Misplaced Pages

#404595

24-551: Clausula may refer to: Clausula (music) Clausula (rhetoric) Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title Clausula . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Clausula&oldid=974430141 " Category : Disambiguation pages Hidden categories: Short description

48-401: A particular organum setting or piece of plainchant. As they were notated separately, it was possible for them to be expanded and developed further, and they eventually became standalone pieces which could be sung at certain points in the liturgy. At that time, there were some clausulae that people liked or were particularly popular, for example, those composed on the tenor REGNAT from the verse of

72-577: Is adduced' in connection with his books having only been used . This 'by no means confirms that Pérotin himself was active at Notre Dame, or anywhere else in Paris for that matter'. The music from the Liber has been published in modern times by William Waite (1954), Hans Tischler (1989),  and by Edward Roesner (1993–2009). The early music of Notre Dame cathedral represents a transitional time for Western culture. This time of change coincided with

96-428: Is different from Wikidata All article disambiguation pages All disambiguation pages Clausula (music) The clausula ( Latin for "little close” or “little conclusion"; plural clausulae ) was a newly composed section of discant ("note against note") inserted into a pre-existing setting of organum . Clausulae flourished in the late twelfth and thirteenth centuries and were associated with

120-460: Is drawn from the writings of Anonymous IV.  Though it is a controversial topic among scholars, some believe parts of the Magnus Liber organi may have been revised by Pérotin (fl. 1200), while others such as Heinrich Husmann note that the finding is from 'the rather slim report of Anonymous IV' and that 'as for its connections with Notre Dame Cathedral in Paris, the name of Pérotin alone

144-495: The Herzog August Bibliothek (Ducal Library) , the first is thought to have originated in the cathedral priory of St Andrews, Scotland, and less is known about W2. Catalogues referring to other lost copies attest to the wide diffusion through Western Europe of the repertoire later called ars antiqua . Heinrich Husmann summarizes that "these manuscripts, then, do not represent any more the original state of

168-402: The Magnus Liber, but rather enlarged forms of it, differing from each other. In fact, these manuscripts embody different stylistic developments of the Magnus Liber itself, particularly in the field of composition mentioned by Anonymous IV, the clausula . This is born out by the differing versions of the discantus parts".  Husmann also notes that a comparison of the repertory contained in

192-476: The Notre Dame school in Paris c. 1160–1250 (during the stylistic period known as ars antiqua ). The composers Léonin and Pérotin in particular contributed heavily in composing clausulae . Rather than write entirely new music, the preference was to take existing music, that is, plainchant melodies, and develop or improve upon them. According to an English author known as Anonymous IV (c. 1280), "Pérotin

216-407: The Notre Dame school . The origin of the clausula has long been subject of scholarly debate, as the relationship between clausulae and motets is very complicated. Clausulae eventually became used as substitutes for passages of original plainchant . They occur as melismatic figures based on a single word or syllable within an organum . Clausulae emerged from the compositional practices of

240-594: The Ascension Alleluia Hodie Maria virgo in the early thirteenth-century. Over time, the appearance and use of clausula changed little by little, but the images of clausula found in different times and regions still had similar characters. Some clausula matched the melodic lines from the French motet without text. This is an important clue to the eventual transformation of clausula into the form of motet . The composition of clausulae died out in

264-462: The architectural innovation that produced the structure of the Cathedral itself (earliest start of construction in 1163). A handful of surviving manuscripts demonstrate the evolution of polyphonic elaboration of the liturgical plainchant that was used at the cathedral every day throughout the year. While the concept of combining voices in harmony to enrich plainsong chant was not new, there lacked

SECTION 10

#1732773353405

288-505: The difference reflects the artistic changes that occurred in the process of texting clausula. Obviously, possibilities and usefulness of clausula played a pivotal role in the creation of an important musical genre called the motet . Magnus Liber Organi The Magnus Liber organi most likely to have originated in Paris and is known today from only a few surviving manuscripts and fragments, and there are records of at least seventeen lost versions. Today its contents can be inferred from

312-424: The end of a sentence or phrase." In particular, rather than seeing clausula as a genre, the part composed in the style of discantus with a definite final cadence was called clausula . Thus, there are more studies that relate specifically to the motet , rather than studies of the origin of the clausula . One scholar writes that "the motet arose through the addition of Latin texts to the melismatic upper voices of

336-544: The established and codified musical theory techniques to enable the rational construction of such pieces. The Magnus Liber represents a step in the development of Western music between plainchant and the intricate polyphony of the later thirteenth and fourteenth centuries (see Machaut and Ars Nova ). The music of the Magnus Liber displays a connection to the emerging Gothic style of architecture; just as ornate cathedrals were built to house holy relics , organa were written to elaborate Gregorian chant , which too

360-481: The mid-13th century as they were replaced by motets as the main platform for the development of new compositional techniques. Norman Smith claimed that the music of pre-existing clausulae in three early thirteenth-century Latin motets in the Florence Manuscript resemble each other so much that it's hard to find differences in rhythms between the motet and the clausula, which clearly exists. However

384-481: The motet came first. Instead, the relationship between the two is complexly intertwined and closely influenced by each other. Clausulae enriched pre-existing settings of organum. Hundreds of clausulae in two, three and four parts were incorporated into the Magnus Liber Organi of Léonin and Pérotin. Others were arranged in liturgical order within manuscripts so that they could be easily introduced into

408-514: The notes of the Gregorian chant elongated to enormous length called the tenor (from Latin 'to hold'), but was also known as the vox principalis. As many as three voices, known as the vox organalis (or vinnola vox , the "vining voice") were notated above the tenor, with quicker lines moving and weaving together, a style also known as florid organum . The development from a single line of music ( monophony ) to one where multiple lines all carried

432-494: The same weight ( polyphony ) is shown through the writing of organa. The practice of keeping a slow moving "tenor" line continued into secular music, and the words of the original chant survived in some cases as well. One of the most common genres in the Magnus Liber is the clausula , which are "sections where, in discant style, the tenor uses rhythmic patterns as well as the upper part". These sections of polyphony were substituted into longer organa. The extant manuscripts provide

456-504: The three manuscripts shows there "are a great many pieces common to all three sources" and that "the most reasonable attitude is obviously to consider the pieces in common to all three sources as the original body, consequently as the true Magnus Liber organi". It is unknown whether the Magnus Liber had one sole contributor, though it is noted by scholars that large parts were composed by Léonin (1135–c.1200) and this conclusion

480-453: The three surviving major manuscripts: These three manuscripts date from later than the original Magnus Liber, but careful study has revealed many details regarding origin and development. "Evidence of lost Notre Dame manuscripts, including the names of their owners, is plentiful indeed", tracing back to year 1456 when manuscript F first appeared in the library of Piero de' Medici . Of the two others, referred to as W1 & W2 , both in

504-409: The two-voice clausulae and was thereby able to explain for the first time the previously baffling and unprecedented verse structures of many motet texts." Others claim that by the removal of the text of a motet in its original composition, it was changed into a clausula. As the relationship between clausulae and motets is very complicated, there are conflicting conclusions on whether the clausula or

SECTION 20

#1732773353405

528-483: Was better at making clausulae than Léonin had been in that Pérotin was better at making better discant style of clausulae." The appearance of clausulae provided the first rhythmic system. (It is hard to find rhythmic notation in the earliest motets because of the lack of the use of clear rhythmic notation in the manuscripts.) Pérotin's clausulae make use of the rhythmic modes , whose strict metrical feet necessitated that voices change notes together ( discantus ). This

552-421: Was considered holy. The innovations at Notre Dame consisted of a system of musical notation which included patterns of short and long musical notes known as longs and breves . This system is referred to as mensural music as it demonstrates the beginning of "measured time" in music, organizing lengths of pitches within plainchant and later, the motet genre. In the organi of the Magnus Liber, one voice sang

576-524: Was in contrast to the earlier practice of one voice moving in a free rhythm above a "tenor" voice (Latin tenere : "to hold") sustaining the long notes of a cantus firmus . The tenor line was often repeated to allow for expansion of the clausula ; this was the origin of the technique known as isorhythm . The scholarly debate over the origin of the clausula continues. However, the term clausula already used in ancient Roman rhetoric, where it denoted "a rhythmic figure used to add finesse and finality to

#404595