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Pérotin, "Alleluia nativitas", in the third rhythmic mode. In medieval music, the rhythmic modes were set patterns of long and short durations (or rhythms).The value of each note is not determined by the form of the written note (as is the case with more recent European musical notation), but rather by its position within a group of notes written as a single figure called a ligature, and by ...
Related to the diatonic modes are the eight church modes or Gregorian modes, in which authentic and plagal forms of scales are distinguished by ambitus and tenor or reciting tone. Although both diatonic and Gregorian modes borrow terminology from ancient Greece , the Greek tonoi do not otherwise resemble their medieval/modern counterparts.
The expressions "rhythmic mode" and "modal rhythm", however, are modern names applied to the medieval concept. Just what relationship may have existed with a metric foot in ancient or medieval poetry or poetic theory is not entirely clear. [2] Rhythmic modes were first used by the Notre-Dame school according to a classification numbered from 1 ...
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De mensurabili musica, most likely written around 1240, is the single most important treatise in the early history of rhythmic notation, for it is the first to propose notation of rhythm. Specifically, it describes a practice already in use, known as modal rhythm, which used the rhythmic modes. In this system, notes on the page are assigned to ...
While less context dependent than notation in rhythmic modes, mensural notation differed from the modern system in that the values of notes were still somewhat context-dependent. In particular, a note could have the length of either two or three units of the next smaller order, whereas in modern notation these relations are invariably binary.
Isorhythm is a logical outgrowth of the rhythmic modes that governed most late medieval polyphony. Discarding modal-rhythmic limitations, isorhythm became a significant organizing principle of much of 14th-century French polyphony by extending the talea of an initial section to the entire composition in conjunction with variation of a ...
The most famous music theorist of the first half of the 13th century, Johannes de Garlandia, was the author of the De Mensurabili Musica (c. 1240), the treatise which defined, and most completely elucidated rhythmic modes. [5]