:
1434:
1418:
1402:
1359:
1326:
1241:
989:versus
941:hocket
932:copula
882:office
701:Léonin
680:; the
517:unison
513:fourth
497:melody
267:Franco
232:Notker
130:Theory
49:, but
2765:Spain
2750:Italy
2690:Motet
2614:Chant
2597:Carol
2592:Canso
1161:, 1:.
1073:Greek
1069:Latin
1056:Notes
937:plica
374:Motet
359:Lauda
312:Canso
272:Vitry
237:Guido
1474:ISBN
1432:ISBN
1416:ISBN
1400:ISBN
1357:ISBN
1324:ISBN
1239:ISBN
896:and
871:and
703:and
2822:Art
2668:Lai
1468:2:
1455:2:
1294:".
1268:".
1229:2:
875:of
759:by
692:or
578:by
511:or
455:ɔːr
354:Lai
2904::
1281:"
1166:^
1151:^
921:,
900:.
539:.
467:əm
101:on
2866:→
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464:n
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