![]() Victor, and Petrus de Cruce (Pierre de la Croix). Surviving manuscripts from this era include the Montpellier Codex, Bamberg Codex, and Las Huelgas Codex.Ĭomposers of this time include Léonin, Pérotin, W. The clausulae, thus practised, became the motet when troped with non-liturgical words, and were further developed into a form of great elaboration, sophistication and subtlety in the fourteenth century, the period of Ars nova. Since, in fact, there were more than can possibly have been used in context, it is probable that the clausulae came to be performed independently, either in other parts of the mass, or in private devotions. Gradually, there came to be entire books of these substitutes, available to be fitted in and out of the various chants. The motet, one of the most important musical forms of the high Middle Ages and Renaissance, developed initially during the Notre Dame period out of the clausula, especially the form using multiple voices as elaborated by Pérotin, who paved the way for this particularly by replacing many of his predecessor (as canon of the cathedral) Léonin’s lengthy florid clausulae with substitutes in a discant style. The exception to this method was the conductus, a two-voice composition that was freely composed in its entirety. All of these genres save one were based upon chant that is, one of the voices, (usually three, though sometimes four) nearly always the lowest (the tenor at this point) sang a chant melody, though with freely composed note-lengths, over which the other voices sang organum. Composers of the period alternated florid and discant organum (more note-against-note, as opposed to the succession of many-note melismas against long-held notes found in the florid type), and created several new musical forms:clausulae, which were melismatic sections of organa extracted and fitted with new words and further musical elaboration conductus, which was a song for one or more voices to be sung rhythmically, most likely in a procession of some sort and tropes, which were additions of new words and sometimes new music to sections of older chants. ![]() This was also the period in which concepts of formal structure developed which were attentive to proportion, texture, and architectural effect. This was the period in which rhythmic notation first appeared in western music, mainly a context-based method of rhythmic notation known as the rhythmic modes. ![]() Sometimes the music of this period is called the Parisian school, or Parisian organum, and represents the beginning of what is conventionally known as Ars antiqua. The flowering of the Notre Dame school of polyphony from around 1150 to 1250 corresponded to the equally impressive achievements in Gothic architecture: indeed the centre of activity was at the cathedral of Notre Dame itself. ![]()
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