1. Organum In the early 9th century, the earliest type of polyphonic music that appeared was organum. It was based on Gregorian chant and added to its melody. The polyphonic form of the new melody (voice) is mostly improvised. It can be divided into four types: 1. Parallel Organon (As the moon goes, so do I): Adding parallel parts separated by four or five degrees below the existing chant melody, (picture), see the textbook examples 13. The main part above is the chant melody, and the additional melody below is called the Organon part, which progresses in parallel fifths. It also has a compound form, where the two voices are each overlaid by an octave, see Example 14. Debussy was good at using this ancient interval to highlight the hollow effect as a harmonic color (medieval mode). For the variation of Parallel Organon, see Example 15, from the consonant degree to the fourth degree and then to the consonant degree. 2. The other type, Organon, which changes more freely, has parallel and diagonal melodic progressions, which became popular in the 11th century (picture). It is mentioned in many treatises. The number of reverse and diagonal melodies increased and appeared. The voices are interlaced. Two polyphonic manuscripts from the 11th century, the Winchester Psalms of Extras, retain a wealth of Organon, recorded in Newm notation. The combination of intervals is mainly octaves, fifths and fourths. 3. At the beginning of the 12th century, new changes occurred in the Organon. The additional Organon parts were moved from the bottom to the top, and gradually developed into gorgeous, fluid, and decorative features, thus forming the Gorgeous Organon (picture). Organons of this style appear in some manuscripts from the Abbey of Compostela in Spain and the Martial Abbey in Limoges, France. It can be seen from this that the tune of the chant has changed, the sound has become longer, the tune is no longer very obvious, and it only serves as a foil. From this time on, the chant melody used in polyphonic music began to be called tenor, a continuous part or a fixed melody (14th century). It is like the root of a big tree, making music rooted in religion, and its branches and leaves grow from The roots absorb nutrients (the functional progression of TSDT ultimately returns to the main chord). As the bass part, it is the foundation of music. 4. The quantity of Organon starts with the emergence of rhythmic patterns. In the development of notation, after the pitch is clear, rhythm begins to be noticed. It is also due to the requirements of the emergence of polyphonic music that multiple voices are together. The combination requires clear rhythm and pace control. In the 11th and 12th centuries, a set of rhythm patterns - six rhythm patterns (picture) - were formed. From the rhythm, we can see the "rule of thirds" beat, which is equivalent to what we now call eighths of a beat. At that time, this Considered "perfect". In musical practice, the use of these rhythms is much more flexible. With a fixed rhythm, the so-called "quantity" is formed. In all early music, there are often words such as "quantity canon" and "quantity notation", etc., which all mean that there are rules to be found in rhythm. 2. Discant (discant) The melody is sung according to a measured rhythm, resulting in a new polyphonic form (style) - Discant. Both voices (the fixed melody of the chant and the added voice above) organize the melody according to a rhythmic pattern, thus forming a tone-on-note texture in which the upper and lower voices proceed almost simultaneously, with the upper voice being more prominent. Looking at the score example on page 28 of the book, the upper and lower voices are almost one note to another. What rhythm pattern is used? See (picture), use modes 1 and 5. The textbook also mentions a type called Copra, which is rarely mentioned in general history books. There is a short entry in the Grove Music Dictionary that explains it. It uses a rhythmic pattern in the upper voice and preserves the original chant in the lower voice. persistent characteristics. Section 2 Polyphony of the Notre Dame School The development of polyphonic music in the 12th and 13th centuries mainly came from France, especially centered on Notre Dame de Paris, led by monks and some second- and third-rate composers. Therefore, the history of music will They were called the Notre Dame School, and they brought medieval music to its peak. (Picture) In the 12th century, the Gothic style appeared in art. It mainly refers to architecture. The Notre Dame de Paris we saw shows this style, with stone carvings, towering into the sky, arches, and movement. , there is a feeling of breaking away from gravity and losing all weight.

This style can also be found in other arts. Its outstanding feature is movement, which is manifested in music by the rhythmic movement of each part. In the history of music, "ancient art" compared to "new art" refers to this kind of Gothic-style polyphonic music. Represented by Notre Dame composers Léonan and Perrotin, they were two important figures in medieval polyphonic music. The Notre Dame School of Music formed and established new rules and traditions in the practice of polyphonic music creation and singing, especially in polyphonic rhythm notation and creation, which led to the development of Organon and Disconte polyphonic music. to perfection. Leonan's greatest achievement was the creation of Organon, and he was known as "the greatest Organon composer". He wrote a set of two-part ritual music for the church for one year, called "Oorganon". "Summa" is an important polyphonic music document in the Middle Ages. The original version no longer exists, and there are only a few manuscripts in some places. They were composed for the solo part of the responsorial chants in Mass and Hours. The music presents a comprehensive style, including The gorgeous Organon has Descant and original Gregorian chant unison styles. The alternation and contrast of styles highlight the composer's creative autonomy. Perrotin can be said to be the builder of the "cathedral" of Gothic music, and his innovations are richer than Leonan's. He once improved Leonan's "Complete Organon". His Organon changed the more improvisational flavor of the past and was written in a more precise rhythm, and the rhythm of the fixed-melody chants became denser and more The big innovations were to expand the number of voices from two to three or four and to add a Disconte (Clausula) part to the organon, thus making both the melody and the rhythm complex. , the possibility of further extension of polyphony begins here. The Notre-Dame School also developed another form of polyphonic music, the Condoctus. 3. Conductus conductus It has two forms: monophonic and polyphonic. We will talk about the monophonic conductus in the next chapter. Here we only talk about the polyphonic conductus. Its characteristic is that the fixed melody part is not like the chant tune used by Organon and Desconte, but is created by the composer himself, and has a flexible rhythmic organization; the texture has two to four parts. , three voices are more common, the voice progression is unified, and it is basically the Disconte style of note to note; the lyrics are in Latin, but they are not like the prose style liturgical language used by Organon, but are syllabic. Metrical poetry, generally of non-ceremonial content (religious and secular themes). Section 3 Motet 4. Motet motet Tracing the origin of motet starts with Clausula. The Clausula is actually a polyphonic passage in the Descontian style of the Organon (the history of Grout's music calls it the Descountian Clausura or instead of the Clausula - the same St. Many Clausulas can be written for the chanted melody, which can be selected according to the occasion). There are many Clausuras in the Organon works of Leonan and Perrotin, mostly in two voices, and the upper voice has no lyrics or Just a few syllables. (Look at the book examples, analyze, and then look at another example, press) Later, Clausura separated from Organon and added new Latin lyrics or French lyrics for the upper part, plus the lyrics of Clausura Pull becomes a motet. Let's look at Example 23 and add Latin lyrics to become a motet. It is two-part. Let's look at another example. A simple definition of this genre is polyphonic music with independent lyrics for the upper voice (one or two) in the 13th century. The upper part refers to the addition of parts. Not only is the music new, but this time the lyrics are also filled in with new secular content in the native language. This forms a genre with different melodies and different lyrics. It is the influence of religious music on secular music. Typical impact. It is precisely because of the randomness of the motet that it has been favored by composers of all ages. It is one of the important music genres (religious music) during the Renaissance and is a suitable form for composers to display their creative talents.

In the second half of the 13th century, rhythm in motets received more attention than harmony. The rapid development of rhythm directly led to the prosperity of rhythmic motets in the "Art Nouveau" period, and the concept of polyphonic creation began to develop. More innovation.