On the Formation and Development of Early Polyphony Music

I. Organs

At the beginning of the 9th century, the earliest polyphonic music type was O 'Garnham. Based on Gregorian chant, it added a new polyphonic form (voice) to its melody, mostly improvising. Can be divided into four types:

1. Parallel Organon (the moon is gone, so am I): Add a parallel voice with a distance of four or five degrees under the existing singing melody (figure). See the textbook Spectrum Examples 13. The main part above is the chant melody, and the additional melody below is called the Organon part, which is parallel to the fifth degree. It also has a compound form, that is, the two parts overlap by eight degrees, as shown in the spectral example 14. Debussy made good use of this ancient interval, highlighting the hollow effect as a harmonious color (medieval mode). For the variation form of parallel Oganon, see the spectrum example 15, from the same degree to the fourth degree and then to the same degree.

2. On the other hand, in the Organon, which is relatively free to change, the melody is parallel and oblique, prevailing in 1 1 century (figure), which has been mentioned in many books, and the reverse and oblique increase, resulting in the interlacing of voices. Selected Works of Additional Paragraphs in Winchester is a copy of two polyphonic manuscripts of 1 1 century, which retains rich Olganon language and is recorded with New Chinese symbols. The interval combination is mainly octave, fifth degree and fourth degree.

3./kloc-at the beginning of the 0/2 century, new changes took place in the OCA. The additional part of the organon moved from the lower part to the upper part, and gradually developed into gorgeous, flowing and decorative, thus forming a gorgeous organon (pictured). In some manuscripts of Compostela Monastery in Spain and Marshall Monastery in Limoges, France, this Oganon style appeared. It can be seen that the intonation of singing has changed, the voice has become longer, and the tune is not obvious, but it just plays a foil role. From this time on, the intonation used in polyphonic music began to be called tenor, a continuous sound or a fixed melody (14th century). It is like the root of a big tree, which makes music rooted in religion, and its branches and leaves grow to absorb nutrients from the root (TSDT's function goes on and will eventually return to the main chord). As a bass, it is the foundation of music.

4.Olganon should start with the emergence of rhythm patterns. In the development of notation, rhythm began to be noticed only after the sound was high and clear. It is precisely because of the requirements of polyphonic music that the combination of multi-voice parts needs clear rhythm and rhythm control. 1 1 and 12 centuries formed a set of rhythm patterns-six-rhythm pattern (figure). From the rhythm, we can see that the "trisection" beat is equivalent to what we now call a few eighths of the beat, which was "perfect" at that time. In music practice, the use of these rhythms is much more flexible. With a fixed rhythm, the so-called "quantity" is formed. In all early music, people often say that there are rules to follow in rhythm.

Second, first, Kant.

When the melody is sung according to the measured rhythm, a new polyphonic form (style)-Decante is produced. The two parts (the melody sung and the part added above) organize the melody according to the rhythm pattern, thus forming a modal texture with almost simultaneous upper and lower parts and more prominent upper part. Looking at the example of P28 spectrum, the up and down sounds are almost one tone at a time. See what rhythm pattern is used? Look (at the picture) and use the patterns 1 and 5. The textbook also mentions a kind of music called Copula, which is rarely mentioned in general history books. There is a short passage in the Grove Music Dictionary, which gives an explanation. It is a continuous feature of the rhythm pattern used in the upper voice and the original hymn reserved in the lower voice.

The polyphonic music of Notre Dame School in the second quarter

The development of polyphonic music in 12 and 13 centuries mainly came from France, especially Notre Dame de Paris, which was dominated by monks and some second-rate and third-rate composers. Therefore, they are called Notre Dame School in the history of music, and they made the development of medieval music reach its peak. (Figure),12nd century, Gothic style appeared in art, mainly referring to architecture. Notre Dame de Paris, which we saw, showed this style, with stone carving, towering into the sky, arched movement, and the feeling of losing weight completely without gravity. This style is also found in other arts, and its prominent feature is movement, which is manifested in the rhythmic movement of each voice in music. In the history of music, "ancient art" as opposed to "new art" refers to this kind of Gothic polyphony music.

Notre Dame composers Leonan and Perotin are two important figures in medieval polyphony. Notre Dame Music School has formed and established new rules and traditions in polyphonic music creation and singing practice, especially in polyphonic rhythm notation and creation, which has brought Organo and discontinuous polyphonic music to the extreme. Leon's greatest achievement is the creation of Organon, who is known as "the greatest Organon composer". He wrote a two-part ritual music for the church called The Complete Works of Organon, which is an important polyphonic music document in the Middle Ages. The original edition no longer exists, and there are only a few manuscripts in some places, which are written for solos in response to hymns in mass and daily classes. The music presents a comprehensive style with gorgeous Olganon. Perotin can be said to be the builder of Gothic music Cathedral, and his innovation is more abundant than Leon's. He once improved Leonard's The Complete Works of Organon. His Organon changed the taste of improvisation in the past, but was written in a more accurate rhythm, and the rhythm of melody hymns tended to be dense. The greater innovation is to expand the number of voices from two to three or four, and add the Coruscant part to the Organon, thus making the melody and rhythm more complicated, and the polyphonic music has the possibility of further extension.

Notre Dame Conservatory of Music also developed another polyphonic music form-Conductus.

Three. Conduktus' command

It can be divided into monosyllabic and polyphonic forms. We will discuss monosyllabic Kundukus in the next chapter, and only polyphonic Kundukus will be discussed here. Its characteristics are that the tuning part is not like the chant tone used by Organon and Disante, but is created by the composer himself and has flexible rhythm organization; Texture has two or four parts, three parts are common, and the parts are unified, which is basically the style of parts; The lyrics are Latin, but they are syllables and metrical poems, which are generally non-ceremonial (religious and secular), unlike the prose worship language used by Olganon.

Section 3 Classics and Songs

Fourth, classic songs.

Tracing back to the generation of classic songs, we should start with Cloursula. Clausula is actually a polyphonic passage of a hymn written in Decanter style in Gorgeous Organon (Graue's music history is called Decanter Clausula or replacing Clausula-many Clausula can be written in the same melody and can be chosen according to the occasion). Leonan and Perrodin have many clauses in Organon's works, which are divided into two parts. The upper part has no lyrics or only a few syllables. (Read the score example, analyze it, and then look at another score example, press) Later, Clausula was separated from Organon, and new Latin lyrics or French lyrics were added to the voice. Clausula with lyrics became a classic song of motet. We see that in Example 23, Latin lyrics are added to become a classic song, which is a two-part song. Let's look at another example.

A simple definition of this genre is polyphonic music with independent lyrics in the first half (one or two) produced in13rd century. The upper voice refers to adding a voice, not only the music is new, but also the lyrics are filled with new ones, using the secular content of the mother tongue, thus forming a genre type with different melodies and lyrics, which is a typical example of religious music being influenced by secular music. It is precisely because of its randomness that it has been favored by composers of all ages. It is one of the important music genres in the Renaissance (belonging to religious music), which is suitable for composers to show their creative talents.

At this point, we may have discovered some laws of the development of polyphonic music in the Middle Ages-the expansion of additional lyrics (additional paragraphs, recitations and classic songs) and the expansion of embellished tunes (coloratura, rhythm and voice). The state of movement is long, but it is in this seemingly "static" modification that the bud of western art music is bred, which brings music from impromptu oral communication to the principle of rational creation. From the early Olganon, recitation to discontinuity, the multi-part polyphonic music with Gregorian chant as the fixed melody gradually lost its original purpose of use, especially in classical songs, the fixed melody contributed more to the form of the work than to the content expression or other functions. Therefore, the gorgeous and smooth melody in the first half is often more attractive than the dull and lengthy melody. /kloc-In the second half of the 3rd century, Wen Jing's songs spread all over Europe and gradually became a fixed writing genre.

In the classic songs of the13rd century, each voice has different lyrics, which not only use different languages (for example, the melody is Latin and other voices are French), but also have different contents (complicated lyrics-songs with stuffing). The content of different parts is often very different. Maybe part of it is a happy love song, and part of it is a sad mood. The differences in lyrics between different parts make the titles of classic songs more distinctive. It takes the first word or words of each part of the lyrics from top to bottom to form a complex title, such as the classic song "Human Security-The Brightest Star-Ours" by Leo Male, which consists of the first words of three parts respectively. (Book P33 is entitled "Some people are jealous-love to hurt others-Compassion Sutra").

A large number of secular lyrics and tunes have become the material of classic songs, making classic songs a mixture of religion and secularism in both content and form. But "mixing" is not static. /kloc-In the late 3rd century, the last two classic songs with different lyrics were more common, so more changes took place on this basis. A fixed melody can be matched with different upper voices, thus creating a variety of new two-part, three-part and four-part classic songs. They are all independent music, because they use the same melody. The difference lies in the replacement of lyrics and tunes in the upper part. Because of the flexible use of lyrics and tunes in high notes, Wen Jing songs have become an area where creators can freely display their talents. Some religious elements left in classic songs have been assimilated by increasingly rich and changeable secular factors. In many cases, classic songs have become popular music genre in secular environment, while melodies without more important significance often become instrumental music (this form is often used in French classic songs), which can be said to be the beginning of instrumental music's formal involvement in vocal music.

At first, the fixed melody in classic songs was written with six rhythm patterns of Organo. However, due to more and more changes in the content and melody of the upper part, the rhythm of the fixed melody has become increasingly flexible, thus changing the inherent "emergency March" situation of multiple voices and making the melody lines form a patchwork effect. The flexible use of various rhythms in classic songs forces people to establish a set of rules to meet this diversity. 1260 or so, Francot? De? Colonia established a quantitative notation system (we will talk about it in detail in the chapter of "New Art"), and made clear provisions on rhythm and sound duration, so as to conform to the creative mode of classical songs. In the development of notation, the systematic regulation of rhythm and duration undoubtedly gave a great impetus to the development of polyphonic music. /kloc-In the second half of the 3rd century, due to the different rhythms used by different parts, the classic songs presented multi-level styles, especially those of Francot and Pietro. (Reading Music Example 25) It is characterized by taking the standard three-part classic songs as the main body of creation, and the rhythms among the three parts are densely arranged. Melody is still a loose and inflexible rhythm; The rhythm of the second voice is slower, but it is obviously a little more complicated than the set melody; The third part is the most active and vivid part among the three parts from rhythm to melody, and the rhythm is more compact and complicated. Pietro's classic songs are more active than Francot's classic songs in the rhythm of the third part. /kloc-In the second half of the 3rd century, the rhythm of China's classical songs was more important than harmony. The rapid development of rhythm directly led to the prosperity of China classical songs with equal rhythm in the "New Art" period, and more innovations began to be made in the concept of polyphony creation.

Appreciation: Songs by Leonan Konduquets Pietro Wen Jing.