Page 33 - (DK) The Classical Music Book - Big Ideas Simply Explained

EARLY MUSIC 1000–1400 31

Development of indication of pitch, either of the
vocal harmony original chant melody or in the
harmonizing vox organalis, making
accurate transcription of these
Plainchant: pieces difficult.
A single unaccompanied A century after the Winchester [Pérotin] notated his books
vocal line in free rhythm, Troper, The School of St. Martial of very faithfully according to
like speech. Limoges explored polyphony in 90 the use and custom of his
pieces in four French manuscripts master, and even better.
(c. 1120–1180), and the Codex Anonymous IV
Calixtinus (c. 1140) from Santiago
de Compostela, in northwest Spain.
The notation of this “Aquitanian
Organum: polyphony” was less ambiguous in
Addition of a second pitch than the Troper and suggests
voice at a different that most of the repertoire was
octave paralleling sung to a rhythm. The pieces are to one of six metrical patterns
the first voice. mostly for two singers in a more (trochaic, iambic, and so forth, akin
melismatic style, in which the to Classical poetic meter). These
upper voice sometimes has many are indicated by two note shapes,
notes, sung over a less active lower longa and brevis (long and short),
voice. The Codex Calixtinus the duration of the note depending
contains what may be the first on context. Léonin’s development of
Counterpoint: composition notated for three organum in the discant style owed
The interweaving of voices, the Congaudeant Catholici. much to this innovation.
simultaneous playing or Pérotin, Léonin’s successor in
singing. Also known as The Notre Dame School the Parisian style of discant, went
contrapuntal.
As the Cathedral of Notre Dame one better, composing organum
rose up on the Île de la Cité in Paris, triplum, and even organum
the discant style emerged, which quadruplum, for three and four
allowed the upper voice of organa voices respectively. Proclaiming
more freedom. The roles of the two their magnificence, the Bishop of
Harmony: singers diverged into that of the Paris decreed in 1198 that Pérotin’s
Three or more musical notes florid soloist and an accompanying four-voice works Viderunt omnes
sung simultaneously to voice holding long notes. This and Sederunt principes should be
create a chord. distinction was reflected in the performed on Christmas Day,
new titles of tenor (“one who holds”) St. Stephen’s Day (December 26),
and duplum (“second voice”). and again on New Year’s Day. ■
At this time, Léonin introduced
French sources a few decades a greater degree of rhythmic
after Sancte Bonifati martyr, gives organization to his compositions,
a snapshot of monastic musical regulating the flow of the meter in
life in England prior to the Norman an early form of “modal rhythm.” In
Conquest. Although the second its mature iteration, modal rhythm
volume contains 174 organa sets the line in motion according
(making it the first substantial
corpus of composed polyphony),
the notation assumes that the Pérotin, called Perotin Magister
(“Pérotin the Master”) by Anonymous
singer already has some knowledge IV, is believed to have lived from
of the repertoire. The unstaffed c.1160–1230. He is pictured here with
neumes do not give a precise church bells at Notre Dame de Paris.

US_028-031_Leonin.indd 31 26/03/18 1:00 PM