he development of polyphony
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he Development of Polyphony. Polyphony in the ninth and tenth centuries. Artistic style of Carolingian/imperial period — addition of mass Addition of weight to chant magadizing (parallel singing) troping Only textbook musical examples survive. Textbook descriptions of early organum. - PowerPoint PPT PresentationTRANSCRIPT
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he Development of Polyphony
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Polyphony in the ninth and tenth centuries
• Artistic style of Carolingian/imperial period — addition of mass
• Addition of weight to chant–magadizing (parallel singing)– troping
• Only textbook musical examples survive
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Textbook descriptions of early organum
• Musica enchiriadis, Scolica enchiriadis (ca. 900) – Frankish
• Vox principalis doubled at fifth or fourth below by vox organalis– note-against-note style (punctus contra
punctum)– both may be doubled in octaves,
producing both fifths and fourths• Oblique (and contrary) motion– provides sense of opening and closing– allows temporary dissonance and
resolution
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Guido of Arezzo, Micrologus (ca. 1025) — principles for organum
• Allows voice crossing• More variety of intervals —
sometimes from drone effect in vox organalis
• Contrary-motion cadences become the norm
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Music in the Romanesque period
• Social stability leads to time and interest for composition — period of troubadours
• Sacred and secular societies developed skill and time for rehearsal of complicated music
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Winchester Troper (early eleventh century) — examples of organum
• Principal voice generally above, but some voice crossing
• Mostly note-against-note texture• Organal voice has wider range• Considerable use of dissonance,
often seems empirical or even haphazard
• Mixed motion — preference for 3–1 contrary-motion cadences
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Ad organum faciendum (French, ca. 1100) — how to improvise organum
• Principal voice lower (sometimes crosses)
• Mostly note-against-note texture• For soloists in responsorial chants —
organal part has wider range• More conservative harmony than
Winchester style (melodic style suffers)
• Fourths and fifths most common, also uses unison and octave and even thirds and sixths
• Contrary-motion cadences
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The Abbey of St. Martial — Limoges
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Aquitainian polyphony — St. Martial organum
• New polyphonic style– principal voices not always based on
standard liturgical music– principal voice lower, but occasionally
voices cross• Distinction of types– organum (later organum purum) —
melismatic or florid– discant — more or less note-against-
note passages, actually neume against neume
• Versus style — rhymed, metrical poetry• Rhythm in all types roughly indicated by
alignment
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Codex Calixtinus (ca. 1170)• From Santiago de Compostela–major pilgrimage site via several
monasteries in southern France, including St. Martial
– important Romanesque cathedral• Manuscript named for Pope Calixtus
(or Calixtine) II (r. 1119–1124)• Mostly liturgical monophony — twenty
polyphonic examples appended– style comparable to Aquitainian
repertoire– organal style mostly for responsorial
chants– discant style for versus and other
ensemble music
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Organum from Codex Calixtinus
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Gothic architectural aesthetics
• Not just elaboration but order
• High and layered
• Intricate decoration
• Ex., Notre Dame de Paris
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University of Paris• Gathering of teachers – order applied to
learning• Charter — 1200 (name “universitas”
1215)• Discipline faculties– arts–medicine – law– philosophy– theology
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A student’s day at the University of Paris — an ordered schedule
• 5:00–6:00 — arts lectures• Mass• 8:00–10:00 — lectures• 11:00–12:00 — disputations or debates• 1:00–3:00 — repetitions with tutors on
morning lectures• 3:00–5:00 — special-topic lectures• 7:00–9:00 — study, repetitions with tutors
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Scholasticism — order applied to knowledge
• Method – lecture based on reading of
authoritative text– orderly treatment of pros and cons– disputation
• Leaders– Peter Abélard (1079–1142), Sic et non
— applied reason to theological issues– Thomas Aquinas (1225–1274), Summa
theologica — covered all of theology
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Early composers of Gothic polyphony — identified by Anonymous IV
• Léonin (Magister Leoninus, fl. ca. 1175) — university background–Magnus liber organi — solo parts of
responsorial chants of Office and Mass for liturgical year
• Pérotin (Magister Perotinus, fl. ca. 1200) — major contributions identified by Anonymous IV– revised and replaced parts of Léonin’s
work– organum triplum, organum quadruplum– “optimus discantor” — wrote many
clausulae
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Types of Notre Dame polyphony
• Organum purum – lower voice ultra mensuram (called
tenor)–more likely when tenor is more syllabic
• Discant– both voices measured — requires
rhythmic notation–more likely when tenor is melismatic
• Clausula– discant segment– new compositions may have substituted
for preexisting discant clausulae
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Léonin, Organum “Viderunt omnes”
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Pérotin, Organum “Alleluia Na[tivitas]”
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Rhythmic modes in Notre Dame polyphony — ordering the parts
1 (trochaic) long-short ( )2 (iambic) short-long ( )3 (dactylic) long-short-short (. )4 (anapestic) short-short-long ( .)5 (spondaic) long-long (. .)6 (tribrachic) short-short-short ( )
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Ordering rhythm in the discant clausula
• Patterning of tenor rhythm – repetition of an ordo (pl. ordines)
• Paired with rhythm in different mode in duplum
• Early tendency for tenor and duplum ordines to match; later more common to overlap
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Polyphonic conductus in Notre Dame style — nonliturgical
polyphony• Texts– could be for religious use and on religious
topics– often secular — expresses cultural concerns
outside church• lament• civic events
– Johannes de Grocheio (ca. 1320): “sung at parties of the wealthy and educated”
• Music – two to four voices– newly composed tenor– generally syllabic, familiar style– often has melismatic caudae
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Motet
• Begins with addition of words (mots) to untexted upper voice(s) of independent discant clausulae
• Polytextual — named by all three texts (triplum, motetus, tenor)
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Stages in the content of motet texts
• Early — gloss on text of tenor• Later — free secular, vernacular–may still be distant gloss on tenor text– closely related to trouvère song —
even borrowing melodies (motet enté –“grafted”)
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Stages in style development in motets
• As with discant, rhythmic ordines lend unity– more sophistication in staggering phrasing
among lines• Texting– two-part composition — second text in
motetus– three-part composition — same text in
motetus and triplum– three-part composition — different texts in
motetus and triplum• Distinctions in style among lines — layered
rhythm• Tenor treatment– repetition to increase length– freely composed — called “tenor” or
“neuma”
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Social position of 13th-century motets
• Originally developed in sacred context
• Came to be used as secular genre for elite class– Johannes de Grocheio (ca. 1320) —
motets in modern style only for the educated, who could understand their subtlety
– Jacques de Liège (ca. 1320) — aimed at educated lay society
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Motet in late 13th century• Franco of Cologne (fl. 1250–1280) —
theorist and composer• Problem of how to indicate rhythm in
syllabic music — motets (conductus)• Solution– note shapes — long, breve, double
long, semibreve (L, B, DL, SB)– dots to mark perfections
• practical result — choirbook notation to save space — use of parts rather than score
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Motet in choirbook notation
Petrus de Cruce, S'amours eust point de poer / Au renouveler / Ecce
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New problems for the motet
• Petrus de Cruce (fl. 1270–1300) — composer and theorist
• Free rhythm and even shorter note values in upper parts — many SBs in the space of a B (rhythmic inflation)
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Questions for discussion
• How was the development and spread of polyphonic music in the eleventh and twelfth centuries a product of political and social conditions and events?
• How did different cultural, political, and ecclesiastical institutions in Paris around 1200 contribute to the growth of a Gothic polyphonic style?
• What aspects of contemporary cultural and aesthetic tendencies did the thirteenth-century motet express?