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Medieval Composers Sacred Music Part 2
Medieval Composers Sacred Music Part 2

... Machaut further developed the motet as both a sacred and secular form – particularly the ballade (love song). He wrote Messe de Nostre Dame (Notre Dame Mass) – the first complete cycle of the mass ordinary (Kyria, Gloria, etc.) by a single composer. His music is considered some of the finest written ...
Polyphonic
Polyphonic

... voice to enhance the harmony, developed in the Middle Ages. Depending on the mode and form of the chant, a supporting bourdon may be sung on the same text, or the melody is followed in parallel motion (parallel organum) or a combination thereof.  Organum was originally improvised; while one singer ...
leonin and perotin go to school
leonin and perotin go to school

... composition was the cathedral of Notre Dame in Paris. The style of polyphony that Leonin composed was called organum. Organum was created by adding a second voice or second melody to the Gregorian chant. It ran parallel to that chant at the interval of a fourth, either above or below. Leonin's succe ...
CHAPTER 4
CHAPTER 4

... • Intended to teach church singers how to improvise polyphonic music on the spot—to take a given Gregorian chant and make it sound more splendid by adding one or more lines around it. ...
Medieval Music - Gregorian Chant
Medieval Music - Gregorian Chant

... idea of having two melodic lines sung simultaneously at parallel intervals, usually at the fourth, fifth, or octave. The resulting hollow-sounding music was called organum. By the eleventh century, two or even three melodic lines were no longer moving in parallel motion, but contrary to each other, ...
Medieval - Town of Mansfield, CT
Medieval - Town of Mansfield, CT

... and used it as a way to teach his singers more music in less time. Hildegard von Bingen (1098-1179) First recorded Western composer, surprisingly a ______________. Leonin (c.1135 - c.1201) Worked at Notre Dame Cathedral in Paris and wrote the important book of organum called ___________________, or ...
Early Polyphony - Scott Foglesong
Early Polyphony - Scott Foglesong

... Florid (Melismatic) Organum • Probably somewhat later style than parallel • Melisma: passages with many notes set to a single syllable of text. Plural melismata; adjective melismatic. ...
Medieval - Town of Mansfield, CT
Medieval - Town of Mansfield, CT

... The earliest music was passed on by word of mouth in what was called the oral tradition. Traditional music began in the 6th century when Pope Gregory wrote down plainsong chant. All plainsong chant had only one vocal line. Music that is performed in unison is called monophony. The adjective form is ...
organum - Tistory
organum - Tistory

... First notated in the 9th century(Musica enchiriadis-Music Handbook, contains the earliest examples of notated polyphony) ...
Early Medieval Music - Nutley Public Schools
Early Medieval Music - Nutley Public Schools

... Pope Gregory often credited with the development of Gregorian chant, but this is debated by scholars Used church modes—Ionic, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian Improvisation was common ...
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Organum

Organum (/ˈɔrɡənəm/) is, in general, a plainchant melody with at least one added voice to enhance the harmony, developed in the Middle Ages. Depending on the mode and form of the chant, a supporting bass line (or bourdon) may be sung on the same text, the melody may be followed in parallel motion (parallel organum), or a combination of both of these techniques may be employed. As no real independent second voice exists, this is a form of heterophony. In its earliest stages, organum involved two musical voices: a Gregorian chant melody, and the same melody transposed by a consonant interval, usually a perfect fifth or fourth. In these cases the composition often began and ended on a unison, the added voice keeping to the initial tone until the first part has reached a fifth or fourth, from where both voices proceeded in parallel harmony, with the reverse process at the end. Organum was originally improvised; while one singer performed a notated melody (the vox principalis), another singer—singing ""by ear""—provided the unnotated second melody (the vox organalis). Over time, composers began to write added parts that were not just simple transpositions, thus creating true polyphony.
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