2.3 The Rise of Polyphony

The rise of polyphony marked a revolutionary shift in Western music. Starting with simple parallel melodies in the 9th century, it evolved into complex compositions with multiple independent voices. This development spanned centuries, from early organum to the intricate motets of the Ars Nova period.

Key figures like Léonin and Pérotin at the Notre Dame School pushed polyphonic boundaries. Their innovations in rhythm, harmony, and notation laid the groundwork for future composers. This era saw the birth of new forms like the motet, shaping the course of Western classical music.

Polyphony's Development

Origins and Early Advancements

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• Polyphony emerged from adding parallel melodic lines to existing chants (organum) in the 9th century
• Aquitanian polyphony developed in southwestern France during 11th-12th centuries featured early two-part organum with increased melodic independence
• Notre Dame School (12th-13th centuries) marked significant advancement in polyphonic composition
  • Introduced measured rhythm
  • Incorporated more complex harmonies

Medieval Periods of Polyphonic Development

• Ars Antiqua period (c. 1170-1310) saw significant developments
  • Development of the motet form
  • Systematization of rhythmic notation
• Ars Nova style (c. 1310-1377) introduced further innovations
  • Expanded rhythmic techniques
  • Increased use of secular themes in polyphonic music
• Late medieval period featured complex four-part compositions
  • Incorporated intricate rhythms
  • Utilized sophisticated harmonies

Medieval Polyphony Forms

Organum

• Earliest form of polyphony added one or more voices to pre-existing chant melody (cantus firmus)
• Types of organum included:
  • Parallel organum (voices moved in parallel motion)
  • Free organum (voices moved independently)
  • Melismatic organum (florid upper voice over sustained lower voice)

Motet and Related Forms

• Motet emerged in 13th century as polyphonic vocal composition
  • Featured multiple texts sung simultaneously
  • Early motets used sacred Latin texts
  • Later motets incorporated secular vernacular texts
• Clausula functioned as polyphonic section within larger organum
  • Often extracted and used as basis for motets
• Discant style referred to note-against-note polyphony
  • Used in sections of organum and conductus

Conductus

• Non-liturgical sacred Latin song for one or more voices
• Typically syllabic in nature (one note per syllable)
• All voices sang the same text simultaneously

Key Composers of Polyphony

Notre Dame School Composers

• Léonin (active late 12th century) pioneered significant polyphonic compositions
  • Composed Magnus Liber Organi (collection of two-part organum for liturgical year)
• Pérotin (early 13th century) further developed polyphonic techniques
  • Expanded organum to three and four voices
  • Introduced use of repeated rhythmic patterns (modal rhythm)
• Anonymous IV (13th-century English student) provided crucial information about Léonin and Pérotin

Ars Nova Composers

• Philippe de Vitry (1291-1361) played key role in Ars Nova style development
  • Advanced rhythmic notation techniques
  • Contributed to development of isorhythm
• Guillaume de Machaut (c. 1300-1377) composed in various polyphonic forms
  • Known for complete Mass Ordinary setting (Messe de Nostre Dame)

Characteristics of Medieval Polyphony

Notation and Rhythm

• Early polyphonic notation evolved from neumatic notation
• Square notation (12th-13th centuries) allowed more precise pitch and rhythm representation
• Modal rhythm organized rhythmic structure using six patterns based on poetic meters
• Mensural notation (13th century) enabled precise notation of rhythm and meter
  • Utilized different note shapes
  • Incorporated time signatures
• Isorhythm technique became prominent in 14th-century motets
  • Used repeated rhythmic and melodic patterns often of different lengths

Harmonic and Textual Elements

• Harmonic language based on perfect consonances (unisons, octaves, perfect fifths)
• Increasing use of imperfect consonances (thirds and sixths) over time
• Text setting varied between syllabic (one note per syllable) and melismatic (multiple notes per syllable)
  • Often differed between voices in same composition