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27-405: The manuscript contains 45 monophonic pieces (20 sequences , 5 conductus , 10 Benedicamus tropes ) and 141 polyphonic compositions. Most of the music dates from the late 13th century, with some music from the first half of the 13th century ( Notre Dame repertory ), and a few later additions from the first quarter of the 14th century. Many of the pieces are not found in any other manuscripts. It

54-527: A trope . The name sequence thus came to be applied to these texts; and by extension, to hymns containing rhyme and accentual metre. A collection of sequences was called the Sequentiale . One well-known sequence, falsely attributed to Notker during the Middle Ages, is the prose text Media vita in morte sumus ("In the midst of life we are in death"), which was translated by Cranmer and became

81-479: A couplet. These single lines most often appeared at the beginning or end of the sequence, but could also appear in the middle. Sequences from the middle period, starting around the 11th century, such as the sequence for the Mass of Easter Day, Victimae paschali laudes , are less likely to have single lines outside of couplets, and their couplets are more likely to rhyme. By the 12th century, later sequences, such as

108-554: A page, parallel to the way that a person would highlight the structure orally if saying the poem aloud; for example, poetry may end with a rhyme at the end of each line, making the entire work more melodious or memorable. Prose uses writing conventions and formatting that may highlight meaning—for instance, the use of a new paragraph for a new speaker in a novel —but does not follow any special rhythmic or other artistic structure. The word "prose" first appeared in English in

135-599: A part of the burial service in the funeral rites of the Anglican Book of Common Prayer . Other well-known sequences include the ninth-century Swan Sequence , Tommaso da Celano 's Dies Irae , St. Thomas Aquinas ' Pange lingua in praise of the Eucharist , the anonymous medieval hymn Ave maris stella ("Hail, star of the sea!"), and the Marian sequence Stabat Mater by Jacopone da Todi . During

162-406: Is normally more systematic or formulaic, while prose is closer to both ordinary, and conversational speech. In Molière 's play Le Bourgeois gentilhomme the character Monsieur Jourdain asked for something to be written in neither verse nor prose, to which a philosophy master replies: "there is no other way to express oneself than with prose or verse", for the simple reason that "everything that

189-407: Is not prose is verse, and everything that is not verse is prose". American novelist Truman Capote , in an interview, commented as follows on prose style: I believe a story can be wrecked by a faulty rhythm in a sentence— especially if it occurs toward the end—or a mistake in paragraphing, even punctuation. Henry James is the maestro of the semicolon. Hemingway is a first-rate paragrapher. From

216-405: Is organized by a rhythmic metre , a rhyme scheme , writing formatted in verse , or other more intentionally artistic structures. Ordinary conversational language and many other forms of language fall under prose, a label that can describe both speech and writing. In writing, prose is visually formatted differently than poetry. Poetry is traditionally written in verse : a series of lines on

243-505: Is written on parchment , with the staves written in red ink with Franconian notation . The bulk of material is written in one hand, although as many as 12 people contributed to it, including corrections and later additions. Johannes Roderici (Juan Rodríguez in modern Spanish) inscribed his name in a number of places in the manuscript. He may have composed a couple of the pieces in the manuscript, as well as being scribe , compiler, and corrector, according to his own inscriptions. The music

270-802: The liturgical celebration of the Eucharist for many Christian denominations , before the proclamation of the Gospel . By the time of the Council of Trent (1543–1563) there were sequences for many feasts in the Church's year. The sequence had always been sung directly before the Gospel, after the Alleluia. The 2002 edition of the General Instruction of the Roman Missal , however, reversed

297-620: The 14th century. It is derived from the Old French prose , which in turn originates in the Latin expression prosa oratio (literally, straightforward or direct speech ). In highly-literate cultures where spoken rhetoric is considered relatively unimportant, definitions of prose may be narrower, including only written language (but including written speech or dialogue). In written languages, spoken and written prose usually differ sharply. Sometimes, these differences are transparent to those using

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324-418: The Alleluia. Sequences are distinguished by a structure dominated by couplets , in forms of AA'BB'CC'... and ABB'CC'DD'...Z. Although it is commonly understood that sequences fall into early, middle, and late periods, the history of developments in the genre is better thought of as unfolding in layers that overlap. In the early period, sequences such as Notker's often included single lines that were not part of

351-767: The Dead . In 1727, the 13th century Stabat Mater for Our Lady of Sorrows was added to this list. In 1970 the Dies Irae was removed from the Requiem Mass of the revised, new Roman Missal and was transferred to the Liturgy of the Hours to be sung ad libitum in the 34th week of the Ordinary Time before the beginning of Advent , dividing into three parts: Office of Readings , Lauds and Vespers . Currently,

378-883: The Dies Irae is sung in churches where the Tridentine Mass is celebrated. The Christmas sequence Laetabundus , not present in the Roman Missal, is found in the Dominican Missal. This sequence is permitted for the Third Mass of Christmas, the Epiphany, and Candlemas. The Third Edition of the Roman Missal, which was implemented in the United States in 2010, states that the Sequence is optional except on Easter Sunday and Pentecost Day, and it sung before

405-536: The General Chapter complained about two English abbeys which were said to sing in three or four parts in the manner of non-monastic churches; the implication is that two-part polyphony was then acceptable, and the manuscript contains two-part solfège exercises with notations on their use in the convent. However, there are also three-part pieces. The manuscript was rediscovered in 1904 by two Benedictine monks who were researching Gregorian chant . However,

432-644: The Latin Mass of the Middle Ages , it became customary to prolong the last syllable of the Alleluia , while the deacon was ascending from the altar to the ambo , to sing or chant the Gospel. This prolonged melisma was called the jubilus , jubilatio , or laudes , because of its jubilant tone. It was also called sequentia , "sequence," because it followed (Latin: sequi ) the Alleluia. Notker set words to this melisma in rhythmic prose for chanting as

459-812: The Middle Ages, secular or semi-secular sequences, such as Peter of Blois ' Olim sudor Herculis ("The labours of Hercules") were written; the Goliards , a group of Latin poets who wrote mostly satirical verse, used the form extensively. The Carmina Burana is a collection of these sequences. In the Missal of Pius V (1570) the number of sequences for the entire Roman Rite was reduced to four: Victimae paschali laudes (11th century) for Easter , Veni Sancte Spiritus for Pentecost (12th century), Lauda Sion Salvatorem (c.1264) for Corpus Christi , and Dies Irae (13th century) for All Souls and in Masses for

486-419: The idea of poetry and prose as two ends on a spectrum rather than firmly distinct from each other. The British poet T. S. Eliot noted, whereas "the distinction between verse and prose is clear, the distinction between poetry and prose is obscure." Latin was a major influence on the development of prose in many European countries . Especially important was the great Roman orator Cicero (106–43 BC). It

513-439: The languages; linguists studying extremely literal transcripts for conversation analysis see them, but ordinary language-users are unaware of them. Academic writing (works of philosophy , history , economics , etc.), journalism , and fiction are usually written in prose (excepting verse novels etc.). Developments in twentieth century literature, including free verse , concrete poetry , and prose poetry , have led to

540-482: The music was not published until the 1930s. There is also a 1980s edition. The Huelgas Ensemble , a Belgian group specialising in polyphony, takes its name from the codex. It was founded in 1971. There have been many recordings of music from the Codex. Notable recordings include those of: Sequence (poetry) A sequence ( Latin : sequentia , plural: sequentiae ) is a chant or hymn sung or recited during

567-528: The ninth century, Hrabanus Maurus also moved away from classical metres to produce Christian hymns such as Veni Creator Spiritus . The name sequentia , on the other hand, came to be bestowed upon these hymns as a result of the works of Notker Balbulus , who popularized the genre in the ninth century by publishing a collection of sequentiae in his Liber Hymnorum . Since early sequences were written in rhythmical prose, they were also called proses (Latin: prosae ). Notker's texts were meant to be sung. In

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594-651: The order and places the sequence before the Alleluia . The form of this chant inspired a genre of Latin poetry written in a non- classical metre , often on a sacred Christian subject, which is also called a sequence. The Latin sequence has its beginnings, as an artistic form, in early Christian hymns such as the Vexilla Regis of Venantius Fortunatus . Venantius modified the classical metres based on syllable quantity to an accentual metre more easily suitable to be chanted to music in Christian worship. In

621-695: The preferred literary style in Latin. New sequences continued to be written in Latin; one of the best known later sequences is the Christmas carol Adeste Fideles , known in English as "O Come, All Ye Faithful". Prose Prose is language that follows the natural flow or rhythm of speech, ordinary grammatical structures , or, in writing, typical conventions and formatting. Thus, prose ranges from informal speaking to formal academic writing . However, it differs most notably from poetry , in which language

648-770: The sequence for Pentecost , Veni Sancte Spiritus , showed increasing regularity of structure, with rhyming couplets throughout. Medieval sequences are usually modal melodies. While primarily syllabic, sequences can occasionally have short neumatic moments, but they almost never contain melismas . The two verses of each couplet are sung to the same musical line, usually ending on a tonally stabilizing pitch, with variety being created by couplets of different lengths and with different musical arches. Although sequences are vocal and monophonic , certain sequence texts suggest possible vocal harmonization in organum or instrumental accompaniment. The composition of sequences became less frequent when Humanist Latin replaced medieval Latin as

675-495: Was intended for use in performance, presumably within the monastery which had a choir of 100 women at one point in the 13th century. The manuscript raises questions regarding performance practice of the pieces it contains, especially the polyphonic repertory. It is believed that this choir of women performed the polyphonic works in the manuscript, despite Cistercian rules against the performance of polyphonic music. Two-part polyphony appears to have been considered legitimate. In 1217,

702-437: Was replaced by French from the 17th.- to the mid-20th century, i.e. until the uptake of English: Prose usually lacks the more formal metrical structure of the verses found in traditional poetry . It comprises full grammatical sentences (other than in stream of consciousness narrative), and paragraphs, whereas poetry often involves a metrical or rhyming scheme. Some works of prose make use of rhythm and verbal music. Verse

729-420: Was the lingua franca among literate Europeans until quite recent times, and the great works of Descartes (1596–1650), Francis Bacon (1561–1626), and Baruch Spinoza (1632–1677) were published in Latin. Among the last important books written primarily in Latin prose were the works of Swedenborg (d. 1772), Linnaeus (d. 1778), Euler (d. 1783), Gauss (d. 1855), and Isaac Newton (d. 1727). Latin's role

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