2 edition of rhythm of twelfth-century polyphony found in the catalog.
rhythm of twelfth-century polyphony
William G. Waite
|Series||Yale studies in the history of music -- vol.2|
|The Physical Object|
|Number of Pages||254|
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The Rhythm of Twelfth-Century Polyphony: Its Theory and Practice (Yale Studies in the History of Music, V. 2.)Cited by: The Rhythm of Twelfth-Century Polyphony: Its Theory and Practice (Yale Studies in the History of Music) Hardcover – January 1, by William G. Waite (Author) › Visit Amazon's William G.
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The rhythm of twelfth-century polyphony, its theory and practice. [William G Waite; Léonin] -- Contains transcription of Leonin: Magnus liber organi de.
The Rhythm of Twelfth-century Polyphony: Its Theory and Practice Volume 2 of Yale studies in the history of music, ISSN Author: William G.
Waite: Contributor: Herzog August Bibliothek: Publisher: Yale University Press, Length: pages: Export Citation: BiBTeX EndNote RefMan. Buy The Rhythm of Twelfth-Century Polyphony, Its Theory and Practice by William G. Waite from Waterstones today. Click and Collect from your local Waterstones or get FREE UK delivery on orders over £ The rhythm of twelfth-century polyphony: its theory and practice Item Preview The music is transcribed from the facsim.
of Leonin's Magnus liber rhythm of twelfth-century polyphony book J.H. Baxter's An old St. Andrew's music book (London, ) Bibliography: p. Notes. Cut-off text on page or leaf due to tight binding.
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Full text of "The Rhythm Of Twelfth Century Polyphony". Léonin (also Leoninus, Leonius, Leo) (fl. s — d. ) was the first known significant composer of polyphonic was probably French, probably lived and worked in Paris at the Notre Dame Cathedral and was the earliest member of the Notre Dame school of polyphony and the ars antiqua style who is known by name.
The name Léonin is derived from "Leoninus,". Rhythm of Twelfth-Century Polyphony: Its Theory & Practice. by William G. WAITE. Write a review. The great advantage of the book, with all its limitations, is that it provides, however compromised, the entire Magnus Liberb in “modern” notation in one place.
The book was Waite’s doctoral dissertation at Yale and suffers from the. The Rhythm of Twelfth-Century Polyphony: Its Theory and Practice. Westport: Greenwood Press,With regard to the quotation from Bacon’s Opus Tertium, Chap Bacon mentions the five books of Augustine’s De music and intends the first five books, since he refers to the sixth book elsewhere, e.g., Chapter Rhythm of twelfth-century polyphony, its theory and practice.
Westport, Conn., Greenwood Press [, ©] (OCoLC) Document Type: Book: All Authors / Contributors: William G Waite; Léonin. The Rhythm of Twelfth-Century Polyphony: Its Theory and Practice With regard to the quotation from Bacon's Opus Tertium Bacon mentions the five books of Augustine's De music and intends the first.
The Rhythm of Twelfth Century Polyphony. New Haven: Yale University Press, Second edition Apart from a selective transcription of the organa dupla by Leonin, this dissertation contains many quotations from the contemporary theorists preceding the transcription.
60 Cf. Waite, The Rhythm of Twelfth-Century Polyphony, p. The fact that Boethius plays such an important role in Bacon's discussion of arithmetic, but a distinctly secondary role in his discussion of music, is not mentioned by Waite, but it further buttresses his own case for the influence of Augustine on the development of the system of.
William Waite, The Rhythm of Twelfth-Century Polyphony: Its Theory and Practice, Yale Studies in the History of Music, vol. 2 (New Haven, ). Waite The Rhythm of Twelfth-Century Polyphony: Its Theory and Practice. The Rhythm of Twelfth-Century Polyphony (New Haven, CT, ) The Rhythm of Twelfth-Century Polyphony.
partic- ular Leo Treitler, "Regarding Rhythm and Meter in the Ars Anti- qua," Mary Carruthers, The Book of Memory: A Study of Memory in. Léonin (active ca. ), or Leoninus, of the Cathedral of Notre Dame in Paris, is the earliest known composer of polyphonic art music and the creator of controlled rhythm and meter, as well as of the earliest notation to convey rhythm.
About the life of Léonin absolutely nothing is known. His name is mentioned in a treatise, actually class notes. The Rhythm of Twelfth Century Polyphony, Its Theory and Practice; University and Oxford University Press, New Haven, White, John D; Theories of Musical Texture in Western History; Garland Publishing, Inc., New York and London, Recent Musical Editions.
Davidson, Audrey; The "Ordo Virtutum" of Hildegard; Medieval Institute, Kalamazoo. Early polyphony was still quite rhythmically free. Then during the period of A.D. to A.D. the Notre Dame School of Composers developed rhythmic innovations.
The leading composers at the school were Leonin and Perotin, who used measured rhythm with definite time values and a clearly defined meter. A subcategory of polyphony, called homophony, exists in its purest form when all the voices or parts move together in the same rhythm, as in a texture of block chords.
These terms are by no means mutually exclusive, and composers from the 16th through the 21st century have commonly varied textures from complex polyphony to rhythmically uniform.
The argument is drawn from years of transcribing neumatic and diastematic chant manuscripts, rhythmizing eleventh and early-twelfth-century polyphonic pieces, and performing in concerts and liturgies.
The book is illustrated by thirty musical examples of chant, liturgical drama, and polyphony, each accompanied by commentary and translation. The Rhythm of Twelfth-Century Polyphony. Old, New, and Newer Still in Book 7 of the Speculum musice.
Submission Guidelines. Schumann's Virtuosity: Criticism, Composition, and Performance in Nineteenth-Century Germany, by Alexander.
The Magnus Liber or Magnus Liber Organi (Latin for "Great Book of Organum") contained a repertory of medieval music known as organum in use by the Parisian School of Notre Dame around the turn of the 12th & 13th centuries and is known from references to a "magnum volumen" by Johannes de Garlandia and to a "Magnus liber organi de graduali et antiphonario.
3 William G. Waite, The Rhythm of Twelfth Century Polyphony, Its Theory and Practice, Yale Studies in Music History, II (New Haven, Conn., ). Reviews of Books IV. Polyphony A. Polyphony in Aquitanian Monastic Centers 1.
An important type of organum developed at St. Martial, found in nine twelfth-century manuscripts. The notation in these sources indicates pitch, but not rhythm, suggesting that music was composed orally (not by writing it down).
Rhythm is necessary for polyphony. LéoninLéonin (active ca. ), or Leoninus, of the Cathedral of Notre Dame in Paris, is the earliest known composer of polyphonic art music and the creator of controlled rhythm and meter, as well as of the earliest notation to convey rhythm. Source for information on Léonin: Encyclopedia of World Biography dictionary.
rhythm should be considered first. The study is limited also with regard to time: it discusses only the Notre-Dame school, that is to say not the whole of "twelfth-century polyphony" but only that of the second half.
The author begins with an exposition of the rhythmic modes. He attempts to trace the system's origin to St. Augus. Organum est primum musicae polyphonicae genus notum, Europaea saeculi noni inventum. Consistit in duabus, tribus, vel quattuor vocibus: cantus Gregorianus et transpositio vel transpositiones cantus.
Primae litterae qui organum describunt sunt Musica enchiriadis, liber circa annum scriptus. Qui organum componerent appellati sunt et adhuc in libris eruditis. Twelfth century style of polyphony in which the upper voice or voices have about one to three notes for each note of the lower voice.
Substitute Clausia In notre dame polyphony, a new clausula (usually in discant style) designed to replace the original polyphonic setting of a particular segment of a chant.
Fundamentals, Function, and Form by Andre Mount provides its readers with a comprehensive study of the theory and analysis of tonal Western art begins by building a strong foundation in the understanding of rhythm, meter, and pitch as well as the notational conventions associated with each.
ordine exerted a profound influence on twelfth-century art and aesthetics. For an intro-duction to Augustine's De musica and the basic bibliography on the subject, see William Waite, The Rhythm of Twelfth-Century Polyphony (New Haven, ), Marsha Colish, "St.
Augustine's Rhetoric of Silence Revisited," Augustinian Studies IX (), and Mi."Optimus Organista" (best singer-composer) Priest and poet and canon of the cathedral of Notre Dame.
Compiled a great book of polyphony "Magnus liber organi" to make the Mass and canonical hour more splendid. Wrote Viderunt Omnes,a chant. TWELFTH-CENTURY POLYPHONY. Systematic collections of polyphony of the twelfth century are found in five principal manuscripts.
(10) These works are the oldest liturgical polyphony whose pitches can be transcribed with confidence, though the rhythm remains in dispute. (11) One collection of French origin was made for Santiago de Compostela.
a book of organum begun by Leoninus and updated by Anonymous IV b. a book of organum begun by Anonymous IV and updated by Perotinus (c. a book of organum begun by Leoninus and updated by Perotinus) d. a book of organum that accompanied the Liber Usualis e. a book of instructions on how to make organum.
TWELFTH-CENTURY POLYPHONY Systematic collections of polyphony of the twelfth century are found in five principal manuscripts. (10) These works are the oldest liturgical polyphony whose pitches can be transcribed with confidence, though the rhythm remains in dispute.
(11) One collection of French origin was made for Santiago de Compostela. The rhythmic notation of the time, even in these new editions, is a challenge to modern performers. A less expensive alternative is The rhythm of twelfth-century polyphony of W.
Waite, which contains rhythmic transcriptions of some of the more salient examples of organum from the Magnus Liber. peared too late for its conclusions on rhythm in twelfth-century polyphony (at an opposite pole from Karp's) to be considered, but his seminal article, "Discant, Counterpoint, and Harmony" (Journal of the American Musicological Society 15), surely deserves citation.
Get this from a library. The polyphony of Saint Martial and Santiago de Compostela. [Theodore Karp] -- Theodore Karp proposes a fundamental reinterpretation of two major repertories of twelfth-century sacred music, that associated with the long-destroyed abbey of Saint Martial de Limoges and the.
The Rhythm of Twelfth-Century Polyphony, its Theory and Practice (New Haven: Yale, ) But his views that the entire corpus should be transcribed according to the rhythmic modes is no longer accepted."The Great Book of Polyphony", combined by Leonin and Perotin, series of elaborate polyphonic compositions for the main feasts of the church year, based directly on plainchant Duplum In polyphony of the late 12th through 14th century, second voice from the bottom in a four voice texture, above the tenor.Get this from a library!
An explanation of the origins and nature of Notre Dame modal polyphony in the twelfth century: a musical genre integral to the development of gothic art and medieval culture. [Edwin Frederick Flindell].