{"id":595,"date":"2017-02-02T15:33:42","date_gmt":"2017-02-02T15:33:42","guid":{"rendered":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/?post_type=chapter&p=595"},"modified":"2021-03-19T03:45:43","modified_gmt":"2021-03-19T03:45:43","slug":"organum-wikipedia","status":"web-only","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/chapter\/organum-wikipedia\/","title":{"raw":"Organum and the Development of Polyphony - Mode","rendered":"Organum and the Development of Polyphony – Mode"},"content":{"raw":"The flowering of the Notre Dame school of polyphony from around 1150 to 1250 corresponded to the equally impressive achievements in Gothic architecture. The \u00a0center of activity was at the cathedral of Notre Dame itself. Sometimes the music of this period is called the Parisian school, or Parisian organum. It also represents the beginning of what is conventionally known as Ars antiqua<\/i>. Rhythmic notation first appeared in western music, mainly in the form of the rhythmic modes.\r\n\r\nStyles and Forms<\/strong>\r\nTwo \u00a0styles of Organum existed during this period (1) \u00a0note-against-note and (2)\u00a0 florid\u00a0 many-notes against long-held notes called melismas.\u00a0<\/strong>.Note this is a little different use of the term, melisma<\/span>\u00a0than that expressed in the preceding topic\u00a0 (melismatic chant). IN melismatic chant, the melisma\u00a0 is contrasted with a single note whereas in the melismatic\u00a0 chant it is contrasted with\u00a0 a single syllable of the text.)\u00a0 \u00a0\u00a0Melisma <\/strong>is\u00a0used frequently in other musical periods to describe music.\r\n\r\nhttps:\/\/courses.lumenlearning.com\/musicappreciation_with_theory\/chapter\/721\/<\/span>\r\n

The simplest form of Organum<\/b>\u00a0 comprises two musical voices or melodies.\u00a0 One melody is a Gregorian or plain chant melody, and the other is an additional melody added\u00a0 in parallel at the interval of a perfect fourth or fifth. \u00a0\u00a0Thus it is called\u00a0parallel organum<\/strong>. \u00a0The texture of this style\u00a0 could be viewed either as heterophony \u00a0(added voice \u00a0viewed vertically as \u00a0as harmony) \u00a0or polyphony (added voice viewed horizontally as \u00a0an additional melody).<\/p>\r\nOrganum evolves\u00a0 to\u00a0 more complex forms such as improvised \u00a0organum \u00a0where one\u00a0 part is composed\u00a0 while another part is\u00a0 \"improvised\" (sung\u00a0\"by ear\").\r\n

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\r\n\r\nThis listening file \u00a0is an example of how early organum might have sounded as a result of research or scholars at \u00a0St John's college of Cambridge England. Listen for parts of parallel motion as well as parts which are more independent of each other.\u00a0 When the parts sound more independent,\u00a0 we call this\u00a0 \"contrary\" motion\".\u00a0 Listen!!\r\n\r\n<\/div>\r\nhttps:\/\/youtu.be\/F5vqAU_EqG4\r\n
\r\n\r\n\r\nFree Organum:<\/strong>\u00a0 Two of organum's \u00a0greatest innovators are \u00a0L\u00e9onin and P\u00e9rotin <\/strong>- \u00a0<\/strong>\"the first international composers of polyphonic music\". \u00a0They promoted the \u00a0next development after parallel organum \u00a0- the practice of free organum<\/strong>. The earliest examples of this style dating from around 1020\u20131050\u00a0utilize \u00a0parallel motion and oblique motion<\/strong>\u00a0 with the upper voice moving while the tenor (lower voice) \u00a0holds one note.\r\n\r\nhttps:\/\/youtu.be\/evBEmGdbsTk\r\n\r\n\r\nThe rhythmic modes:\u00a0<\/strong>\u00a0Listen to the first three minutes of \u00a0Gaude Maria Virgo, \u00a0 At the beginning, 0'00\", \u00a0you hear long \u00a0extended notes of the chant \u00a0with improvised parts above. \u00a0The chant notes \u00a0are too long to have a feel or sense of the chant melody. This is because the chant melody is serving as a bass or foundation for the improvised parts sung above it. \u00a0 At 0'47\" \u00a0the chant \u00a0is sung \u00a0alone \u00a0in monophonic texture. At \u00a02'07\" \u00a0 the return of florid organum occurs above the sustained chant notes as in the beginning. Note in this section the obvious trochee rhythm pattern\u00a0in the \u00a0free improvised higher part:\u00a0 long - \u00a0short -- \u00a0long - short -- long \u00a0- short. <\/strong><\/span>(see rhythmic modes discussed below.<\/strong>. This represents the use of\u00a0 one of the rhythmic modes which appear in music of this time.<\/span> Composers are beginning to organize music rhythmically and are introduce rhythmic patters (rhythmic modes).<\/span>This \u00a0introduction of contrary motion (voices moving in opposite directions) instead of only \u00a0parallel motion \u00a0- \u00a0same direction) led to freer independent \u00a0musical lines resulting in \u00a0<\/span>counterpoint or true \u00a0polyphony<\/strong> (two or more independent voices. <\/span>Free Organum<\/strong>:\u00a0Free organum places \u00a0places the chant in the lower voice. Florid or free \u00a0organum has anywhere from two to six notes in the added voice sung over a single sustained pitchers in the original chant melody now called the tenor \u00a0from the Latin <\/span>tenere<\/i> meaning \"to hold\". The original \u00a0plainchant melody \u00a0(the tenor) \u00a0is \u00a0expanded into a succession of long held notes while the upper organal voice moves in extensive melismas<\/strong> on the long protracted notes s \u00a0of the lower voice.<\/span>\r\n\r\n<\/div>\r\n<\/div>\r\nRhythmic modes\r\n<\/strong>A rhythmic\u00a0<\/span>mode<\/i>\u00a0 was understood simply \u00a0as a patterned sequence of long and short \u00a0note values. The expressions \"rhythmic mode\" and \"modal rhythm\" \u00a0names applied to this medieval practice. \u00a0Rhythmic modes were first used by the Notre Dame School \u00a0The patterns are all in \u00a0a \u00a0ternary meter. The six most often described, form the nucleus of the system, are (Apel 1961, 220; Reese 1940, 272). One may be familiar with thiese mores in the study of various forms of poetry in English literature. :<\/span>\r\n<\/strong>\r\n
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    \r\n \t
  1. Long-short (trochee)<\/li>\r\n \t
  2. Short-long (iamb)<\/li>\r\n \t
  3. Long-short-short (dactyl)<\/li>\r\n \t
  4. Short-short-long (anapest)<\/li>\r\n \t
  5. Long-long (spondee)<\/li>\r\n \t
  6. Short-short (pyrrhic)<\/li>\r\n<\/ol>\r\n<\/div>\r\nNotre Dame school\r\n<\/strong>he Cathedral of Notre Dame and the University of Paris served as the center of musical composition and as a transmitter of musical theory in the 12th and 13th centuries. The presence of L\u00e9onin and P\u00e9rotin at the Notre Dame School made Paris the center of the musical world in the 12th century. As \u00a0Magister Cantus of the Notre Dame, L\u00e9onin compiled the 'Magnus Liber In hindsight, this turned out as a major event, as this was the first large-scale project attributable to a single composer. Not only is it a compilation for practical use during Mass and Office compassing the ecclesiastic year, \u00a0it also introduces the use of the <\/span>rhythmic modes<\/strong>\u00a0(see above in Gaude \u00a0Maria Virgo) as a creative principle. \u00a0<\/span>\"Viderunt omnes\"<\/strong> and <\/span>\"Sederunt principes\"<\/strong> \u00a0were performed in Notre Dame in 1198 on New Year's Day and in 1199.\r\n<\/span>\r\n
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    \r\n\r\nListen to this beautiful example of Viderunt Omnes. The Chant melody is in the lower voice. If you listen carefully you can hear the \u00a0separate syllables of the chant Vi--de--runt--Om--nes \u00a0sung on the changing pitches of the chant song. \u00a0Above this foundation is the improvised organum. At 6'17\" the chant melody is sung in unison. Then \u00a0the organum continues again. You may not need to listen to all\u00a0 of this work. It is included here as it is an especially beautiful rendition. \u00a0In addition listen to the rhythm pattern \u00a0of the free upper part the long short alluded to above is present (Rhythmic mode)\r\n\r\n<\/div>\r\nhttps:\/\/youtu.be\/W6TjML5oor4\r\n\r\nP\u00e9rotin, a generation removed from L\u00e9onin, \u00a0introduced different rhythmic \u00a0modes, \u00a0increasing the rhythmic organization and diversity of the parts.\u00a0These \u00a0Organa that were created in Paris were disseminated throughout Europe.<\/span>\r\n\r\n<\/div>\r\nAs Parisian Organum is rooted in Gregorian chant tradition, it is categorized under Ars antiqua<\/a>\u00a0(Old Art)\u00a0 which is thus called in contrast to the Ars nova<\/a>\u00a0 \u00a0(New Art) which embarked on new forms that were in every sense original and no longer based on Gregorian chant and as such consisted a breach with the musical practice of the ancients. \u00a0This division represents a significant change in the evolution of music in the middle ages. Ars Nova, \u00a0discussed \u00a0in the next topic follows.\r\n\r\nMode in the Middle Ages and Renaissance:\r\n<\/strong>We are use to hearing music of today in two modes - major and minor ( review \u00a0the topic - Scales, \u00a0Module 1.)<\/span>\r\n<\/strong>\r\n\r\nModal scales\r\n<\/span><\/strong>https:\/\/en.wikipedia.org\/wiki\/Modus_(medieval_music)\r\n<\/span><\/span>Modified by Robert Ford<\/span>\r\n
    Music of today uses primarily two \u00a0modes or scales - the major scale and the minor scale (See scales in Module \u00a01). However when we listen to \u00a0early music, the term there are many more \u00a0modes which composers used: \"Mode\" \u00a0(or \"tone\") referred to any of eight sets of pitch intervals to form the \u00a0musical scale upon which a melody is constructed. Each\u00a0 mode\u00a0 represents\u00a0 the tonality of a piece. It is associated with melodies (psalm tones) in Gregorian chant. These Medieval modes (also called Gregorian mode or church modes<\/i>) were numbered, either from 1 to 8, or from 1 to 4 in pairs (authentic\/plagal)<\/div>\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n
    Authentic modes<\/th>\r\nPlagal modes<\/th>\r\n<\/tr>\r\n
    I.<\/td>\r\nDorian<\/td>\r\nII.<\/td>\r\nHypodorian<\/td>\r\n<\/tr>\r\n
    III.<\/td>\r\nPhrygian<\/td>\r\nIV.<\/td>\r\nHypophrygian<\/td>\r\n<\/tr>\r\n
    V.<\/td>\r\nLydian<\/td>\r\nVI.<\/td>\r\nHypolydian<\/td>\r\n<\/tr>\r\n
    VII.<\/td>\r\nMixolydian<\/td>\r\nVIII.<\/td>\r\nHypomixolydian<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\nVirtual Keyboard:<\/strong>\u00a0<\/span> You can actually play and hear different\u00a0 modes using the Virtual keyboard. .Click on the link\u00a0 below: http:\/\/www.apronus.com\/music\/flashpiano.htm<\/a>\r\n

    Read these\u00a0directions to get started:<\/b> First play the major and minor scales which we are use to hearing \u00a0in today's music. \u00a0Play the major scale going from \u00a0c to c playing only the white keys and then the minor scale going from a to a \u00a0- again using only white keys. Now try the \u00a0authentic modes (above) starting with the dorian (d to d), then the phrygian, e to e, the lydian f to f, and mixilodian \u00a0g \u00a0to g.<\/p>\r\nReferences<\/span>[<\/span>edit]<\/span><\/span>\r\n

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