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Beginnings of Western Polyphony > Treatises and Manuscripts > Flashcards

Treatises and Manuscripts Flashcards

1
Q

Musica Enchiriadis date

A

850-900

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2
Q

Musica Enchiriadis organum

A

quality of the sounds generated from mathematical relationships which form privileged group of intervals known as symphoniae
type of interval over polyphonic quality
organum at the 4th with 8ve doubling (variable intervals)
sometimes parallel organum not always
5th with 8th doubling
organal voice below

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3
Q

Musica Enchiriadis theory

A

pitch system
organum embodying properties of symphoniae
Daseian tetrachord structure
avoidance of inconsonance in organum at 4th
vox organalis below principalis
doubling at octave
parallel fourths and start and end on unison
non parallel writing to avoid tritone C and G boundary tones

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4
Q

Scolica Enchiriadis date

A

850-900
in ME
numerous sources
dialogue form

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5
Q

Scolica Enchiriadis organum

A

quality of sounds from mathematical relationships
organum also known as diaphonic song

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6
Q

Scolica Enchiriadis theory

A

Daseian tetrachord
modal integrity
Vitia (corruptions) as pitch alterations in the tone series because of unwanted intervals
introducing the F#

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7
Q

Enchiriadis treatises context

A

There are written references to liturgical polyphony before 900 and treatises exist.
The meaning of the word ‘organum’ changes throughout history. Beginning to be a musical instrument as referred to in c.400 by Augustine. Then became a song of praise, a psalm of book of psalms. By the time of the Enchiriadis treatises was used in reference to proportional order and mathematical exactitude in relation to music, a way of demonstrating pre-conceived rational order.
The Enchiriadis treatises as handbook of the science and understanding of music, understanding measured and rationally ordered sound.

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8
Q

Enchiriadis diaphonic song vs organum

A

Diaphony utilises dissonance.
Organum is 4th, 5th and octave only.
Diaphony – singing dissonantly in concordant fashion.

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9
Q

the instrumental scale and vocal music c.1000

A

instrumental scale beginning on C
all other systems starting on A
Semitone on the cithara of six strings between 3rd and 4th string and on water organs.
Describing the tuning of the cithara.
Hinting at dual system.
Later, some vocal music shows evidence of the influence of a C focused scale. Starting notes of CDFGA for example.

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10
Q

Bamburg Dialogues I and II date

A

10th century copied maybe origin 9th c
Earliest from Verdon (c.1000)
Insertions in ME copy

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11
Q

Bamburg Dialogues I and II organum

A

singing at the 4th
variable intervals
8ve doubling
uses non-liturgical examples in explanation

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12
Q

Bamburg Dialogues I and II theory

A

Daseian tetrachord
modal integrity
ME treatise and scale
first mention of upper boundary tones in which chant can move below a held tone and voice paths can cross
new boundary tone of F

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13
Q

Paris treatise date

A

late 9th century
5 sources
in version of ME

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14
Q

Paris treatise organum

A

at the 4th (variable)
doubling at the 8ve not emphasised
high middle and low regions for organum
organum cannot depart ascending or conclude descending on a sound lower than one under the final except when section closes on third, fourth or fifth under final

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15
Q

Paris treatise theory

A

modal final
rhythmic differences denoted by puncta and virgae
‘natural law’ of organum
tritones are back
tetrachords still in place
repetitions characterising sequence style
organal voiceabove
F as boundary tone
solo chants made into polyphony

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16
Q

Guido Micrologus date

A

1026
organum discussed in late chapter ‘on diaphony’

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17
Q

Micrologus organum

A

variable at the 4th
octave doubling
major third now consonant
minor third tolerated
voices allowed to cross
internal cadences at the fourth
extra notes at organal voice to cadence to unison
hard polyphony using 4th and 5th but soft using other intervals
Bb means F is used more

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18
Q

Micrologus theory

A

pitch system in modes
organal voice below
freely parallel organum in fourths and fifths
occursus - joining of voices in unison at the end of a phrase or segment, prolonging dissonance at close
tone favoured in occursus
hexachordal system
A-A scale

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19
Q

new with micrologus

A

Major third as new consonance and minor third tolerated.
Voices sometimes crossing.
New cadential theory firming up.
Patterns in which extra notes can extend the cadence.
Internal cadences at the 4th for stepwise part writing.
Occursus as the joining in unison at the end of phrase.
New Bb meaning F can be used more.

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20
Q

The Winchester Tropers date

A

Oxford, Bodley 775 (Bo)
Cambridge, Corpus Christi College, 473 (CC)
1020-1030
chant bookds for solo use
corpus has organum without chant
link to Fleury

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21
Q

Winchester context

A

alleluia melodies either like elaborate psalmody or repetition
Changing venues with old and new minster then later cathedral
English Benedictine Reform in late 10th century spreading Benedictine rule

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22
Q

Benedictine reforms in England

A

Bishop Aethelwold Bishop of Winchester (963-84). Removes secular clergy from old and new minsters and installs monks from other institutions. Reformed liturgy.
973 - regularis concordia sanctioned in Winchester based on Fleury and Ghent which expanded Benedictine rule and ritual to all monasteries

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23
Q

Winchester Troper organum

A

notated in liturgical groups
at the 4th
parallelism - reiterated pitches in organal voices by virgae or puncta as boundary tones

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24
Q

cantor development Winchester

A

Wulfstan cantor of Winchester, disciple and pupil composing tropes, hymns and sequences.
becoming a concrete position

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25
Q

what’s new - winchester troper edition

A

Use of structures such as parallel thirds to avoid the tritone – against what was written in treatise but often makes the most sense (Holschneider).
Boundary tones of C, F and D (Fuller).
Final and lower second from final (same as Paris and Cologne treatise).
extending cadences by extra note

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26
Q

Winchester Troper theory

A

Standard technique for realizing organum on any chant but notated organa as composed music – individual features not regimented.
Boundary tones not restricted to fixed pair of pitches but still present.
Some practices in this troper find no support in theory.
Chant includes repeated passages with organal voice varying – exploring options.
Sensitive to texts of the chants they set.
Structure of chants projected.
All chants polyphony.
Extending cadences by extra note.

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27
Q

Fleury scraps date

A

Fleury-sur-loire
Northern France
11th century
Benedictine reform.
Rise of the cantor role
tract and responsory scraps

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28
Q

Fleury organum

A

still mainly below
3rds and 2nds
organal voice repeating tones
small range
cadencing at unison - coming together from lower note
pulling apart of extra notes in one voice
modal
no predominant interval
similar phrase endings

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29
Q

Fleury context

A

Housing Benedictine rule.
Bishop Oswald went to learn practices for three years and bought back to Winchester
tract for Septuagesima relating the Winchester and Fleury repertoire – sung at both in related way (not identical).

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30
Q

Chartres date

A

(F-CHR 109 later)
Chartres 4
Chartres 130
Chartres 109
mid 11th century
Benedictine establishment of St Père-en-Vallée
(later evidence from 1100)
Scraps of polyphony
destroyed in fire in WWII
some in Winchester rep

31
Q

Chartres organum

A

contrary motion
parallel 4ths
longer phrases out of shorter ones meeting on occursus
109 - organal voice above and cadence at octave, expanding range to 10th
little distinction between parts

32
Q

Ad organum faciendum context

A

new organum!
conscious creation of form with beginning, middle and end
teaching through example
era of troubadour and love songs

33
Q

what’s new - ad organum faciendum edish

A

a fatass lot
Rationalization of practice through observation and classification.
Coincides with the earliest notations of the New Song in Northern France and Aquitaine, songs on the edge of the liturgy such as festal songs, processional songs and Benedicamus Domino.
Organal voice above.
Organum as a more specialized term.
Discantus word taking over from diaphonia.
Organum – upper voice is a melisma over the sustained single notes of the vox principalis.
Discant – more or less note against note counterpoint.

34
Q

Ad organum faciendum ‘Milan prose treatise’ date

A

c.1100
Northern France
Introduces concept of each modi organizandi which serve as means of distinguishing various types of organum beginning and ending in different ways.
Attack on Guido
Polyphony as pitches (voices).

35
Q

Milan prose organum

A

4th, 5th, 8ve suggested
not parallelism or octave double as base
organal following with 4th and 5th
conjunct beginning on unison and disjunct fourth and fifth
more than one note in organal voice against cantus
copula (not occursus anymore)
octave unison endings
8 notes before internal cadence

36
Q

Milan prose examples

A

Kyrie Trope example shows an organal setting based on the melody in which organum is exclusively above. Making copula at the end of words and at significant points in the verse. Fourth and fifth heavy. Slightly old fashioned.
Benedicamus Domino example shows three different ways of realising it – choice. Taking a big chant melisma and singing to words Benedicamus Domino then setting polyphonically. Shows greater sense of direction with evidence of voice leading.

37
Q

Ad organum faciendum ‘Milan verse treatise’ date

A

c.1100 Northern France
Foreshadows 13th century discant treatises with organum as interval progressions not phrase segments with beginning, middle and end.

38
Q

Milan verse organum

A

no general rules
organal voice as dominant
compositional play
minor 3rd use
options
copula

39
Q

Ad organum faciendum Montpellier Treatise date

A

c.1100

40
Q

Montpellier organum

A

Proceed by choice of end, beginning and middle.
Limit of phrase
Recommended intervals of unison, 3rd, 4th, 5th, 6th and octave
Organum above or below cantus in its beginning.
8 note phrases.
copula by contrary motion

41
Q

John of Afflighem - De Musica date

A

1100
promotes contrary motion
Not instruction on how to generate entire phrases – generation of stock phrases. Continuation of Guido.
Teaching by example not definition.

42
Q

John’s De Musica organum

A

Little concrete instruction on how to make organum
Countering single intervals in the cantus with groups of notes in organal voice.
Contrary motion as ‘easy’ convention.
Voice crossing
Cadence at the unison or octave at the end of each word
Contrary motion
More than one note in organal part against one note in the chant.
Organal voice can be above or below.
Organal voice may include two or more notes against one in the principal voice.
Attention to melodic progressions in the chant and response to ascending intervals with descending motion and to falling with rising.
High, middle and low regions with unison cadences in the middle and octaves at others.

43
Q

Aquitanian context

A

Examples of the teaching provided by Ad organum faciendum and beyond this.
Duchy of Aquitaine 1154 – middle third agricultural region of France.
Land that resisted the Carolingian reign and the upheaval of elsewhere.
Duke William IX of Aquitaine (1071-1126)
First known troubadour, first poet in any medieval vernacular about whom much is known. 11 songs of doubtful authenticity attributed to him.
Writing the first crusade songs.
Eleanor of Aquitaine court promotes crusade songs

44
Q

what’s new - aquitanian polyphony edish

A

New beginning in the 12th century with festal songs only incidentally related to the liturgy.
Communal, festal, devotional and may have been sung in procession or cloisters.
Secular (of their age) and in the medieval sense of the word.
New poetry
Rhythmic or accentual poetry and rhymed – defined through sound units.
Innovation of new forms.
Versus on edge of liturgy.
Only finals are D and G (one E example).
Successive polyphony notated as verses following the same structure per line or strophe.
upper and lower not principal and organal

45
Q

Aquitanian polyphony date

A

four sources
c.1200
Sets Latin religious poetry (rhymed and strophic, accentual texts) called versus by scribes. Some end with ‘Benedicamus Domino’ or ‘Deo gratias’ implying Offices function.
Differences in some versions – scribes differ showing different performance choices.
From the middle third of France.
Festal songs that are incidentally related to the liturgy – secular in medieval sense and looking beyond devotional worship.

46
Q

Aquitanian organum

A

Rhythmically emancipated organal voice by allowing clusters of many notes against single pitches or 2-3 note neumes in the principal voice.
Texture varies from note-against-note to florid which would be referred to as ‘organum’ and ‘discant’ in Parisian terminology but here upper voice melismata less ambitious.
Duration unknown.
Versus discant passages – principal sonorities octave 5th and unison. Fourths and thirds less.
Prominent terminal melismas common in the versus – falling on the penultimate syllable of a text line or strophic unit. Constructed in short motives.
Melismatic style.
Lower notes can be elongated to accommodate upper voice.

47
Q

A - Paris, 1139

A

Aquitaine – likely copied at Abbey of St-Martial of Limoges
12th century
Divided into A-I (fols. 32-39, 48-79) and A-II (fols. 40-47)
EARLY (c.1100) 12th century.
A-I loosely ordered by genre.
A-II by number of voices.
Likely personal books.

48
Q

A, Paris 1139 notation

A

Dry point line providing orientation. Mathematical use of space. Pitches changing during transcription.
Successive notation – one line in which the first voice is written out on the first strophe and second voice on the second so what looks like monophony is polyphony.
Score notation – only one in A-II.

49
Q

B, Paris, 3549 date

A

Aquitaine
12th century
Fols. 149-167
MIDDLE 12th century
Organised by number of voices.
Likely personal books.

50
Q

B, C and D notation

A

Ruling and notation changes – lines clearer with four or five very close together (modern day stave). Text line and dividing line between voices.
Score notation

51
Q

C Paris, 3719 date

A

Aquitaine 12th century
C-I (fols.15-22) and C-II (fols. 23-32) as early and C-III (fols. 33-44) and C-IV (fols. 45-92) as MIDDLE 12th century
Organised by number of voices.
Likely personal books.
C-II mixture of handsC

52
Q

D, London BL, 36881

A

Aquitaine
12th century
notation features
common to manuscripts from Catalonia an one from Apt near Marseille
D-I (fols. 1-16) and D-II (fols. 17-24) LATE 12th century
Organised by number of voices.
Likely personal books.

53
Q

aquitanian examples

A

Ora pro nobis D-II, fol.22 - Prose text. Free organum style of Parisian polyphony.
Benedicamus Domino/Stirps lesse A-I 60v, B 166v - Double texted but not motet as the Bened melody from melisma in Shirps Jesse rep

54
Q

Codex Calixtinus date

A

North-central France, perhaps assembled at Cluny
c.1300
Incorporates liturgy, ‘history’ and a pilgrim’s guide to the great shrine of Saint James of Compostela.
20 polyphonic pieces.

55
Q

Codex contex

A

Book 1 contains monophonic items for masses and offices for feasts of St James, later addition of polyphonic voices for two pieces.
End of Book 5 contains polyphonic supplement of 14 pieces related to St James and 4 unassigned items.

56
Q

codex what’s new

A

Songs called conductus not versus – suggests processional natu.
Central French notation not Aquitanian.
Dissemination and reworking of Aquitanian song.

57
Q

Codex polyphony

A

All for two voices.
Early Parisian polyphony.
Half conductus discantal and other half fairly florid.
Discantal group ties to codex.
‘Congaudeant catholici’ has florid upper voice on separate staff above principal tune and discantal counterpoint in red ink above lower voice – two alternatives not three part polyphony.
Recurrent figures.
Florid segments mostly end on octave unison. Unison if last note approached from below, octave if above.
Initials less stable.
Established conventions or habits giving uniformity.

58
Q

codex example

A

Congaudeant Catholici, fol.185r
2 part polyphony with an extra ret notated part.
All 3 parts together don’t really work; is it just an alternative for 2 voice?
Top two parts together less good.

59
Q

A-I fols and date

A

32-39 and 48-79
c.1100

60
Q

A-II fols and date

A

40-47
c.1100

61
Q

B fols and date

A

149-167
c.1150

62
Q

C-I fols and date

A

15-22
c.1100

63
Q

C-II fols and date

A

23-32
c.1100

64
Q

C-III fols and date

A

33-44
c.1150

65
Q

C-IV fols and date

A

45-92
c.1150

66
Q

D-1 fols and date

A

1-16
c.1200

67
Q

D-II fols and date

A

17-24
c.1120

68
Q

Early Aquitanian (c.1100)

A

A-I, A-II, C-I, C-II

69
Q

Middle Aquitanian (c.1150)

A

B, C-III, C-IV

70
Q

Late Aquitanian (c.1200)

A

D-I and D-II

71
Q

growth in the separation of voices

A

The vox organalis became increasingly independent throughout the period of c.900-c.1100 in comparison to the more statis chant voice in the vox principalis. The latter was often a pre-existing voice in which the organum was added to for the beginnings of polyphonic development.
This later grew to a changed perception of counterpoint that saw both voices moving at times independently, showing moments of florid texture in both voices.
Growth in voices allowance to cross.
Voices became gradually more independent.
Melodic separation – varying according to meaning of words with Micrologus.
Fleury beginning to show separation in both voices as one or the other begins to pull apart with extra notes.
Chartres really emphasising contrary motion, especially with shorter phrases meeting at an occursus.
Chartres 109 has organal voice mostly above.
Voices crossing in Chartres.
Milan verse treatise – organal voice becoming dominant.
Codex Calixtinus – florid.

72
Q

Changes in intervallic patterning

A

Emphasis at the beginning of the period on fourths and fifths, later allowing the presence of other intervals such as sixths and thirds.
The intervallic focus prevailed whilst a new focus on contrary motion developed.
Boundary tones restricting the range of the voices.
C and G in Enchiriadis.
F introduced as boundary tone with Paris.
Winchester Tropers - Boundary tones not fixed pair of pitches but still present.
Hierarchy in Micrologus – 4th preferred but also major third allowed and tone favoured in occursus.
Fleury shows some use of the flattened second and variety beyond fourths.
Milan verse use of minor third.

73
Q

changes in mode and cadencing

A

Movement from modal integrity with a Daseian tetrachord structure to greater pitch diversity.
Cadences developing from meeting on unison c.900-1000 and then meeting on a fourth in internal cadences and the introduction of occursus to extend cadence writing with Micrologus.
Winchester Troper extending cadences by an extra note.
Fleury has similar phrase endings across chants and cadencing at unison from one note below. Modally derived.
Shorter phrase endings in Chartres and Chartres 109 using cadences at the octave.
Chartres expanding range to a 10th.
Occursus changed to copula (Milan verse and prose)
Montpellier treatise meeting copula by contrary motion.
Codex Calixtinus florid segments ending on octave unison. Unison if last note approached from below and octave if above.

74
Q

changes in theory vs practice

A

Some practices in the Winchester Troper finding no support in theory.
Suggested reliance on the theory of the earlier treatises – we don’t have evidence of the polyphony in practice at this time and it is somewhat unsure how widespread the writings would have been.
Movement from examples in the treatises that exemplify writing and the treatises that later use writing to explain what is evident in the examples.
Later De Musica emphasising contrary motion, cadence at unison and octave, voice crossing and organal voice above or below.

Beginnings of Western Polyphony (5 decks)

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