Related Research Articles
Guido of Arezzo or Guido d'Arezzo was an Italian music theorist and pedagogue of High medieval music. A Benedictine monk, he is regarded as the inventor—or by some, developer—of the modern staff notation that had a massive influence on the development of Western musical notation and practice. Perhaps the most significant European writer on music between Boethius and Johannes Tinctoris, after the former's De institutione musica, Guido's Micrologus was most widely distributed medieval treatise on music.
Anicius Manlius Severinus Boethius, commonly called Boethius, was a Roman senator, consul, magister officiorum, and philosopher of the early 6th century. He was born about a year after Odoacer deposed the last Western Roman Emperor and declared himself King of Italy. Boethius entered public service under Ostrogothic King Theodoric the Great, who later imprisoned and executed him in 524 on charges of conspiracy to overthrow him.
Pérotin was a composer associated with the Notre Dame school of polyphony in Paris and the broader ars antiqua 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.
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 may be sung on the same text, the melody may be followed in parallel motion, 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, another singer—singing "by ear"—provided the unnotated second melody. Over time, composers began to write added parts that were not just simple transpositions, thus creating true polyphony.
Ars antiqua, also called ars veterum or ars vetus, is a term used by modern scholars to refer to the Medieval music of Europe during the High Middle Ages, between approximately 1170 and 1310. This covers the period of the Notre-Dame school of polyphony, and the subsequent years which saw the early development of the motet, a highly varied choral musical composition. Usually the term ars antiqua is restricted to sacred (church) or polyphonic music, excluding the secular (non-religious) monophonic songs of the troubadours, and trouvères. However, sometimes the term ars antiqua is used more loosely to mean all European music of the thirteenth century, and from slightly before. The term ars antiqua is used in opposition to ars nova, which refers to the period of musical activity between approximately 1310 and 1375.
Franco of Cologne was a German music theorist and possibly a composer. He was one of the most influential theorists of the Late Middle Ages, and was the first to propose an idea which was to transform musical notation permanently: that the duration of any note should be determined by its appearance on the page, and not from context alone. The result was Franconian notation, described most famously in his Ars cantus mensurabilis.
Johannes Cotto was a music theorist, possibly of English origin, most likely working in southern Germany or Switzerland. He wrote one of the most influential treatises on music of the Middle Ages, De musica, first printed by Gerbert in 1784. The treatise included unusually precise directions for composing chant and organum.
Johannes de Garlandia was a French music theorist of the late ars antiqua period of medieval music. He is known for his work on the first treatise to explore the practice of musical notation of rhythm, De Mensurabili Musica.
In medieval music, the rhythmic modes were set patterns of long and short durations. The value of each note is not determined by the form of the written note, 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.
Aurelian of Réôme was a Frankish writer and music theorist. He is the author of the Musica disciplina, the earliest extant treatise on music from medieval Europe.
Hucbald was a Benedictine monk active as a music theorist, poet, composer, teacher, and hagiographer. He was long associated with the Saint-Amand Abbey, so is often known as Hucbald of St Amand. Deeply influenced by Boethius' De Institutione Musica, Hucbald's (De) Musica, formerly known as De harmonica institutione, aims at reconciling through many notated examples ancient Greek music theory and the contemporary practice of Gregorian chant. Among the leading music theorists of the Carolingian era, he was likely a near contemporary of fellow theorist Aurelian of Réôme, the unknown author of the Musica enchiriadis, as well as the anonymous authors of other music theory texts Commemeratio brevis, Alia musica and De modis.
In music, consecutive fifths, or parallel fifths, are progressions in which the interval of a perfect fifth is followed by a different perfect fifth between the same two musical parts : for example, from C to D in one part along with G to A in a higher part. Octave displacement is irrelevant to this aspect of musical grammar; for example, parallel twelfths are equivalent to parallel fifths.
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. Some historians once attributed it to Odo of Cluny (879-942). It has also been attributed to Abbot Hoger.
Johannes de Grocheio was a Parisian musical theorist of the early 14th century. His French name was Jean de Grouchy, but he is best known by his Latinized name. He was the author of the treatise Ars musicae, which describes the functions of sacred and secular music in and around Paris during his lifetime.
A tonary is a liturgical book in the Western Christian Church which lists by incipit various items of Gregorian chant according to the Gregorian mode (tonus) of their melodies within the eight-mode system. Tonaries often include Office antiphons, the mode of which determines the recitation formula for the accompanying text, but a tonary may also or instead list responsories or Mass chants not associated with formulaic recitation. Although some tonaries are stand-alone works, they were frequently used as an appendix to other liturgical books such as antiphonaries, graduals, tropers, and prosers, and are often included in collections of musical treatises.
Enchiriadis may refer to:
Daseian notation is the type of musical notation used in the ninth century anonymous musical treatises Musica enchiriadis and Scolica enchiriadis. The music of the Musica enchiriadis and Scolica enchiriadis, written in Daseian notation, are the earliest known examples of written polyphonic music in history.
Bartolomé Ramos de Pareja was a Spanish mathematician, music theorist, and composer. His only surviving work is the Latin treatise Musica practica.
1st millennium BC in music – 1st millennium in music – 11th century in music
Oktōēchos is the name of the eight mode system used for the composition of religious chant in most Christian churches during the Middle Ages. In a modified form the octoechos is still regarded as the foundation of the tradition of monodic Orthodox chant today.
