University of Wisconsin-Green Bay

Literature and Styles in Music I

Early Polyphony

I Early Organum

A. Musica Enchiriadas ("Handbook of Music", 9th cent.) describes a "singing together" called Organum

Rudimentary polyphony probably occurs in folk or non-liturgical sacred music prior to this (e.g., doubling at 3rd, 4th, or 5th)

B. In early "Parallel Organum," Vox Principalis is duplicated at 4th or 5th below (or occas. above) by Vox Organalis (may also involve octave doublings)

C. In "Free Organum," voices have become more independent, i.e., with 2 notes to 1, crossing of parts, employing oblique and contrary motion as well as parallel motion

Consonant intervals remain 4ths, 5ths, octaves (other intervals used sparingly and treated as dissonances)
Rhythm derived from chant on which polyphony is based

D. Winchester Troper: oldest major collection of polyphonic liturgical music (using "heightened neums")

Early polyphony used primarily in troped sections of the Ordinary of the Mass (e.g., Kyrie and Gloria), the Proper of the Mass (e.g., alleluias, sequences, tracts) and in some responsories of the Canonical Hours)
- Used only for those parts usually sung by soloists (which alternate with monophonic sections sung by choir)

E. Melismatic (Florid) Organum (also St. Martial or Aquitanium organum)

Most important MS from Abbey of St. Martial and Monastery of Santiago de Compostela (Spain)
Original chant melody sung (or played) in lower voice in prolonged notes
Newly composed upper (solo) voice sings phrases of varying length above sustained lower voice
This results in the lower voice (the original chant) losing its character as a distinctive melody
Consonant intervals (4ths, 5ths, octaves) most common; also passing dissonances (2nds, 7ths, 3rds & 6ths)
- Versus (Latin poems): freely composed (no borrowed chant); more frequent use of 3rds and 6ths
Texts for Melismatic Organum:
- similar to others for 11th cent. organum, e.g., tropes of Benedicamus Domino
- Usually both voices with same words; occasionally lower voice with original chant text and upper voice has trope text
- Lower voice referred to as "tenor" since it holds chant melody in long notes (from "Tenere" i.e., "to hold")
II Rhythmic Modes
A. Need for rhythmic coordination as parts get more independent
B. Notation showed which rhythmic patters were to be used
C. Six modes identified by 1250
I
II
III
IV
V
VI
1. Most common modes: I, V, II, and III (later)
2. Different modes could be combined: melody in Mode I, Tenor in Mode V
3. Beat always subject to ternary division for religious symbolism, resulting in 6/8 or 9/8
4. Mode indicated by type of ligatures
5. Mode can be varied by grouping and dots, e.g. use of conjunctura and plicas
Last Update 6/21/06
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