1. Notations of Early Polyphony Dasian Notation Modal Notation

2. Dasia Notation

4. Sources: Musica Enchiriadis and Scolia Enchiriadis, anon., s. 9 ex., N. Fr. importance treatises for the early history of modal theory and of polyphony in the intellectual environment of the Carolingian Renaissance containing the earliest discussions of polyphonic singing (organum) and its notation, citing many late Latin literary and philosophical sources.

5. Dasia Notation Three kinds of organum –octave –fifth + octave doubling, choral + mixture stop on the organ –fourth avoid tritones – diabolus in musica! “artifical” polyphony: parts independent solistic

6. Dasia Notation

8. Ex. “Rex celi Domine”

10. Modal Notation

11. Notre Dame School/Epoch, s. 12 m.–s. 13 m. Leonin: optimus organista Perotin: optimus discantor –Magnus liber organi de gradali et antiphonario Sources: W1, F, W2

12. Perotin, Organum triplum “Alleluia Nativitas” W2=Wolfenbüttel Herzog August Bibliothek, Codex Guelf. 1099 Helmst., fol. 16r (s. 13 ex.)

13. Modal Notation Ex. Early polyphonic elaborations on Alleluia. Pascha nostrum

14. Alleluia. Pascha nostrum

16. Modal Notation (L=longa, B=brevis) tenaria ambiguous: LBL, BLB, BBL, LLL, BBB?

17. Perotin, 4-part clausula “Mors,” W1=Wolfenbüttel, Cod. Guelf. 628 Helmst., fol. 4v. (s. 13 m.)

19. Organum, Rome, Biblio. Apost. Vat., Fondo Ottoboniano Lat. 3025, f. 49