DOCSLIB.ORG

Inhaltsverzeichnis Vorwort Und Einleitung 12 I. Die Lehre Vom Organum Und Diskant Von Der Musica Enchiriadis Bis Zur Ars Nova Um 1325 16 Kap

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Inhaltsverzeichnis Vorwort Und Einleitung 12 I. Die Lehre Vom Organum Und Diskant Von Der Musica Enchiriadis Bis Zur Ars Nova Um 1325 16 Kap Inhaltsverzeichnis Vorwort und Einleitung 12 I. Die Lehre vom Organum und Diskant von der Musica Enchiriadis bis zur Ars nova um 1325 16 Kap. 1: Lehren des Alten Organums 16 Musica Enchiriadis, Kap. 13-19 über das Organum 16 Scolica Enchiriadis, Organumkapitel 22 Bamberger Dialog über das Organum, Dialog I 27 Dialog II 30 Kölner Traktat 31 Schlettstädter Traktat 32 Pariser Traktat, Schlußkapitel 32 Guido von Arezzo, Micrologus, Kap. 18 und 19 über das Organum 38 Guglielmo Roffredi, Summa musicae artis /Kap. 9, Uber die Diaphonie7 42 Kap. 2: Lehren des frühen und späteren Neuen Organums 42 Johannes Affligemensis (Cotto(n)), De musica cum tonario, Kap. 23, Über die Diaphonie, das ist Organum 43 Mailänder Traktat Ad Organum faciendum, Prosa­ teil 45 Mailänder Traktat Ad Organum faciendum, Vers­ teil 48 Berliner Traktat A (Nebenfassung des Mailänder Traktats Ad Organum facien­ dum) 52 Berliner Traktat B (Nebenfassung des Kailänder Traktats Ad Organum facien­ dum) 53 Brügger Version des Kailänder Traktats Ad Organum faciendum 55 Organumtraktat von Montpellier 57 Organumtraktat von St. Martial (A. de La Fage- Traktat), Kap. 14 über den Diskant und 15 über die Kunst des zu komponierenden Organums 59 Londoner oder Schneider- Traktat, Abschnitte über den Diskant und das Organum und über ihre Komposition, und über musicae, Abschnitte über die Diaphonie und den Unterschied zwischen Dis­ kant und Organum 63 Kap. 3: Die Klangschrittlehre - Traktate der Gruppe A 66 Item de cursu animadvertendum est, Si discan- tus fuerit cum cantu et cantus remittatur (im Londoner oder Schneider- Traktat und Liber musicae) 68 Incipit titulus artis cuj non deserit vox venerandus, Tres sunt principales consonantie 69 http://d-nb.info/890725276 _ n. _ Omnis homo oui uult bene organi9are-primitus debet 70 Incipit regula approbata, uidelicet pro tono possumus reddere semiton(i)um 71 Si cantus ascendit duas uoces, et Organum incipit (Organumtraktat des Pseudo-Guido de Caroli loco) 71 De concorciis, Si cantus eaualis fuerit potes Organum incipere 73 Omnis cantus incipiens est cum suo can- tore (Löwener Organumtraktat) 75 De regulis organi, Modo videamus de regulis quibus ars ista regulatur (im Vatikanischen Organumtraktat) 78 Per regulas infrascriptas potest cuilibet cantui: Si cantus ascenderit unam uocem et Organum incipiat (Anonymi 2a Tractatus de discantu) 81 Oualiscumaue cantor uul^£7 incipere Organum oportet ut 82 Si cantus ascendit unam, pason descendat .III. pente (Venezianischer Organumtraktat) 82 De modo organi^andi: Cnrnis homo qui uult bene organi^are, oportet 83 Sic autem ascendere et descendere debet discantus (in der Discantus positio vul­ garis) . 85 Uidendum est ouid sit discantus, Et est sciendum, ouod si cantus ascendit unam uocem 87 Ouando tenor ascendit et discantor est in octava (in Nicolaus de Senis, Regule in discantu) 88 Sciendum est quod in plana musica, uel mensurabili: Ad unisonum incipiens in dyapason, supra uel in . (Anonymi 2c Tractatus de discantu) 90 Sciendum est ouod in plana musica uel men­ surabili, Ad unisonum incipias in dyapason (Ouaedam de arte discantandi) 97 Regula prima, Ad unisonum igitur existens in diapason supra descende (im Compendium discantus Magistri Franconis) 100 Ouando due note sunt in unisono, et tercia ascendit (De arte discantandi) 102 Ouiconoues veut deschanter, il doit Pre­ miers sauvoir (Libellus in gallico de arte discantandi) 103 Quicumoue bene et secure discantare uoluerit (Anonymi 3 De cantu mensurabili) 105 Quicumque vult auintare breviter et secure 108 (Fragment) auinta et descendat per vnam vocem erit in .8. 110 Kap. 4: Die Lehre der Traktate der Gruppe B Johannes de Garlandia, De mensurabili musica, zweites Viertel des 13- Jahrhunderts, Kap. 9 - 13 und nicht authentische Kapitel 14 - 16 Anonymi 7 De musica libellus, um 1250 Franco von Köln, Ars cantus mensurabilis, um 1260?, Kap. 11 - 13 Anonymi 4 De mensuris et discantu, nach 1272, Kap. 4, Teil 2/3 und Kap. 5 Magister Lambertus (Pseudo-Aristoteles, Pseudo-Beda venerabilis), Cuiusdam Aristote- lis tractatus de musica, um 1275 Anonymus St. Emmeram, 1279, Quoniam prosam artis musice mensurabilis ab excellentibus in arte musicis compilatam, Kap. II b/c, IV, V a/b, VI. Dietricus, Regulae super discantum et ad discernendum ipsas notas discantus, spä­ teres 13. Jahrhundert Walter Odington, Summa de speculatione musicae, gegen Ende des 13. Jahrhunderts, Teil VI, Kap. 11-18 Johannes de Grocheo, De musica bzw. De arte musica, um 1300 Discantus positio vulgaris, nach 1223 Compendium discantus Magistri Franconis, Primo vero notandum XIII esse species con- sonantiarum et dissonantiarum musice Anonymi 2a Tractatus de discantu, Sequitur de organo, Quid est Organum? Anonymi 2b Tractatus de discantu, Sequitur de discantu II. Die Lehre vom Diskant und Kontrapunkt seit der Ars nova um 1325 A. Lehren des zweistimmigen Diskants und Kontra­ punkts Kap. 1: Marchettus de Padua, Lucidarium in arte mu­ sicae planae, Mischtext zwischen Stadium II der Konsonanzenklassifikation und Contra- punctus sowie Lehren mit sechs griechisch bezeichneten Konsonanzen Marchettus de Padua, Lucidarium in arte musicae planae, Traktat II, Kap. 6 bis 8, Traktat V, Kap. 6 und 7, Traktat VII, Kap. 2 Species autem musicales trifario modo describuntur Petrus dictus Palma ociosa, Compendium de discantu mensurabili, 1336 - 6 Quilibet affectans scire contrapunctum ea diligenter scribat (Ars contrapuncti secun­ dum Johannem de Murio)(Fassungen Florenz und Faenza) 232/33 Goscalcus, Tractatus de contrapuncto, 1375, 1. Quoniam musici antiquorum philosophorum ab usu disorepare nolentes, 2. Cum autem habito fundamento discantus quod est ipse contrapunctus 235 Sex sunt species discantus scilicet uniso- nus semiditonus 243 Sex sunt species discantus per quas omnis /3ig7cantus planus (Theodonus de Caprio, Kegüle contrapuncti, 1431; Johannis de Muris Ouaestiones super partes musicae, De discantu et consonantiis, Fassung Rom) 243 Sex sunt species discantus per quas omnis /3is7cantus planus (Johannis de Muris Quaistiones super partes musicae, De dis­ cantu et consonantiis)(Fassung St. Paul, Kärnten) 245 Notandum est quod nos possumus per unam vel duas 247 Sex sunt species principales sive concordantiae discantus 248 Ouartum principale, secunda distinctio, Kap. 11 - 49 (in Auswahl)(Anonymi I De mu­ sica antiqua et nova, De discantu, Quatuor principalia musicae per Simonem Tunstede), 1351 249 Kap. 2: Lehren mit sieben griechisch bezeichneten Konsonanzen 277 Septem sunt consonantie per quas omnis me- lodia componitur (Anonymi XI Tractatus de musica plana et mensurabili) 277 Volentibus introduci in arte(m) contra­ puncti id est nota (Ars contrapunctus secundum Philippum de Vitriaco)(Fassung Einsiedeln fol. 46-50, Florenz und Rom) 277 Kap. 3s Lehren mit sieben lateinisch bezeichneten Konsonanzen 284 Quot sunt species discantus, Tredecim ut patet (Ars discantus secundum Johannem de Muris) dm Cum notum sit omnibus cantoribus mensura- bilem artem musicam (Ars contrapuncti se­ cundum Johannem de Muris)(Fassungen Flo­ renz und Faenza) 285/87 Sciendum est quod contrapunctus est fun- damentum biscanti (Nicolai Capuani Com­ pendium musicale; Philipoctus de Caserta, Regulae contrapuncti)(Fassungen Rom und Sevilla) 289/92 Septem sunt species consonantiarum in biscantu (Ars perfecta in musica Magi- stri Philippoti de Vitriaco) Notandum est quod Septem sunt species in contrapuncto Item diu lo maestre nosaltres avem VII species de contrapunt Notandum quod Septem sunt species discan tus quibus bene discantans (Henrici de Zelandia Tractatus de cantu perfecto et imperfecto) Primo nota quod Septem sunt consonancie in contrapuncto Septem sunt concordantie in discantu vi- delicet unisonus Septem sunt species discantus secundum modernos videlicet (Magister Johannes Torkesey) Sonderfälle von Lehren mit sieben latei­ nisch bezeichneten Konsonanzen Et nota quod Septem sunt species concor- dantiarum videlicet (Philippi de Vitria­ co Liber musicalium) Post octavam quintam si notae tendunt in altum, 1391 (Magistri Phillipoti Andreae de contrapuncto quaedam regulae utiles) lehren mit neun lateinisch bezeichneten Konsonanzen und ein Traktat mit Sonder­ stellung Nota ouod contrapunctus est fundamentum biscantus et sicut Ad sciendum artem discantus primo est sciendum auod sunt septem (Ars discan­ tus secundum Johannem de Muris) Volentibus introduci in arte(m) contra­ puncti id est nota (Johannis de Garlan- dia optima introductio in contrapunctum pro rudibus)(Fassung Einsiedeln fol. 45 -45') En l'art de contrapunct tenim Villi (sie!) species Pro noticia contrapunctus habenda pri­ mo sciendi est (Secuntur regule contra­ punctus per supradictum magistrum facte siue Ordinate vt sequitur /= Johannes Pipudi7) Volentibus introduci in arte(m) contra­ puncti id est nota (Fassung Pisa) Et primo de contrapuncto piano pro cuius intellectu (Anonymi XI Tractatus de musi ca plana et mensurabili) - 8 - Theodonus de Caprio, Regule contrapunc­ ti, 1431 Fragment Sa, . quarta quod tenore ascendente contrapunctans uel discan- tans (Magistri Marchetti de Padua Bre- vis compilatio in arte musicae mensu- ratae) Volens igitur multos et diversos com- pescere ad fructum Est autem unisonus quando duae voces manent in uno (Anonymi 5 De discantu) Kap. 6: Lehren mit Einbeziehung der Diminution sowie der Sight und des Contratenors Antonius de Leno, Regulae de contra- punto, "1412 Unaouaeque nota uniuscuiusque tenoris tentabit octavam Tractatus de musica figurata et de contrapuncto ab anonymo auctore Kap. 7: Lehren mit acht Konsonanzen mit und ohne Einklang Lyonel Power,
Load more

Recommended publications
  • Three Centuries of French Medieval Music
    THREE CENTURIES OF FRENCH MEDIEVAL MUSIC Downloaded from NEW CONCLUSIONS AND SOME NOTES. By AMEDEE GASTOUE LL the historians of our art admit that from about the third http://mq.oxfordjournals.org/ quarter of the Xlth century till the corresponding quar- A ter of the XlVth century, it was French music which dictated its laws to Europe. Monks of Limoges and Discantus singers of Notre Dame de Paris, Troubadours of the South or Trouveres of the North, such were the first masters of French music, which was to enjoy such great influence in the artistic world of the Middle Ages. The few scholars who have studied t.liia epoch, so curious, at University of Iowa Libraries/Serials Acquisitions on May 28, 2015 have generally sought to specialise in one or other of the scientific branches implied by these researches: it is to such researches that must be attributed the merit of such general views as one can hope to be able to construct on this ground. But, it must be admitted, what each of these specialists has sought to deduce in his own sphere,—or indeed, the greater part of the general views, too hasty as to the conclusions, attempted so far, whatever may have been the merit of their authors,—cannot give an exact and precise idea of the development of our art at this period. I should like to contribute, therefore, by a few special points made in this study, to laying the foundations of a work which shall view the subject as a whole, a work of which I have been preparing the details for years, with a view to publishing later on the precious remains of French music of the Middle Ages.
    [Show full text]
  • La Caccia Nell'ars Nova Italiana
    8. Iohannes Tinctoris, Diffinitorium musice. Un dizionario Il corpus delle cacce trecentesche rappresenta con «La Tradizione Musicale» è una collana promossa di musica per Beatrice d’Aragona. A c. di C. Panti, 2004, ogni probabilità uno dei momenti di più intenso dal Dipartimento di Musicologia e Beni Culturali pp. LXXIX-80 e immediato contatto tra poesia e musica. La viva- dell’Università di Pavia, dalla Fondazione Walter 9. Tracce di una tradizione sommersa. I primi testi lirici italiani cità rappresentativa dei testi poetici, che mirano Stauffer e dalla Sezione Musica Clemente Terni e 19 tra poesia e musica. Atti del Seminario di studi (Cre mona, alla descrizione realistica di scene e situazioni im- Matilde Fiorini Aragone, che opera in seno alla e 20 febbraio 2004). A c. di M. S. Lannut ti e M. Locanto, LA CACCIA Fonda zione Ezio Franceschini, con l’intento di pro- 2005, pp. VIII-280 con 55 ill. e cd-rom mancabilmente caratterizzate dal movimento e dalla concitazione, trova nelle intonazioni polifo- muovere la ricerca sulla musica vista anche come 13. Giovanni Alpigiano - Pierluigi Licciardello, Offi - niche una cassa di risonanza che ne amplifica la speciale osservatorio delle altre manifestazioni della cium sancti Donati I. L’ufficio liturgico di san Do nato di cultura. «La Tradizione Musicale» si propone di of- portata. L’uso normativo della tecnica canonica, de- Arezzo nei manoscritti toscani medievali, 2008, pp. VIII-424 NELL’ARS NOVA ITALIANA frire edizioni di opere e di trattati musicali, studi 8 finita anch’essa ‘caccia’ o ‘fuga’, per l’evidente me- con ill. a colori monografici e volumi miscellanei di alto valore tafora delle voci che si inseguono, si dimostra 16.
    [Show full text]
  • Philippe Le Chancelier Et Son Oeuvre
    Université de Poitiers École doctorale SHES CESCM – UMR CNRS 6223 Anne-Zoé RILLON-MARNE PHILIPPE LE CHANCELIER ET SON ŒUVRE : ETUDE SUR L’ELABORATION D’UNE POETIQUE MUSICALE Volume I Thèse de Doctorat de Musicologie Sous la direction du Pr. Olivier CULLIN Poitiers 2008 2 Remerciements La thèse de doctorat est un travail long et solitaire mais il ne se fait pas dans la solitude. L’encadrement, les échanges dont j’ai pu profiter tout au long de ces années m’ont été d’un grand soutient intellectuel et moral. Mes premières pensées vont à Olivier Cullin, professeur à l’Université de Tours, qui a su, dans sa tâche de directeur de thèse, mêler exigence, confiance et encouragements. Par ses conseils, ses corrections et son écoute attentive, il a nettement contribué à faire exister ce travail. Il cultive et parvient à transmettre une curiosité qui fait de la recherche un véritable plaisir. J’adresse également ma reconnaissance à Nigel Wilkins qui encadra mes premiers pas à l’Université en dirigeant mes mémoires de maîtrise et DEA à la Sorbonne. Je remercie également très chaleureusement ceux qui m’ont aidée, écoutée ou lue malgré leurs emplois du temps bien remplis. Je pense principalement à Nicole Bériou et Gilbert Dahan. L’intérêt qu’ils ont porté à mon travail m’a permis de prendre confiance et donné l’occasion de présenter certains aspects de mes recherches à diverses occasions. L’entraide et la solidarité entre doctorants m’ont également été d’un grand soutien. Je me souviens des discussions avec mes amis, membres de l’ « équipe », docteurs ou futurs docteurs Séverine, Guillaume, Christelle ou encore Margaret.
    [Show full text]
  • This Electronic Thesis Or Dissertation Has Been Downloaded from the King’S Research Portal At
    This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Insular sources of thirteenth-century polyphony and the significance of Notre Dame. Losseff, Nicola The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 09. Oct. 2021 -1- INSULAR SOURCES OF THIRTEENTH-CENTURY POLYPHONY AND THE SIGNIFICANCE OF NOTRE DAME Nicola Losseff Submitted for the degree of Doctor of Philosophy at King's College, London, 1993 1LoNDgt UNW.
    [Show full text]
  • Behind the Mirror Revealing the Contexts of Jacobus's Speculum
    Behind the Mirror Revealing the Contexts of Jacobus’s Speculum musicae by Karen Desmond A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Music New York University May, 2009 ___________________________ Edward H. Roesner © Karen Desmond All Rights Reserved, 2009 DEDICATION For my family iv ACKNOWLEDGMENTS I would like to thank my advisor, Edward Roesner, for his unfaltering support throughout this process, for his thoughtful suggestions regarding lines of inquiry, and his encyclopedic knowledge of the field. I would like to thank Stanley Boorman and Gabriela Iltnichi for their friendship and expertise, and their critical eye in their careful reading of many drafts of my work. For their assistance during my research trip to Belgium, I must mention Monsieur Abbé Deblon and Christian Dury at the Archives de l’Evêché, Liège, Paul Bertrand at the Archives de l’Etat, Liège, Philippe Vendrix for his kind hospitality, and to Barbara Haggh-Huglo for her tips and advice in advance of my trip, and for also reading a final draft of this dissertation. I would also like to thank Margaret Bent and Ruth Steiner for help during the early stages of my doctoral research, and Suzanne Cusick for her reading of the final draft. Finally, heartfelt thanks are due to my husband, Insup; my two sons, Ethan and Owen; and my parents, John and Chris, who have been steadfast in their encouragement of this endeavor. v ABSTRACT This study addresses the general question of how medieval music theory participated in the discourse of the related disciplines of philosophy, natural science and theology.
    [Show full text]
  • Inhaltsverzeichnis Vorwort Und Einleitung I. Die Lehre Vom Organum Und Biskant Von Der Musica Enchiriadis Bis Zur Ars Nova Um 13
    Inhaltsverzeichnis Vorwort und Einleitung 11 I. Die Lehre vom Organum und Biskant von der Musica Enchiriadis bis zur Ars nova um 1325 14 Kap. 1: Bas Alte Organum 14 Musica Enchiriadis 14 Scolica Enchiriadis 19 Bamberger Bialog über das Organum, Bialog I 23 Bialog II 25 Kölner Traktat 26 Schlettstädter Traktat 27 Pariser Traktat 27 Guido von Arezzo, Micrologus, Kap. 18 und 19 über das Organum 32 Guglielmo Roffredi, Summa musicae artis /Cap. IX, Be diaphonia7 36 Kap. 2: Bas frühe und spätere Neue Organum 37 Johannes Affligemensis (Cotto), Be musica cum tonario, Kap. 23, Be diaphonia, id est organo 37 Mailänder Traktat Ad Organum faciendum, Prosa­ teil 38 Mailänder Traktat Ad Organum faciendum, Vers- teil 40 Berliner Traktat A (Nebenfassung des Mailänder Traktats Ad Organum facien­ dum) 42 Berliner Traktat B (Nebenfassung des Mailänder Traktats Ad Organum facien­ dum) ^3 Brügger Version des Mailänder Traktats Ad Orga­ num faciendum 45 Organumtraktat von Montpellier 46 Organumtraktat von St. Martial (A. de Lafage- Traktat) 48 Liber Musicae (Londoner oder Schneider-Traktat) 49 Kap. 3: Bie Klangschrittlehre - Traktate der Gruppe A 50 Item de cursu animadvertendum est, Si discantus fuerit cum cantu et cantus remittatur (im Liber musicae, Londoner oder Schneider-Traktat) 52 Incipit titulus artis cuj non deserit vox vene- randus, Tres sunt principales consonantie 53 Omnis homo qui uult bene organi^are primitus debet 54 Incipit regula approbata. uidelicet pro tono possunus reddere semiton(i)um 56 Si cantus ascendit duas uoces, et Organum inci­ pit (Organumtraktat des Pseudo-Guido de Caroli loco) 56 http://d-nb.info/880241004 _ H.
    [Show full text]
  • Shaw-Rebecca-MA-MUSIC-June
    Differentiae in the Cantus Manuscript Database: A Cross-Manuscript Analysis by Rebecca Shaw Submitted in partial fulfilment of the requirements for the degree of Master of Arts at Dalhousie University Halifax, Nova Scotia June 2019 © Copyright by Rebecca Shaw, 2019 Table of Contents List of Tables ....................................................................................................................... iv List of Figures ..................................................................................................................... vii Abstract……………………………………………………………………………………………………………………….viii List of Abbreviations Used .................................................................................................. ix Acknowledgements .............................................................................................................. x Chapter 1: Introduction and Differentia Standardization ................................................... 1 1.1 Overview of the Differentia Standardization Project ..................................... 9 1.2 Analysis enabled by the Differentia Standardization Project ....................... 11 Chapter 2: Differentiae and Mode in Theory and Practise ................................................ 14 2.1 Theorists’ Explanation of Differentia and Mode .......................................... 16 2.2 Elements of Unity and Disparity Within and Between Modes ..................... 19 2.3 Multi-Modal Saeculorum Openings .............................................................
    [Show full text]
  • Mille Ans De Musique En Occident 550-A14/BD4-VL
    Daniel Mille ans de musique en Occident 550-A14/BD4-VL 550-A14/BD4-VL • Mille ans de musique en occident A1. Classification historique : un survol 1 Classification historique : un survol Époque Moderne (1900-1950) Le Néo-classicisme (1920-1960) Post-Moderne A1 3 Classification historique : un survol A1 4 2 Classification historique : un survol Un changement de période artistique coïncide en général avec l’évolution de l’un ou de plusieurs de ses éléments de langage (grammaire, vocabulaire, effets de style, modes d’expression, etc.). En musique dite « sérieuse », la succession de périodes artistiques se joue parfois en termes de dizaines d’années seulement (ex: Classique); en musique pop, ces temps s’avèrent encore plus réduits. De plus, il arrive que certaines de ces périodes se chevauchent au lieu de se succéder. À partir du Romantisme, des sous-périodes se greffent aux périodes principales afin de mieux expliciter les tangentes esthétiques complémentaires - voire contradictoires ! -, de celles-ci. A1 5 Classification historique : un survol Ces périodes artistiques s’enchaînent souvent, chez les créateurs qui y participent, selon des principes de réaction : naturel vs artificiel; complexité vs simplicité; émotivité vs rationalité, etc. Théorie de la double pente linéaire croisée : Depuis mille ans, on assiste à la complexification ou la montée en importance des paramètres du langage musical, de la musique profane, de l’utilisation d’instruments de musique, de la présence des femmes dans les activités musicales, des formes et durées des œuvres musicales, ainsi que de leur diffusion et pénétration au sein de la population au détriment de la musique sacrée, de l’utilisation de la voix, de la présence nettement majoritaire des hommes, du symbolisme et et des métalangages musicaux.
    [Show full text]
  • The Origins of Western Notation
    Constantin Floros Modern music notation developed out of the so-called square notation and this out of the Latin neumes. The question of where these neumes came from has long been the subject of scholarly debate. As the author demonstrated in his three-volume Universale Neumenkunde published in German in 1970, there is a very close relationship between the Paleo-Byzantine notation and the Latin neumes. Although the study aroused a great deal of dispute, more recent studies have revealed that the relevance of the Neumenkunde re- mains essentially unchallenged after 40 years. Those path-breaking research results on the relationship of the Greek and Latin notational systems are now available for the first time in a completely revised and augmented English translation. “[Floros’] work, while not giving the last word in the domain of semiology, could today certainly again be the point of departure for productive develop- ments, both in the domain of Byzantine music as well as in the area of Gregorian chant.” (Luca Basilio Ricossa) The Origins of Western Notation Western Western Notation Revised and Translated by Neil Moran The Origins of of Origins The Constantin Floros is a professor emeritus of musicology at the University of Hamburg and a prolific writer on diverse subjects. He was the first researcher who systematically examined, compared and decoded the oldest Byzantine, Slavic and Latin neumatic notations. Neil K. Moran is the author of numerous studies on European cultural history in Antiquity and the Middle Ages. His books are of fundamental importance · Floros Constantin for those interested in the Ordinary chants of the Byzantine rite and for the iconography of church singers in the Middle Ages.
    [Show full text]
  • Theory. the Abstract Principles Embodied in Music and the Sounds of Which It Consists
    Theory. The abstract principles embodied in music and the sounds of which it consists. With respect to Western music, theory has traditionally encompassed the properties of single sounds, pitch, duration, timbre and those of collections of sounds: acoustics, tuning and temperaments, intervals, consonance and dissonance, scales, modes, melody, harmony, counterpoint, rhythm, meter, form, and analysis. Today the term also refers specifically to the teaching of the fundamentals or rudiments of music- e.g, elementary harmony and counterpoint, general musicianship, ear training, solfege. Non-Western musical cultures with rich traditions of explicit formulation and study of music theory include those of East Asia and south Asia. 1. General. In its most general sense, the term theory refers to the contemplation rather than the practice of music. Following Aristotle's division of knowledge (episteme) into praktikë, poiëtikë, and theörëtikê (Metaphysics 1025b-26a), writings about music before I 600 were usually classified as musica theorica musica speculativa, musica contemplativa, musica arithmeticaj, musica practica çmusica at- tivaj, or, particularly after the Musica of Nikolaus Listenius ( 1537), musicapoetica. In this scheme, mu- sica theorica dealt with the arithmetic foundations of music-i.e., music as one of the four mathematical arts Isee Quadrivium). Such discussions typically in- cluded detailed accounts of the gamut and Greater Perfect System, interval ratios, and consonance and dissonance. Musica practica then applied these ideas to musical composltions. Though the distinctions were blurred, especially in the early Middle Ages, musica practica was often subdivided into two branches: musicaplana, which dealt with plainsong, Solmization, mode, and even intervals, etc., and Musica mensurabilis (musica /g/rl/ïll, which explained mensural notion, Discant, and counterpoint.
    [Show full text]
  • The Arab Contribution to Music of the Western World March 2004
    The Arab Contribution to Music of the Western World IMPORTANT NOTICE: Author: Rabah Saoud PhD Chief Editor: Lamaan Ball All rights, including copyright, in the content of this document are owned or controlled for these purposes by FSTC Limited. In Production: Lamaan Ball accessing these web pages, you agree that you may only download the content for your own personal non-commercial use. You are not permitted to copy, broadcast, download, store (in any medium), transmit, show or play in public, adapt or Release Date: March 2004 change in any way the content of this document for any other purpose whatsoever without the prior written permission of FSTC Publication ID: 4052 Limited. Material may not be copied, reproduced, republished, Copyright: © FSTC Limited, 2003 2004 downloaded, posted, broadcast or transmitted in any way except for your own personal non-commercial home use. Any other use requires the prior written permission of FSTC Limited. You agree not to adapt, alter or create a derivative work from any of the material contained in this document or use it for any other purpose other than for your personal non-commercial use. FSTC Limited has taken all reasonable care to ensure that pages published in this document and on the MuslimHeritage.com Web Site were accurate at the time of publication or last modification. Web sites are by nature experimental or constantly changing. Hence information published may be for test purposes only, may be out of date, or may be the personal opinion of the author. Readers should always verify information with the appropriate references before relying on it.
    [Show full text]
  • Proquest Dissertations
    00 UNIVERSITÉ D'OTTAWA ~ ÉCOLE DES GRADUÉS L'EPISTOLA DE ARMONICA INSTITVTIONE DE REGINON DE PRUM TEXTE ETABLI, TRADUIT ET COMMENTE par Yvon Chartier Thèse présentée à la Faculté des Arts de l'Université d'Ottawa en vue de l'obtention de la maîtrise es arts en langue et littérature latines. 1/ V 1 ^ * »// ^ , ,ij ç ^ Vf Ottawa, Canada \ J V 1965 Sy \/\ JJ UNIVERSITY OF OTTAWA" - lSHBOLtt>F CRADUATE STUDIES UMI Number EC56055 INFORMATION TO USERS The quahty of this reproduction is dépendent upon the quahty of the copy submitted Broken or indistinct pnnt, colored or poor quahty illustrations and photographs, pnnt bleed-through, substandard margins, and improper alignment can adversely affect reproduction In the unhkely event that the author did not send a complète manuscnpt and there are missing pages, thèse will be noted AIso, if unauthorized copyright matenal had to be removed, a note will indicate the deletion UMI UMI Microform EC56055 Copyright 2011 by ProQuest LLC Ail nghts reserved This microform édition is protected against unauthorized copying underTitle 17, United States Code ProQuest LLC 789 East Eisenhower Parkway PO Box 1346 AnnArbor, Ml 48106-1346 UNIVERSITÉ D'OTTAWA ~ ÉCOLE DES GRADUÉS RECONNAISSANCE Cette thèse a été préparée sous la direction du R. P. Etienne Gareau, o.m.i., docteur de l'Université de Paris, auquel l'auteur tient à marquer ici sa reconnaissance pour ses conseils judicieux et sa généreuse assistance. Nous tenons à manifester une gratitude particulière à l'endroit du Service de prêts entre bibliothèques de l'Université d'Ottawa, sans la collaboration duquel le pré­ sent travail eût été impossible.
    [Show full text]