1076:
27:
1200:
325:
267:. This is born out by the differing versions of the discantus parts". Husmann also notes that a comparison of the repertory contained in the three manuscripts shows there "are a great many pieces common to all three sources" and that "the most reasonable attitude is obviously to consider the pieces in common to all three sources as the original body, consequently as the true
455:
style, the tenor uses rhythmic patterns as well as the upper part". These sections of polyphony were substituted into longer organa. The extant manuscripts provide a number of notational challenges for modern editors since they contain only the polyphonic sections to which the monophonic chant must
336:
of Notre Dame cathedral represents a transitional time for
Western culture. This time of change coincided with the architectural innovation that produced the structure of the Cathedral itself (earliest start of construction in 1163). A handful of surviving manuscripts demonstrate the evolution of
297:(fl. 1200), while others such as Heinrich Husmann note that the finding is from 'the rather slim report of Anonymous IV' and that 'as for its connections with Notre Dame Cathedral in Paris, the name of PĂ©rotin alone is adduced' in connection with his books having only been
181:
most likely to have originated in Paris and is known today from only a few surviving manuscripts and fragments, and there are records of at least seventeen lost versions. Today its contents can be inferred from the three surviving major manuscripts:
443:) is shown through the writing of organa. The practice of keeping a slow moving "tenor" line continued into secular music, and the words of the original chant survived in some cases as well. One of the most common genres in the
217:
but careful study has revealed many details regarding origin and development. "Evidence of lost Notre Dame manuscripts, including the names of their owners, is plentiful indeed", tracing back to year 1456 when manuscript
1230:
345:
that was used at the cathedral every day throughout the year. While the concept of combining voices in harmony to enrich plainsong chant was not new, there lacked the established and codified
411:. This system is referred to as mensural music as it demonstrates the beginning of "measured time" in music, organizing lengths of pitches within plainchant and later, the
1237:
479:
289:(1135–c.1200) and this conclusion is drawn from the writings of Anonymous IV. Though it is a controversial topic among scholars, some believe parts of the
1371:
419:
one voice sang the notes of the
Gregorian chant elongated to enormous length called the tenor (from Latin 'to hold'), but was also known as the
26:
960:
659:
1493:
1223:
259:
but rather enlarged forms of it, differing from each other. In fact, these manuscripts embody different stylistic developments of the
1129:
150:
1010:
246:
Catalogues referring to other lost copies attest to the wide diffusion through
Western Europe of the repertoire later called
1503:
431:, the "vining voice") were notated above the tenor, with quicker lines moving and weaving together, a style also known as
301:. This 'by no means confirms that PĂ©rotin himself was active at Notre Dame, or anywhere else in Paris for that matter'.
141:
around the end of the twelfth and beginning of the thirteenth centuries, though it is well agreed upon by scholars that
660:"The Enlargement of the Magnus liber organi and the Paris Churches St. Germain l'Auxerrois and Ste. Geneviève-du-Mont"
828:
755:
590:
165:. Today it is known only from later manuscripts containing compositions named in Anonymous IV's description. The
145:
contributed a bulk of the organum in the repertoire. This large body of repertoire is known from references to a
255:
Heinrich
Husmann summarizes that "these manuscripts, then, do not represent any more the original state of the
1266:
223:
1336:
951:
133:. This collection of organum survives today in three major manuscripts. This repertoire was in use by the
866:
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1459:
1121:
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892:"Choosing a Thirteenth-Century Motet Tenor: From the Magnus liber organi to Adam de la Halle"
235:
1498:
1203:
1040:
996:
369:
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had one sole contributor, though it is noted by scholars that large parts were composed by
8:
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itself, particularly in the field of composition mentioned by
Anonymous IV, the
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209:(WolfenbĂĽttel Cod. Guelf. 1099 Helmst.) French manuscript | after 1250 A.D.
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203:(WolfenbĂĽttel Cod. Guelf. 628 Helmst.) Saint Andrews, Scotland | 1250 A.D.
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The rhythm of twelfth-century polyphony : its theory and practice
691:
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155:"Magnus liber organi de graduali et antiphonario pro servitio divino"
1045:
286:
973:
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616:"Interrelationships among the Graduals of the Magnus Liber Organi"
1159:
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158:
130:
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techniques to enable the rational construction of such pieces.
239:
142:
988:
823:. Roesner, Edward H. Monaco: Editions de l'Oiseau-Lyre. 1993.
412:
389:
169:
is regarded as one of the earliest collections of polyphony.
138:
122:
439:) to one where multiple lines all carried the same weight (
238:, the first is thought to have originated in the cathedral
213:
These three manuscripts date from later than the original
480:"Notre Dame Manuscripts and Their Owners: Lost and Found"
707:"The Origin and Destination of the Magnus Liber Organi"
399:
The innovations at Notre Dame consisted of a system of
368:
of the later thirteenth and fourteenth centuries (see
319:
1245:
658:Husmann, Heinrich; Briner, Andres P. (1963-07-01).
582:
Music and ceremony at Notre Dame of Paris, 500-1550
316:(1989), and by Edward Roesner (1993–2009).
242:of St Andrews, Scotland, and less is known about
1485:
578:
435:. The development from a single line of music (
1231:
1004:
961:Journal of the American Musicological Society
896:Journal of the American Musicological Society
820:Le Magnus liber organi de Notre-Dame de Paris
664:Journal of the American Musicological Society
657:
750:. LĂ©onin. Westport, Conn.: Greenwood Press.
273:
1238:
1224:
1011:
997:
585:. Cambridge : Cambridge University Press.
403:which included patterns of short and long
25:
915:
778:
356:represents a step in the development of
323:
236:Herzog August Bibliothek (Ducal Library)
195:Biblioteca Medicea-Laurenziana, Florence
172:
889:
704:
524:
477:
1486:
423:As many as three voices, known as the
384:style of architecture; just as ornate
380:displays a connection to the emerging
308:has been published in modern times by
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525:Roesner, Edward H. (September 2001).
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781:"The Structure of Notre-Dame Organa"
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226:. Of the two others, referred to as
392:, organa were written to elaborate
320:Styles and Genres of the Repertoire
13:
944:
478:Baltzer, Rebecca A. (1987-07-01).
14:
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1494:Medieval music manuscript sources
1246:Medieval music manuscript sources
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614:Smith, Norman E. (January 1973).
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466:
396:, which too was considered holy.
222:first appeared in the library of
1199:
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451:, which are "sections where, in
197:) 1,023 compositions | 1250 A.D.
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890:Bradley, Catherine A. (2019).
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527:"Who 'Made' the Magnus Liber?"
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341:elaboration of the liturgical
1:
1267:British Library, Add MS 29987
459:
1337:Llibre Vermell de Montserrat
779:Tischler, Hans (July 1977).
415:genre. In the organi of the
7:
1504:13th-century books in Latin
871:publications.cedarville.edu
744:Waite, William G. (1973) .
10:
1520:
908:10.1525/jams.2019.72.2.431
705:Husmann, Heinrich (1963).
278:It is unknown whether the
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579:Wright, Craig M. (1989).
543:10.1017/S0261127901001061
388:were built to house holy
293:may have been revised by
274:Contributors to the Liber
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161:music theorist known as
16:13th collection of music
1460:Ars cantus mensurabilis
1122:Ars cantus mensurabilis
958:Fragment at Aberdeen".
328:Folio 8 of manuscript F
1056:Philippe le Chancelier
851:: CS1 maint: others (
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115:(English translation:
1473:The Berkeley Treatise
1467:De Mensurabili Musica
1136:De Mensurabili Musica
1130:Johannes de Garlandia
723:10.1093/mq/XLIX.3.311
711:The Musical Quarterly
484:Journal of Musicology
327:
269:Magnus Liber organi".
173:Surviving Manuscripts
151:Johannes de Garlandia
137:composers working in
118:Great Book of Organum
1183:Also music theorist*
1041:Albertus Parisiensis
376:). The music of the
187:Florence Manuscript
125:, is a repertory of
20:Magnus Liber Organi
1442:Worcester Fragments
1386:Robertsbridge Codex
1365:Old Hall Manuscript
1330:Laudario di Cortona
1302:Florence Manuscript
956:Magnus Liber Organi
531:Early Music History
407:known as longs and
304:The music from the
291:Magnus Liber organi
179:Magnus Liber organi
112:Magnus liber organi
21:
1428:Trinity Carol Roll
1421:Squarcialupi Codex
954:(Summer 1978). "A
364:and the intricate
330:
207:WolfenbĂĽttel 1099
19:
1481:
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1435:Winchester Troper
1407:Selden Carol Book
1358:Montpellier Codex
1323:King's Manuscript
1309:Las Huelgas Codex
1213:
1212:
1116:Franco of Cologne
1099:Montpellier Codex
1036:Notre-Dame school
785:Acta Musicologica
620:Acta Musicologica
201:WolfenbĂĽttel 677
135:Notre-Dame school
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72:Publication place
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968:(2): 326–343.
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902:(2): 431–492.
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867:"Magnus liber"
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791:(2): 193–199.
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490:(3): 380–399.
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347:musical theory
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405:musical notes
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59:Musical score
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626:(1): 73–97.
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106:Magnus Liber
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67:13th century
1499:Ars antiqua
1400:Rossi Codex
1316:Ivrea Codex
1021:Ars antiqua
917:10852/76335
429:vinnola vox
334:early music
249:ars antiqua
191:Pluteo 29.1
87:.cedarville
1488:Categories
876:2020-12-09
460:References
456:be added.
386:cathedrals
362:plainchant
343:plainchant
339:polyphonic
93:_polyphony
1155:Conductus
1109:Theorists
1029:Composers
934:202522259
926:0003-0139
847:cite book
731:0027-4631
684:0003-0139
559:190695312
551:0261-1279
504:0277-9269
441:polyphony
437:monophony
366:polyphony
153:and to a
129:known as
64:Published
43:Anonymous
1204:Category
1190:Ars nova
1170:Trouvère
839:17699186
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