Treatises and Manuscripts Flashcards

Question

what's new - winchester troper edition

Answer 1

Use of structures such as parallel thirds to avoid the tritone – against what was written in treatise but often makes the most sense (Holschneider). Boundary tones of C, F and D (Fuller). Final and lower second from final (same as Paris and Cologne treatise). extending cadences by extra note

Answer 2

Standard technique for realizing organum on any chant but notated organa as composed music – individual features not regimented. Boundary tones not restricted to fixed pair of pitches but still present. Some practices in this troper find no support in theory. Chant includes repeated passages with organal voice varying – exploring options. Sensitive to texts of the chants they set. Structure of chants projected. All chants polyphony. Extending cadences by extra note.

Answer 3

Fleury-sur-loire Northern France 11th century Benedictine reform. Rise of the cantor role tract and responsory scraps

Answer 4

still mainly below 3rds and 2nds organal voice repeating tones small range cadencing at unison - coming together from lower note pulling apart of extra notes in one voice modal no predominant interval similar phrase endings

Answer 5

Housing Benedictine rule. Bishop Oswald went to learn practices for three years and bought back to Winchester tract for Septuagesima relating the Winchester and Fleury repertoire – sung at both in related way (not identical).

Answer 6

(F-CHR 109 later) Chartres 4 Chartres 130 Chartres 109 mid 11th century Benedictine establishment of St Père-en-Vallée (later evidence from 1100) Scraps of polyphony destroyed in fire in WWII some in Winchester rep

Answer 7

contrary motion parallel 4ths longer phrases out of shorter ones meeting on occursus 109 - organal voice above and cadence at octave, expanding range to 10th little distinction between parts

Answer 8

new organum! conscious creation of form with beginning, middle and end teaching through example era of troubadour and love songs

Answer 9

a fatass lot Rationalization of practice through observation and classification. Coincides with the earliest notations of the New Song in Northern France and Aquitaine, songs on the edge of the liturgy such as festal songs, processional songs and Benedicamus Domino. Organal voice above. Organum as a more specialized term. Discantus word taking over from diaphonia. Organum – upper voice is a melisma over the sustained single notes of the vox principalis. Discant – more or less note against note counterpoint.

Answer 10

c.1100 Northern France Introduces concept of each modi organizandi which serve as means of distinguishing various types of organum beginning and ending in different ways. Attack on Guido Polyphony as pitches (voices).

Answer 11

4th, 5th, 8ve suggested not parallelism or octave double as base organal following with 4th and 5th conjunct beginning on unison and disjunct fourth and fifth more than one note in organal voice against cantus copula (not occursus anymore) octave unison endings 8 notes before internal cadence

Answer 12

Kyrie Trope example shows an organal setting based on the melody in which organum is exclusively above. Making copula at the end of words and at significant points in the verse. Fourth and fifth heavy. Slightly old fashioned. Benedicamus Domino example shows three different ways of realising it – choice. Taking a big chant melisma and singing to words Benedicamus Domino then setting polyphonically. Shows greater sense of direction with evidence of voice leading.

Answer 13

c.1100 Northern France Foreshadows 13th century discant treatises with organum as interval progressions not phrase segments with beginning, middle and end.

Answer 14

no general rules organal voice as dominant compositional play minor 3rd use options copula

Answer 15

Proceed by choice of end, beginning and middle. Limit of phrase Recommended intervals of unison, 3rd, 4th, 5th, 6th and octave Organum above or below cantus in its beginning. 8 note phrases. copula by contrary motion

Answer 16

1100 promotes contrary motion Not instruction on how to generate entire phrases – generation of stock phrases. Continuation of Guido. Teaching by example not definition.

Answer 17

Little concrete instruction on how to make organum Countering single intervals in the cantus with groups of notes in organal voice. Contrary motion as ‘easy’ convention. Voice crossing Cadence at the unison or octave at the end of each word Contrary motion More than one note in organal part against one note in the chant. Organal voice can be above or below. Organal voice may include two or more notes against one in the principal voice. Attention to melodic progressions in the chant and response to ascending intervals with descending motion and to falling with rising. High, middle and low regions with unison cadences in the middle and octaves at others.

Answer 18

Examples of the teaching provided by Ad organum faciendum and beyond this. Duchy of Aquitaine 1154 – middle third agricultural region of France. Land that resisted the Carolingian reign and the upheaval of elsewhere. Duke William IX of Aquitaine (1071-1126) First known troubadour, first poet in any medieval vernacular about whom much is known. 11 songs of doubtful authenticity attributed to him. Writing the first crusade songs. Eleanor of Aquitaine court promotes crusade songs

Answer 19

New beginning in the 12th century with festal songs only incidentally related to the liturgy. Communal, festal, devotional and may have been sung in procession or cloisters. Secular (of their age) and in the medieval sense of the word. New poetry Rhythmic or accentual poetry and rhymed – defined through sound units. Innovation of new forms. Versus on edge of liturgy. Only finals are D and G (one E example). Successive polyphony notated as verses following the same structure per line or strophe. upper and lower not principal and organal

Answer 20

four sources c.1200 Sets Latin religious poetry (rhymed and strophic, accentual texts) called versus by scribes. Some end with ‘Benedicamus Domino’ or ‘Deo gratias’ implying Offices function. Differences in some versions – scribes differ showing different performance choices. From the middle third of France. Festal songs that are incidentally related to the liturgy – secular in medieval sense and looking beyond devotional worship.

Answer 21

Rhythmically emancipated organal voice by allowing clusters of many notes against single pitches or 2-3 note neumes in the principal voice. Texture varies from note-against-note to florid which would be referred to as ‘organum’ and ‘discant’ in Parisian terminology but here upper voice melismata less ambitious. Duration unknown. Versus discant passages – principal sonorities octave 5th and unison. Fourths and thirds less. Prominent terminal melismas common in the versus – falling on the penultimate syllable of a text line or strophic unit. Constructed in short motives. Melismatic style. Lower notes can be elongated to accommodate upper voice.

Answer 22

Aquitaine – likely copied at Abbey of St-Martial of Limoges 12th century Divided into A-I (fols. 32-39, 48-79) and A-II (fols. 40-47) EARLY (c.1100) 12th century. A-I loosely ordered by genre. A-II by number of voices. Likely personal books.

Answer 23

Dry point line providing orientation. Mathematical use of space. Pitches changing during transcription. Successive notation – one line in which the first voice is written out on the first strophe and second voice on the second so what looks like monophony is polyphony. Score notation – only one in A-II.

Answer 24

Aquitaine 12th century Fols. 149-167 MIDDLE 12th century Organised by number of voices. Likely personal books.

Answer 25

Ruling and notation changes – lines clearer with four or five very close together (modern day stave). Text line and dividing line between voices. Score notation

Answer 26

Aquitaine 12th century C-I (fols.15-22) and C-II (fols. 23-32) as early and C-III (fols. 33-44) and C-IV (fols. 45-92) as MIDDLE 12th century Organised by number of voices. Likely personal books. C-II mixture of handsC

Answer 27

Aquitaine 12th century notation features common to manuscripts from Catalonia an one from Apt near Marseille D-I (fols. 1-16) and D-II (fols. 17-24) LATE 12th century Organised by number of voices. Likely personal books.

Answer 28

Ora pro nobis D-II, fol.22 - Prose text. Free organum style of Parisian polyphony. Benedicamus Domino/Stirps lesse A-I 60v, B 166v - Double texted but not motet as the Bened melody from melisma in Shirps Jesse rep

Answer 29

North-central France, perhaps assembled at Cluny c.1300 Incorporates liturgy, ‘history’ and a pilgrim’s guide to the great shrine of Saint James of Compostela. 20 polyphonic pieces.

Answer 30

Book 1 contains monophonic items for masses and offices for feasts of St James, later addition of polyphonic voices for two pieces. End of Book 5 contains polyphonic supplement of 14 pieces related to St James and 4 unassigned items.

Answer 31

Songs called conductus not versus – suggests processional natu. Central French notation not Aquitanian. Dissemination and reworking of Aquitanian song.

Answer 32

All for two voices. Early Parisian polyphony. Half conductus discantal and other half fairly florid. Discantal group ties to codex. ‘Congaudeant catholici’ has florid upper voice on separate staff above principal tune and discantal counterpoint in red ink above lower voice – two alternatives not three part polyphony. Recurrent figures. Florid segments mostly end on octave unison. Unison if last note approached from below, octave if above. Initials less stable. Established conventions or habits giving uniformity.

Answer 33

Congaudeant Catholici, fol.185r 2 part polyphony with an extra ret notated part. All 3 parts together don’t really work; is it just an alternative for 2 voice? Top two parts together less good.

Answer 34

32-39 and 48-79 c.1100

Answer 35

40-47 c.1100

Answer 36

149-167 c.1150

Answer 37

15-22 c.1100

Answer 38

23-32 c.1100

Answer 39

33-44 c.1150

Answer 40

45-92 c.1150

Answer 41

1-16 c.1200

Answer 42

17-24 c.1120

Answer 43

A-I, A-II, C-I, C-II

Answer 44

B, C-III, C-IV

Answer 45

D-I and D-II

Answer 46

The vox organalis became increasingly independent throughout the period of c.900-c.1100 in comparison to the more statis chant voice in the vox principalis. The latter was often a pre-existing voice in which the organum was added to for the beginnings of polyphonic development. This later grew to a changed perception of counterpoint that saw both voices moving at times independently, showing moments of florid texture in both voices. Growth in voices allowance to cross. Voices became gradually more independent. Melodic separation – varying according to meaning of words with Micrologus. Fleury beginning to show separation in both voices as one or the other begins to pull apart with extra notes. Chartres really emphasising contrary motion, especially with shorter phrases meeting at an occursus. Chartres 109 has organal voice mostly above. Voices crossing in Chartres. Milan verse treatise – organal voice becoming dominant. Codex Calixtinus – florid.

Answer 47

Emphasis at the beginning of the period on fourths and fifths, later allowing the presence of other intervals such as sixths and thirds. The intervallic focus prevailed whilst a new focus on contrary motion developed. Boundary tones restricting the range of the voices. C and G in Enchiriadis. F introduced as boundary tone with Paris. Winchester Tropers - Boundary tones not fixed pair of pitches but still present. Hierarchy in Micrologus – 4th preferred but also major third allowed and tone favoured in occursus. Fleury shows some use of the flattened second and variety beyond fourths. Milan verse use of minor third.

Answer 48

Movement from modal integrity with a Daseian tetrachord structure to greater pitch diversity. Cadences developing from meeting on unison c.900-1000 and then meeting on a fourth in internal cadences and the introduction of occursus to extend cadence writing with Micrologus. Winchester Troper extending cadences by an extra note. Fleury has similar phrase endings across chants and cadencing at unison from one note below. Modally derived. Shorter phrase endings in Chartres and Chartres 109 using cadences at the octave. Chartres expanding range to a 10th. Occursus changed to copula (Milan verse and prose) Montpellier treatise meeting copula by contrary motion. Codex Calixtinus florid segments ending on octave unison. Unison if last note approached from below and octave if above.

Answer 49

Some practices in the Winchester Troper finding no support in theory. Suggested reliance on the theory of the earlier treatises – we don’t have evidence of the polyphony in practice at this time and it is somewhat unsure how widespread the writings would have been. Movement from examples in the treatises that exemplify writing and the treatises that later use writing to explain what is evident in the examples. Later De Musica emphasising contrary motion, cadence at unison and octave, voice crossing and organal voice above or below.

Treatises and Manuscripts Flashcards

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