rhythm of twelfth-century polyphony, its theory and practice

by William G. Waite

Publisher: Greenwood Press in Westport, Conn

Written in English
Published: Pages: 254 Downloads: 471
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Subjects:

  • Organum,
  • Music theory -- History -- 500-1400

Edition Notes

Statementby William G. Waite.
SeriesYale studies in the history of music,, v. 2.
ContributionsLéonin, 12th cent.
Classifications
LC ClassificationsML174 .W14 1973
The Physical Object
Paginationx, 141 p., 254 p. of music.
Number of Pages254
ID Numbers
Open LibraryOL5411743M
ISBN 100837168155
LC Control Number73002648

By plain chant we understand the church music of the early Middle Ages, before the advent of polyphony. Having grown up gradually in the service of Christian worship, it remained the exclusive music of the Church till the ninth century, when polyphony made its first modest appearance. For centuries again it held a place of honour, being, on the one hand, cultivated side by side with the new. The Inability to Create: Donatoni and Cage In the s, Franco Donatoni came to a compositional impasse, the inability to write, after years spent working to find his voice following his exposure to John Cage’s ideas on silence, indeterminism and his work 4’33’’. Research has shown that Cage embraced Jacques Derrida’s ideas on deconstructionism and further.   Musica ficta (from Latin, 'false', 'feigned', or 'contrived' music) was a term used in European music theory from the late twelfth century to about to describe any pitches, whether notated or to be added by performers in accordance with their training, that lie outside the system of musica recta or musica vera ('correct', or 'true' music. This disc deserves extended study, along with clarification of its methods. TWELFTH-CENTURY POLYPHONY. Systematic collections of polyphony of the twelfth century are found in five principal manuscripts. (10) These works are the oldest liturgical polyphony whose pitches can be transcribed with confidence, though the rhythm remains in dispute.

Their general theory of rhythm, according to which it consists in the succession of arsis and thesis, i.e., one part leading forward and a second part marking a point of arrival and of provisional or final rest, is substantially the same as Riemann's (see his "System der musikalischen Rhythmik und Metrik", Leipzig, ), and is becoming more. Organum as a musical genre reached its peak in the twelfth century with the development of florid organum and two very different schools composition. The first was what is called "Aquitainian polyphony," for it originated with the Saint Martial school, centred around the Abbey of Saint Martial in Limoges. Hildegard’s Contribution to Polyphony. Her reputation as a composer eventually reached Nôtre-Dame, in Paris, which was then the center of European music, and where Master Leoninus had established the first school polyphony. Polyphony is the theory of combining several parts, each forming an individual melody and harmonizing with each other. This work, written in Cologne in , treats the theory and practice of chant, completely excluding the topics of polyphony and instrumental music. The authors cited include Boethius, Augustine and Jerome of Moravia. Heinrich Eger von Kalkar () was a German .

By plain chant we understand the church music of the early Middle Ages, before the advent of grown up gradually in the service of Christian worship, it remained the exclusive music of the Church till the ninth century, when polyphony made its first modest appearance. For centuries again it held a place of honour, being, on the one hand, cultivated side by side with the new. The History and Evolution of the Musical Symbol Gabriella F. Scelta pitch. The scale most used in W estern musical composition until the end of the 19th cent. was the diatonic scale, a series of seven tones. (The addition of a final top note, with a frequency twice that of the lowest note, defines this sequence as an octave.) The inter -File Size: 1MB. The rhythm of twelfth-century polyphony: its theory and practice Statistische übersicht der wichtigsten gegenstände des verkehrs und verbrauchs im preußischen staate und im deutschen zollvereine: zeitraum von bis , volume 6.

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The rhythm of twelfth-century polyphony of twelfth-century polyphony, its theory and practice. [William G Waite; Léonin] -- Contains transcription of Leonin: Magnus liber organi. The Rhythm of Twelfth-century Polyphony: Its Theory and Practice Volume 2 of Yale studies in the history of music, ISSN Author: William G.

Waite: Contributor: Herzog August Bibliothek: Publisher: Yale University Press, Length: pages: Export Citation: BiBTeX EndNote RefMan.

Rhythm of twelfth-century polyphony, its theory and practice. Westport, Conn., Greenwood Press [, ©] (OCoLC) Document Type: Book: All Authors / Contributors: William G Waite; Léonin. The Magnus Liber or Magnus Liber Organi (Latin for "Great Book of Organum") contained a repertory of medieval music known as organum in use by the Parisian Its theory and practice book of Notre Dame around the turn of the 12th & 13th centuries and is known from references to a "magnum volumen" by Johannes de Garlandia and to a "Magnus liber organi de graduali et antiphonario pro servitio divino" by the English Author: Anonymous.

Buy The Rhythm of Twelfth-Century Polyphony, Its Theory and Practice by William G. Waite from Waterstones today. Click and Collect from your Book Edition: New ed of ed. the-faburden" practice in I6th-century English organ music should be mentioned.

WILLI APEL Indiana University William G. Waite. The Rhythm of Twelfth Century Polyphony, Its Theory and Practice. New Haven: Yale University Press, x, [text], [music] pp. WAITE'S VOLUME is a distinguished ad-dition to the scholarship of the earlier.

The Rhythm of Twelfth-Century Polyphony; Its Theory and Practice. By Thomas G. Waite. (Yale Studies in the History of Music, Vol. 2.) New Haven: Yale University Press; London: Oxford University Press, [x,p., music, bibl., 4to; $] This publication, together with Reese's A. Léonin (also Leoninus, Leonius, Leo) (fl.

s — d. ) was the first known significant composer of polyphonic 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. Organum (/ ˈ ɔːr ɡ ə n əm /) is, in general, a plainchant melody with at least one added voice to enhance the harmony, developed in the Middle ing 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.

The Rhythm of Twelfth-Century Polyphony, its Theory and Practice (New Haven: Yale, ) But his views that the entire corpus should be transcribed according to the. The Rhythm of Twelfth-Century Polyphony: Its Theory and Practice. Westport: Greenwood Press,With regard to the quotation from Bacon’s Opus Tertium, Chap Bacon mentions the five books of Augustine’s De music and intends the first five books, since he refers to the sixth book elsewhere, e.g., Chapter [Google Scholar]Cited by: 1.

The Rhythm of Twelfth Century Polyphony, Its Theory and Practice; University and Oxford University Press, New Haven, White, John D; Theories of Musical Texture in Western History; Garland Publishing, Inc., New York and London, Recent Musical Editions.

Davidson, Audrey; The "Ordo Virtutum" of Hildegard; Medieval Institute, Kalamazoo. The Rhythm of Twelfth-Century Polyphony: Its Theory and Practice With regard to the quotation from Bacon's Opus Tertium Bacon mentions the five books of Augustine's De music and intends the first Author: John Macinnis.

Style of POLYPHONY from the twelfth century, encompassing both DISCANT and FLORID ORGANUM. Discant (1) Twelfth-century style of POLYPHONY in which the upper voice or voices have about one to three NOTES for each note of the lower voice. Full text of "The Rhythm Of Twelfth Century Polyphony" See other formats.

'?William Waite, The Rhythm of Twelfth-Century Polyphony: Its Theory and Practice, Yale Studies in the History of Music, vol.

2 (New Haven, ). "Willi Apel, Die Notation der Polyphonen Musik (Wiesbaden, ), p. 12Manfred Bukofzer, Review of William Waite, The Rhythm of Twelfth-Century Polyphony, in Notes XII (), Cited by: 6.

Wording: Arts and Recreation > Music > General principles and musical forms > Technical Music Theory > Not set Dewmoji:. The musicologist Craig Wright believes that Léonin may have been the same person as a contemporaneous Parisian poet, Leonius, after whom Leonine verse may have been named.

This could make Léonin's use of meter even more significant. References. : The Rhythm of Twelfth-Century Polyphony: its Theory and Practice. HE AMERICAN JOURNAL OF SCIENCE AND ARTS, VOL. JULY TO DECEMBER, by Dana, James Dwight and a great selection of related books, art.

The Rhythm Of Twelfth-Century Polyphony: Its Theory And Practice by William G. Waite (European Medieval Rhythmic Modes, etc.) Mensuration And Proportion Signs: Origins And Evolution by Anna Maria Busse Berger (European Medieval and Renaissance Rhythmic Concepts, etc.).

The Anglo-Latin Satirical Poets and Epigrammatists of the Twelfth Century, Rolls Ser 2 vols. (London, ). MU5. MU5. A collection assembled under a problematic title, since it is mostly comprised of Continental rather than English texts: see A.

Rigg, A History of Anglo-Latin Literature, (Cambridge, ), pp. 64– Haines, “Anonymous IV,” 25 Waite, The Rhythm of Twelfth-Century Polyphony: Its Theory and Practice, Dame, but the introduction of a rhythmic notational form perfectly complemented the rise in elaborate polyphonic by: 6.

60 Cf. Waite, The Rhythm of Twelfth-Century Polyphony, p. The fact that Boethius plays such an important role in Bacon's discussion of arithmetic, but a distinctly secondary role in his discussion of music, is not mentioned by Waite, but it further buttresses his own case for the influence of Augustine on the development of the system of Author: Charles M.

Atkinson. POLYPHONIC vocal COMPOSITION; the specific meaning changes over time. The earliest add a text to an existing DISCANT CLAUSULA. 13th century ones feature one or more voices, each with its own sacred or secular text in Latin or French, above a TENOR drawn from CHANT or other MELODY.

Art Fundamentals Theory And Practice Twelfth Edition $ The Big. The Big Bang Theory The Twelfth And Final Season Blu Ray 2 Disc Target Excluusive. From Neumes to Notes: The Evolution of Music Notation.

twelfth century schol ars at the cathed ral of Notre Dame in Paris. The Rhythm of T welfth-Cent ury Polyphony: Its Theory and Pr. LITURGICAL MUSIC, HISTORY OF PART 1: EARLY CHRISTIAN MUSIC The historical development of music in Christian worship is intimately connected with the history of liturgy on the one hand and with the general history of music on the other.

Until the late Middle Ages there is no history of music except that related to the liturgy. After that time, in addition to liturgical music, religious music. Organum duplum is usually linked to Leonin (second half of the twelfth century), the first known significant composer of polyphony "organum" who worked in Paris at the Notre Dame Cathedral.

One of Leonin's major contributions to music was a collection of organum with two-part settings of portions of the mass known as the Magnus Liber Organi.mainstream narrative of Western music, referring to this music as primitive polyphony, simple polyphony, peripheral polyphony, or cantus planus binatim—all limiting (in some cases, even derogatory) terms.

As such, there is very little in the way of a study of multiple examples of .6] Alberti's and Viator's constructions of a square cast in perspective are reproduced in Ivins, Rationalization, as Figures 1 and 2 on p. Viator's De Artificiali Perspectiva, in its edition, is reproduced in facsimile with 's second diagram, a square inscribed in a circle cast in perspective, and his twelfth diagram, a church with its perspective grid, among others.