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Polyphony in the Middle Ages
Pages 8 (2008 words)
Polyphony in the Middle Ages Introduction Dalahoyde notes that polyphony as music of the Middle Ages arose from the various techniques that were used to spice up play chant. Polyphony in its literal meaning is a musical type with two or more lines that are independent of each other.
This form of progression gave the music resonance that is so fascinating. The first parallel organum was the Musical enchiriadis (Musical Handbook) which emerged in 9th century1. Occasionally, two voices in the music began in unison followed by vox organalis climbs to its hiatus, receding at the ends of phrases to the unison. This form was followed by the Ad organum facienddum2 . In 11th century, four other organums emerged. This include florid organum, melismatic organum, duplum organum and organum purum. Dalahoyde notes that the unmeasured melismatic dupum invoved the use of long tenure notes. Aquitanian organum of the 11th century which is linked to the French SW ‘Discant organum’ involved the use of two voices falling into a rhythmic style. This style of organum involved 6/8 or sometimes 8/9 fell, singing at the same pace for a passage. Dalahoyde reveals that in the 11th and 12th century, the octaves, fourth and fifth were perceived constant but not thirds. He notes that the standard closing sonority was 1-5-8 structure because it involved two perfect intervals3. Notre-Dome is also a style of early organum which came into being in 12th century. Its is derived from the Notre Dame Cathedral which was constructed in 1163. Notre Dame has two parts: organa and several clausulae, motets and Conductus. ...
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