The rhythm of twelfth-century polyphony its theory and practice. by William G. Waite

Cover of: The rhythm of twelfth-century polyphony | William G. Waite

Published by Yale University Press in New Haven .

Written in English

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Subjects:

  • Organum

Edition Notes

Book details

SeriesYale studies in the history of music, [v. 2]
ContributionsLéonin, 12th century.
Classifications
LC ClassificationsML174 .W14
The Physical Object
Paginationx, 141 p., music (254 p.)
Number of Pages254
ID Numbers
Open LibraryOL6152321M
LC Control Number54005093
OCLC/WorldCa802168

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The Rhythm of Twelfth-Century Polyphony: Its Theory and Practice (Yale Studies in the History of Music, V. 2.): Waite, William G., Leoninus Magister: : by: The rhythm of twelfth-century polyphony;: Its theory and practice Unknown Binding – January 1, by William G Waite (Author) › Visit Amazon's William G Waite Page.

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Rhythm of Twelfth-Century Polyphony: Its Theory & Practice Hardcover – Import, January 1, by William G. WAITE (Author) out of 5 stars 2 ratings5/5(2). The rhythm of twelfth-century polyphony: its theory and practice Item Preview The music is transcribed from the facsim.

of Leonin's Magnus liber in J.H. Baxter's An old St. Andrew's music book (London, ) Bibliography: p. Notes. Cut-off text on page or leaf due to tight binding. Access-restricted-item true. An illustration of an open book. Books. An illustration of two cells of a film strip. Video. An illustration of an audio speaker.

Audio. An illustration of a " floppy disk. Software. An illustration of two photographs. Full text of "The Rhythm Of Twelfth Century Polyphony". Find helpful customer reviews and review ratings for The rhythm The rhythm of twelfth-century polyphony book twelfth-century polyphony;: Its theory and practice at Read honest and unbiased product reviews from our users.

Rhythm of Twelfth-Century Polyphony: Its Theory & Practice. by William G. WAITE. Write a review. The great advantage of the book, with all its limitations, is that it provides, however compromised, the entire Magnus Liberb in “modern” notation in one place.

The book was Waite’s doctoral dissertation at Yale and suffers from the. rhythm should be considered first. The study is limited also with regard to time: it discusses only the Notre-Dame school, that is to say not the whole of "twelfth-century polyphony" but only that of the second half.

The author begins with an exposition of the rhythmic modes. He attempts to trace the system's origin to St. Augus. The achievements in musical art in the 12th century and especially those of the Notre Dame composers Leoninus and Perotinus, as seen through an exploration of polyphonic rhythm and modal notation.

Publisher: ABC-CLIO ISBN: Number of pages: Weight: g Dimensions: x mm Edition: New ed of ed. Start studying Styles 1 Chapters Learn vocabulary, terms, and more with flashcards, games, and other study tools. A twelfth century cleric named perotin, who worked at the cathedral of Notre dame, wrote long and detailed works with the first harmonies known as Organum.

In polyphony, what is the relationship between the voices. One in which each voice is melodious and retains its own identity. In the Middle Ages, polyphony was used for The rhythm of. "Optimus Organista" (best singer-composer) Priest and poet and canon of the cathedral of Notre Dame.

Compiled a great book of polyphony "Magnus liber organi" to make the Mass and canonical hour more splendid. Wrote Viderunt Omnes,a chant. The Magnus Liber or Magnus liber organi (English translation: Great Book of Organum), written in Latin, The rhythm of twelfth-century polyphony book a repertory of medieval music known as book was in use by the Notre-Dame school composers working in Paris around the end of the 12th and beginning of the 13th centuries.

It is known from references to a "magnum volumen" by Johannes de Garlandia and to a "Magnus liber organi. '?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 (), As for the twelfth century, William Waite proposes in his book, The Rhythm of Twelfth-Century Polyphony, that Augustine’s De musica may have been a source of the system of modal rhythm formulated at Notre Dame in Paris by Leoninus and Perotinus ([ 14 ], pp.

29–39). CHAPTER 5 Polyphony in Practice and Theory Source: MUSIC FROM THE EARLIEST NOTATIONS TO THE SIXTEENTH CENTURY Author(s): Richard Taruskin Richard Taruskin. As we have seen, and as it is important to remember, there has never been a time in the recorded history of European music—or of any music, it seems—when polyphony was unknown.

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. 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.

(11) One collection of French origin was made for Santiago de Compostela. twelfth century to the fifteenth and sixteenth centuries b.

rhythm was unaccented and fluid, with the meter often obscured c. rhythm was energetic, but with constantly changing meters a. polyphony was allowed in the motet, but not in the Mass. The Rhythm of Twelfth Century Polyphony.

New Haven: Yale University Press, Second edition Apart from a selective transcription of the organa dupla by Leonin, this dissertation contains many quotations from the contemporary theorists preceding the transcription. A subcategory of polyphony, called homophony, exists in its purest form when all the voices or parts move together in the same rhythm, as in a texture of block chords.

These terms are by no means mutually exclusive, and composers from the 16th through the 21st century have commonly varied textures from complex polyphony to rhythmically uniform.

The argument is drawn from years of transcribing neumatic and diastematic chant manuscripts, rhythmizing eleventh and early-twelfth-century polyphonic pieces, and performing in concerts and liturgies.

The book is illustrated by thirty musical examples of chant, liturgical drama, and polyphony, each accompanied by commentary and translation.

ordine exerted a profound influence on twelfth-century art and aesthetics. For an intro- duction to Augustine's De musica and the basic bibliography on the subject, see William Waite, The Rhythm of Twelfth-Century Polyphony (New Haven, ), Marsha Colish, "St.

*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. Term. Clausula: Definition.

Section of music written in discant *In NOTRE DAME POLYPHONY, a self-contained section of an ORGANUM that closes with a CADENCE.

distinguished by extreme complexity in rhythm and. Polyphony is a type of musical texture consisting of two or more simultaneous lines of independent melody, as opposed to a musical texture with just one voice, monophony, or a texture with one dominant melodic voice accompanied by chords, homophony.

Within the context of the Western musical tradition, the term polyphony is usually used to refer to music of the late Middle Ages and Renaissance. the polyphony.

Saints’ ‘Life’ 30 July 1 August Barbara Hargreaves reflects on saintly suffering and medical failures in twelfth-century religious works about saints.

Mabel of Stotsfield, a nun at the priory at Chicksands in the twelfth century, was, one day, sent on Popular posts. 17 Sep ‘Creating Romantic.

The Rhythm of Twelfth-Century Polyphony. Old, New, and Newer Still in Book 7 of the Speculum musice. Submission Guidelines. Schumann's Virtuosity: Criticism, Composition, and Performance in Nineteenth-Century Germany, by Alexander Stefaniak.

Email alerts. Article Activity Alert. Inappropriate The list (including its title or description) facilitates illegal activity, or contains hate speech or ad hominem attacks on a fellow Goodreads member or author. Spam or Self-Promotional The list is spam or self-promotional.

Incorrect Book The list contains an incorrect book (please specify the title of the book). Details *. Misc: this is the Gradual Viderunt omnes from the Mass for Christmas Day set to polyphony Author:Leoninus (s) was a canon (type of christian priest) at Notre Dame Cathedral.

Compiled Magnus liber organi (Great Book of Polyphony) which contained two voice settings of the solo portions of the responsorial chants for major feasts. Ranging chronologically from the twelfth to the fifteenth centuries and thematically from Latin to vernacular literary modes, this book challenges standard assumptions about the musical cultures and philosophies of the European Middle Ages.

Engaging a wide range of premodern texts and contexts, from the musicality of sodomy in twelfth-century polyphony to Chaucer s representation of 2/5(1).

Further Reading on Léonin. The best survey of Léonin's works is in Donald Jay Grout, A History of Western Music (). Much of Léonin's music is available in modern transcription in William Waite, The Rhythm of Twelfth-Century Polyphony, and a few works have been recorded. Léonin apparently composed an entire book around the middle of the twelfth century, The most astounding innovation of Notre Dame polyphony was the addition of rhythm to such ornamental voices: the upper voices sing dozens of notes above each step.

Polyphony A. Polyphony in Aquitanian Monastic Centers 1. An important type of organum developed at St. Martial, found in nine twelfth-century manuscripts. The notation in these sources indicates pitch, but not rhythm, suggesting that music was composed orally (not by writing it down).

Rhythm is necessary for polyphony. LéoninLéonin (active ca. ), or Leoninus, of the Cathedral of Notre Dame in Paris, is the earliest known composer of polyphonic art music and the creator of controlled rhythm and meter, as well as of the earliest notation to convey rhythm.

Source for information on Léonin: Encyclopedia of World Biography dictionary. The twelfth century ( to ) was the beginning of the most prosperous period in the Middle Ages.

notated secular songs and complex forms of polyphony. Beforealmost no music other than Gregorian chant was written down. This does not mean that other kinds of music did not exist--people must always have had love songs, dancing.

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. Focus Composition: Ave Generosa by Hildegard of Bingen (Twelfth Century) Overall, the rhythm of the chant follows the rhythm of the syllables of the text.

Figure \(\PageIndex{2}\): With the advent of musical notation that could indicate polyphony, composers began writing polyphonic compositions for worship, initially intended for select.

Polyphony – musical texture that simultaneously features two or more relatively independent and important melodic lines. Refrain – a repeating musical section, generally also with repeated text; sometimes called a “chorus” Rhythm According to the Text – rhythm that follows the rhythm of the text and is not notated.

" Polyphony of Saint Martial and Santiago De Compostela-2 Volumes by Karp, Theodore The author proposes a fundamental reinterpretation of two major repertories of 12th-century sacred music, that associated with the long-destroyed abbey of Saint Martial de Limoges and the manuscript preserved in the Cathedral Archive of Santiago de Compostela.

Other articles where Great Book of Organa is discussed: Western music: The Notre-Dame school: the Magnus Liber Organi (“Great Book of Organum”) a collection of two-part organums for the entire church year.

A generation later his successor, Pérotin, edited and revised the Magnus Liber, incorporating the rhythmic patterns already well known in secular music and adding more than one part.

3. An important type of organum developed at St. Martial, found in nine twelfth-century manuscripts. a. The notation in these sources indicates pitch, but not rhythm, suggesting that music was composed orally (not by writing it down).

b. Rhythm is necessary for polyphony—keeping the parts together. Franco of Cologne on the rhythm of organum purum* - Volume 9 - Charles M. Atkinson.The most common example of this type of polyphony is what Joseph Jordania calls “European professional polyphony.” Chordal polyphony mostly (but not always) develops in a slow or medium tempo.

All the parts follow the same rhythm, and the overall sound is very full.

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