Concise History of Western Music 5th edition Barbara Russano Hanning

Polyphony through the Thirteenth Century Chapter 3 Polyphony through the Thirteenth Century

Prelude 1050–1300 economic growth increasing trade and commerce throughout western Europe growing population, modern cities develop cultural revival, music and the arts ancient Greek writings translated into Latin encouraged development of music theory universities founded: Paris, Oxford, and Bologna large Romanesque churches erected donors funded new monasteries, convents Scholasticism

F03-01 A leaf from a manuscript copy of the Gospel of Saint Mark. The central text is heavily glossed with commentary (akin to footnotes) between its lines and along both sides of the page in a process that illustrates the Scholastic method and also has parallels in troping and in the musical layering of early polyphony. (The Morgan Library.) © 2014 W. W. Norton & Company, Inc.

Prelude (cont’d) 1050–1300 economic growth (cont’d) reconcile classical Greek philosophy with Christian doctrine Roger Bacon and St. Thomas Aquinas make contributions mid-twelfth century, Gothic style Polyphonic music, Notre Dame Cathedral in Paris polyphony: added voices sing together in independent parts heightened grandeur of chant

Prelude (cont’d) Polyphonic music, Notre Dame Cathedral in Paris (cont’d) written polyphony, inaugurated four concepts in Western music counterpoint: combination of multiple independent lines harmony: regulation of simultaneous sounds centrality of notation composition as distinct from performance monophony remained principal medium polyphonic music grew out of improvisational practice

Prelude (cont’d) Polyphonic music, Notre Dame Cathedral in Paris (cont’d) development of organum polyphonic elaboration of plainchant new genre, motet breakthrough in rhythmic notation

Early Organum Organum, ninth through eleventh centuries described in anonymous treatise, Musica enchiriadis parallel organum chant melody is principal voice organal voice moves in exact parallel motion 4th or 5th below (NAWM 14a) may be further duplicated at octave (NAWM 14b) oblique organum adjustments made to avoid tritones wider variety of intervals, dissonance

Ex03-01 Parallel organum at the fifth below, from Musica enchiriadis © 2014 W. W. Norton & Company, Inc.

Ex03-02 Mixed parallel and oblique organum, from Musica enchiriadis © 2014 W. W. Norton & Company, Inc.

Ex03-03 Free organum, from Ad organum faciendum (ca. 1100) © 2014 W. W. Norton & Company, Inc.

F03-02 Master of the Platerias Portal, King David bowing a rebec, ca. 1100. Granite. South portal, cathedral of Santiago de Compostela, Spain. The decorative folds of David’s garment have their counterpart in the florid melismas of the more elaborate melodies of the Mass and Office. (Giraudon/Art Resource, NY.) © 2014 W. W. Norton & Company, Inc.

F03-03 An example of two-voice Aquitanian organum, also known as free or florid organum, which may have been written as early as 1100. The solid lines separate the upper and lower voices. (For a partial transcription, see below and NAWM 16.) (Bibliothèque Nationale, Paris, fonds Latin, MS 1139, fol. 41.) © 2014 W. W. Norton & Company, Inc.

Ex03-04 Aquitanian (florid) organum and discant in Jubilemus, exultemus © 2014 W. W. Norton & Company, Inc.

Early Organum (cont’d) Organum, ninth through eleventh centuries (cont’d) contrary and oblique motion predominated in eleventh century voices grew more independent parts often cross organal voice above chant consonant intervals: unison, octave, 4th, and 5th eleventh-century polyphony troped plainchant sections of Mass Ordinary (Kyrie and Gloria) parts of Mass Proper (Tracts and Sequences)

Early Organum (cont’d) Organum, ninth through eleventh centuries (cont’d) responsories of the Office and Mass (Graduals and Alleluias) trained singers improvised solo portions, alternated with monophonic chant by full choir Alleluia Justus ut palma (NAWM 15) instructions preserved in Ad organum faciendum (On making organum, ca. 1100) new style of organum, more rhythmic and melodic independence

Early Organum (cont’d) twelfth-century organum Aquitainian organum: free and florid developed in Aquitaine, southwestern France organum, organum duplum (“double organum”), or organum purum (“pure organum”) lower voice (existing chant or original melody) sustains long notes chant became elongated into series of single-note “drones” lower voice called tenor, Latin tenere (“to hold”) upper voice sings decorative phrases of varying lengths upper voice moved independently

Early Organum (cont’d) twelfth-century organum (cont’d) discantus (discant) style movement is primarily note against note Leoninus praised as best singer or composer of organum, optimus organista Perotinus praised as best maker of discants, discantor Jubilemus, exultemus (NAWM 16), 2-voice Aquitainian organum florid organum, melismas of three to fifteen notes discant passages: one to three notes contrary motion more common

Early Organum (cont’d) twelfth-century organum (cont’d) most note groups begin on perfect consonance phrases end on octaves or unisons, heighten sense of closure both styles: lower voice holds principal melody, tenor Notation score notation, one part above the other phrases marked off by short vertical strokes polyphonic complexities create need for rhythmic notation rhythmic modes devised in northern France

Notre Dame Polyphony: Late Twelfth and Early Thirteenth Century Parisian polyphony even more ornate style creators associated with Cathedral of Notre Dame Leoninus (fl. 1150s–ca. 1201), priest and poet-musician Perotinus (fl. 1200–1230), probably trained as singer under Leoninus both may have studied at University of Paris repertory sung for more than a century primarily composed in writing and read from notation

F03-04 Part of the nave and transept of the Cathedral of Notre Dame in Paris, built ca. 1163–1250. Its great height and elaborate interior have parallels in the unprecedented length, intricacy, and carefully worked-out structure of the vocal music that singers collectively created to resound in its vast space. (Laurent Lucuix/Alamy.) © 2014 W. W. Norton & Company, Inc.

Ex03-05 First section of Viderunt omnes, in organum duplum © 2014 W. W. Norton & Company, Inc.

Ex03-06 Discant clausula on “do-” of Viderunt omnes © 2014 W. W. Norton & Company, Inc.

F03-05 Performance textures of organum duplum, where sections of organum alternate with plainchant in the respond and with discant in the verse. © 2014 W. W. Norton & Company, Inc.

Notre Dame Polyphony: Late Twelfth and Early Thirteenth Century (cont’d) Magnus Liber Organi (“great book of polyphony”) compilation attributed to Leoninus collection of 2-voice settings of solo portions of responsorial chants Graduals and Alleluias of the Mass, and Office responsories different settings for same passages of chant includes organa for two, three, and four voices

Notre Dame Polyphony: Late Twelfth and Early Thirteenth Century (cont’d) Magnus Liber Organi (“great book of polyphony”) (cont’d) musicians freely altered and added to the collection Viderunt omnes (NAWM 17), by Leoninus, Gradual for Christmas Day responsorial chant: polyphonic music performed by soloists, choir sings in unison

Notre Dame Polyphony: Late Twelfth and Early Thirteenth Century (cont’d) Viderunt omnes (NAWM 17), by Leoninus, Gradual for Christmas Day (cont’d) plainchant, organum, and discant heard side by side opening section on “Viderunt” chant melody in tenor, series of drones upper voice sings expansive melismas notations suggests free, unmeasured rhythm

Notre Dame Polyphony: Late Twelfth and Early Thirteenth Century (cont’d) Viderunt omnes (NAWM 17), by Leoninus, Gradual for Christmas Day (cont’d) improvisational practice suggested by use of dissonances discant passage on “Dominus” long melisma in original chant created piece of manageable size

Notre Dame Polyphony: Late Twelfth and Early Thirteenth Century (cont’d) Clausula: self-contained section of an organum discant style, more consonant than organa, short phrases, more lively pacing substitute clausulae: new clausulae replace original setting of setting of chant manuscript includes ten clausulae for “Dominus” from Viderunt omnes (NAWM 18) repetition and structure:

Notre Dame Polyphony: Late Twelfth and Early Thirteenth Century (cont’d) Clausula: self-contained section of an organum (cont’d) tenor repeats rhythmic motive some clausulae tenors repeat melody repetitions create coherence; becomes significant in thirteenth and fourteenth century Perotinus “the Great” Perotinus and his contemporaries created 3- and 4-voice organa

F03-06 The six rhythmic modes © 2014 W. W. Norton & Company, Inc.

F03-07 This tympanum over the main portal of the Romanesque church of Saint Pierre in Moissac, France (1125–1130), shows the medieval delight in small repetitive forms similar to the repeating patterns of modal rhythm. In this case, the module that repeats is one of the Twenty-four Elders of the Apocalypse. Each one holds an identical rebec or fiddle or perhaps a lutelike instrument and has stopped playing to look up in astonishment at Christ, whose Second Coming is depicted above their heads. (Photo courtesy of the author.) © 2014 W. W. Norton & Company, Inc.

Ex03-07 Two substitute clausulae on “Dominus” from Viderunt omnes © 2014 W. W. Norton & Company, Inc.

F03-08 Opening of the setting of Viderunt omnes in organum quadruplum. The upper three voices are in modal rhythm over a sustained tenor note. (For a transcription, see Example 3.8 and NAWM 19.) (Biblioteca Medica-Laurenziana, Florence.) © 2014 W. W. Norton & Company, Inc.

Ex03-08 Perotinus, Viderunt omnes, opening, with repeating elements indicated by letter © 2014 W. W. Norton & Company, Inc.

Notre Dame Polyphony: Late Twelfth and Early Thirteenth Century (cont’d) Perotinus “the Great” (cont’d) organum duplum, triplum (3-voice organum), quadruplum voices above named duplum (second voice), triplum, quadruplum Viderunt omnes (1198) (NAWM 19), 4-voice organum upper voices use modal rhythm long, unmeasured notes in tenor discant passage on “Dominus,” longest section

The Motet New genre, early thirteenth century originated from troped repertory of clausuale clausula became separate piece independent composition in melismatic polyphony Latin or French words added to upper voice borrowed chant material in tenor tenor known as cantus firmus some motets intended for nonliturgical use upper voices have vernacular texts tenor may have been played on instruments compound titles indicate first words of each voice

The Motet (cont’d) Early motets Versatility of motets Factum est salutare/Dominus (NAWM 21a) based on substitue clausula from Magnus liber organi text is trope on original chant text elaborated meaning: words drawn from a psalm referring back to original chant ingenious composite artwork, multiple layers of borrowing and meaning Versatility of motets became genre independent of church performance tenor lost its connection to the liturgy

F03-09 We have no images of Leoninus or Perotinus. This illumination from an early fourteenth-century French manuscript shows a class at the University of Paris from their era. (British Library.) © 2014 W. W. Norton & Company, Inc.

Ex03-09 Factum est salutare/Dominus © 2014 W. W. Norton & Company, Inc.

Ex03-10 Fole acostumance/Dominus © 2014 W. W. Norton & Company, Inc.

Ex03-11 Super te Ierusalem/Sed fulsit virginitas/Dominus © 2014 W. W. Norton & Company, Inc.

F03-10 Detail of the Twenty-four Elders and their instruments from the Pórtico de la Gloria, cathedral of Santiago de Compostela, ca. 1158 (compare Figure 3.7). (Bridgeman Art Library.) © 2014 W. W. Norton & Company, Inc.

Ex03-12 A composite of Examples 3.9, 3.10, and 3.11, all on the same tenor or cantus firmus, “Dominus” © 2014 W. W. Norton & Company, Inc.

F03-11 The nave of Notre Dame de Laon, looking west. This Gothic cathedral was built from about 1165 to 1215. (Anthony Scibilia/Art Resource, NY.) © 2014 W. W. Norton & Company, Inc.

The Motet (cont’d) Versatility of motets (cont’d) composers reworked existing motets different text for duplum in Latin or French not necessarily linked to chant text, often secular topic added a third voice to those already present gave additional parts texts of their own: double or triple motet deleted original duplum, wrote one or more new voices motets from scratch using Notre Dame clausula new rhythmic pattern, new voices added above it

The Motet (cont’d) Versatility of motets (cont’d) Fole acostumance/Dominus (NAWM 21b) tenor same as Factum est salutare/Dominus, stated twice substitutes new, more quickly moving duplum doubled length, faster motion accommodate longer secular French poem intended for entertainment Super te/Sed fulsit virginitas/Dominus (NAWM 21c) unchanged tenor from a clausula first half of chant melisma on “Dominus” with different modal rhythmic pattern

The Motet (cont’d) Versatility of motets (cont’d) Franconian motet two upper voices: first and second halves of Latin poem on birth of Christ upper parts rarely rest together, or with tenor music moves forward in unbroken stream Franconian motet each upper voice has distinctive rhythm no longer conform to rhythmic modes more rhythmic freedom and variety among and within voices triplum bears a longer text, faster-moving melody, many short notes layered texture

The Motet (cont’d) Versatility of motets (cont’d) De ma dame vient/Dieus, comment porroie/Omnes, by Adam de la Halle (ca. 1240– 1288?) (NAWM 22), Franconian motet upper voices differ in rhythm, reinforce contrast of texts triplum lover’s complaints duplum: woman’s thoughts of him slow-moving tenor: repeats melody of “omnes” from Gradual Viderunt omnes twelve times

The Polyphonic Conductus Notre Dame composers and others in France and England 2- to 4-voice settings of rhymed, metrical, strophic Latin poems sacred or serious topic Ave virgo virginum (NAWM 20) differs from Notre Dame polyphony tenor: newly composed all voices sing text together in same rhythm conductus style: nearly homorhythmic quality mostly syllabic text setting

F03-12 The Last Supper, depicted under the tympanum arch of a mid-twelfth-century church in Charlieu, in the Loire district of France. The modular, multilayered structure of the arch’s sculptural elements is typical of Romanesque and Gothic church portals and resembles the layered texture of a medieval motet. (Alinari/Art Resource, NY.) © 2014 W. W. Norton & Company, Inc.

TIMELINE © 2014 W. W. Norton & Company, Inc.

The Polyphonic Conductus (cont’d) Notre Dame composers and others in France and England (cont’d) caudae (“tails”): melismatic passages at beginning, end, before important cadences

Postlude Rise of polyphony parallels development of monophonic song began as manner of performance practice of oral composition developed into written tradition reconstruction from treatises and notated examples Notre Dame repertory expanded through troping combinations of new melodies and texts added to or layered above monophonic lines

Postlude (cont’d) Notre Dame repertory (cont’d) organum and motet genres established by late twelfth century musicians elaborated on chant tenors

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Concise History of Western Music, 5th edition This concludes the Lecture Slide Set for Chapter 3 by Barbara Russano Hanning © 2014 W. W. Norton & Company, Inc Independent and Employee-Owned