I. Early Organum
A. Earliest Theoretical Sources (9th century)
1. Musica enchiriadis
a. Anonymous treatise
b. Makes mention of two types of diaphony (singing together), both are referred
to as organum.
2. Scolica enchiriadis
a. Textbook in dialogue form that also describes polyphony
3. No theorist mentions organum in the 10th century
4. Only Guido d'Arezzo mentions organum in the 11th century
a. It is believed however that polyphony existed long before it was written down
B. Styles of early organum
1. Plainsong melody in one voice (vox principalis) is duplicated a 5th or 4th below
by a second voice (vox organalis)
2. Either voice often duplicated above at the octave
3. Early organum essentially embellishes and outlines a plainsong melody
a. Consonant intervals: 4ths, 5ths and 8ves (all others require resolution)
4. 11th Century developments
a. Growing indepdence of melodic lines evidenced by increasing use of
contrary and oblique motion (along with preexistant parallel motion).
b. By 11th c. vox organalis is typically above the principalis voice.
c. Parts frequently cross.
d. Growing rhythmic diversity as vox organalis occasional receives 2 notes
to every 1 in the principalis.
5. Increasing melodic independence necessitates accurate pitch and rhythm notation.
C. Musical Sources
1. Winchester Troper
a. Collection of two 11th c. mansucripts
b. Includes repertory of troped chants used at Winchester Cathedral
c. Notation
1. 2 voices
2. Heighted neumes without staff lines
d. Polyphonic settings chiefly used in the troped sections (Kyrie, Gloria,
Benedicamus Domino) and certain parts of the proper (Graduals,
Alleluias, Tracts, Sequences) and Office responsories.
1. Polyphonic sections limited to portions of the original chant
sung by soloists.
2. In performance, therefore, polyphonic sections alternated with
sections of monophonic chant sung by the full choir in unison.
Polyphony, more difficult, was sung by soloists.
II. Florid Organum
A. New type of organum which appears early in the 12th c.
1. Examples preserved in manuscript from monastery of Santiago de Compostela in
Northwest Spain
2. Also cultivated in south-central France, Abbey of St. Martial at Limoges.
3. Variously labelled as florid, melismatic, Aquitanian or St.Martial organum.
B. Style
1. Original plainchant melody lies in the lower voice
2. Note duration in the lower voice are quite long, like drones.
3. Upper voice moves much more quickly as a melodic elaboration.
4. May have been highly improvised style.
5. Texts consist mainly of Benedicamus Domino tropes and rhyming, scanning,
accentual Latin poems called versus (newly composed texts).
6. St. Martial organum are written in score notation.
C. Terminology
1. Organum properly refers to the style in which lower voice holds long notes.
2. When both parts move in similar rhythm (as in the 12th, early 13th c., the
medieval term was discant.
3. Florid organum was first applied to 2-voice texture, it was called organum
duplum or organum purum.
III. The Rhythmic Modes
A. Rhythmic system developed in the 11th and 12th century
1. System indicates rhythmic patterns by means of combinations of single notes
and note groups.
2. System is codified by 1250 as 6 rhythmic modes.
a. I. L S (trochee)
b. II. S L (iamb)
c. III. LS S L (dactyl)
d. IV. S L LS (anapest)
e. V. LS LS
f. VI. S S S
3. Patterns correspond to the metrical feet of Latin and French verse.
4. Importance of the ternary division (perfectio) as a rhythmic guideline.
IV. Notre Dame Organum
A. Notre Dame School
1. Group of polyphonic composers active in Paris, and North-Central France
during the 12th and early 13th centuries.
2. Most prominent exponents: Leonin (ca.1159-1201) who was canon of the Cathedral
of Paris, Notre Dame and Perotin (ca. 1170-1236) who worked at the same
church.
B. Leonin
1. Three principle styles represented by the Notre Dame school and 13th c.
a. Organum
b. Conductus
c. Motet
2. Magnus liber organi (The Great Book of Organum)
a. Cycle of two-part Graduals, Alleluias and responsories for the entire
church year written by Leonin.
b. The original Magnus no longer exists, but its contents have survived in
various manuscripts at Florence, Wolfenbuettel and Madrid.
c. Leoninšs organa are set to the soloistic portions of the responsorial
chants
of the Mass and Office.
1. Ex: Alleluia Pascha nostrum: Alleluia for the Easter Mass, set by
Leonin (and many others).
3. Stylistic features
a. Juxtaposition of old and new elements:
1. Passages of florid organum alternated with
2. Passages of livelier discant clausulae (sections)
b. Organum purum was gradually abandoned in favor of discant during 13th c.
c. Clausulae become quasi-independent pieces and eventually evolve into the
motet.
Source:web.archive.org
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