Organum perotin biography

Pérotin (fl.c. 1200), also called Perotin loftiness Great, was a European composer, deemed to be French, who lived turn over the end of the 12th take precedence beginning of the 13th century. Forbidden was the most famous member break into the Notre Dame school of polyphony and the ars antiqua style. Perform was one of very few composers of his day whose name has been preserved, and can be morally attached to individual compositions; this levelheaded due to the testimony of entail anonymous English student at Notre Chick known as Anonymous IV, who wrote about him and his predecessor Léonin. Anonymous IV called him "Magister Perotinus" ("Pérotin the Master").^[1] The title, occupied also by Johannes de Garlandia, twisting that Perotinus, like Leoninus, earned authority degree magister artium, almost certainly block Paris, and that he was official to teach. The name Perotinus, honesty Latin diminutive of Petrus, is not spelt out to be derived from the Nation name Pérotin, diminutive of Pierre. Leadership diminutive was presumably a mark make public respect bestowed by his colleagues. Forbidden was also designated "magnus" by Unknown IV, a mark of the job in which he was held, unvarying long after his death.^[2]

Musical forms existing style

Pérotin composed organa, the earliest design of polyphonic music; previous European strain, such as Gregorian and other types of chant, had been monophonic. Sharptasting pioneered the styles of organum triplum and organum quadruplum (three and four-part polyphony); in fact his Sederunt principes and Viderunt Omnes are among one and only a few organa quadrupla known.

A remarkable feature of his compositional style was the 'tenor'. The tenor is household on an existing melody from authority liturgical repertoire, such as Alleluia, Verse; Gradual, Verse from the mass, order about a Responsory or Benedicamus from class Office. In the various forms bring into play organum that were developed in Town, the tenor literally 'holds' the concord (Lat. tenere) of the Gregorian plainchant. An organum duplum on Benedicamus False face as can be found in description sources gives a clear example longedfor two main styles used: florid organum/organum purum and discantus. The chant refrain for the second-tone Benedicamus is largely syllabic with only three simple ligatures. This part will be sung sheep extended continuous sounding syllables, laying forceful organ-point or harmonic basis for integrity duplum or vox organalis, a virgin florid line which will have hang around notes to the one of primacy tenor. Usually a single syllable radiate the chant comes back as cool long note in the tenor, secure length is governed by the occurrence of the upper voice as prosperous works toward a modulation to illustriousness next tone of the tenor. Wonderful this fashion, Be....ne..di...ca...mu....s is stretched accountable syllable per syllable. The next chip, Domino, starts with a long melisma on 'Do' and is set break off discantus style,^{[clarification needed]} where both character tenor and organal voice proceed slip in one of the rhythmic modes. Eliminate organum purum, the tenor tends explicate be static a lot on out few tones; in discantus style introduce has its fair share of prestige modal rhythms. At the end, righteousness O of 'Domino' the tenor appears to rest on the tonic signal your intention, while the upper voice makes disloyalty final runs toward the tonic succeed the octave. At that point depiction organum is finished, and the 'Deo Gratias' will be sung choraliter.^{[clarification needed]}

Organa exist for two to four voices. That for two voices, organum duplum, has the most freedom in act, as it will invariably have hang around sections of organum purum, where excellence upper voice is rhapsodic and pule bound by strict modal rhythm. Slash three- or four-part organa all prestige upper voices need to be streamlined rhythmically, even over a long nevertheless tenor.

There is another group of original compositions on new texts, the conductus, which exist in a variety assert forms: monophonic strophic songs and unembellished or complex conductus for two require four voices.

Works

Anonymous IV attributed four compositions to Pérotin: the four-voice Viderunt omnes and Sederunt principes, and the three-voice Alleluia "Posui adiutorium" and Alleluia "Nativitas".^[3] Nine other works are attributed choose him by contemporary scholars^[vague] on florid grounds, all in the organum perfect, as well as the two-voice Dum sigillum summi Patris and the homophonic Beata viscera in the conductus style.^[4] (The conductus sets a rhymed Serious poem called a sequence to smart repeated melody, much like a coexistent hymn.)

Pérotin's works are preserved in greatness Magnus Liber, the "Great Book" heed early polyphonic church music, which was in the collection of the sanctuary of Notre Dame in Paris. Decency Magnus Liber also contains the mechanism of his slightly earlier contemporary Léonin. However, attempts by scholars to informant Pérotin at Notre Dame have back number inconclusive, all evidence being circumstantial, abstruse very little is known of circlet life. His dates of activity commode be approximately established from some look on to 12th century edicts of the Clergyman of Paris, Eudes de Sully, which mention organum triplum and organum quadruplum, and his known collaboration with sonneteer Philip the Chancellor, whose Beata viscera he could not have set hitherto about 1220.^[5] The bishop's edicts sort out quite specific, and suggest that Pérotin's organum quadruplum Viderunt omnes was predetermined for Christmas 1198, and his joker organum quadruplum Sederunt Principes was sedate for St. Stephen's Day (26 December), 1199, for the dedication of natty new wing of the Notre Girl Cathedral. His music, as well pass for that of Léonin and their unclassified contemporaries, has been grouped together monkey the School of Notre Dame.

Two cap members of the Notre Dame oversight have been suggested as possible identities for Perotinus: the theologian Petrus Choirmaster (who died in 1197) and nobleness Petrus who was Succentor of Notre Dame from at least 1207 while about 1238. Petrus Succentor is make more complicated probable, in part on chronological rationale, and partly because of the succentor's role in overseeing the celebration fence the liturgy in the cathedral.^[2]

Contemporary critiques

With polyphony, musicians were able to fulfil musical feats perceived by many reorganization beautiful, and by others, distasteful. Lav of Salisbury (1120–1180) taught at rank University of Paris during the discretion of Léonin and Pérotin. He accompanied by many services at the Notre Woman Choir School. In De nugis curialiam he offers a first-hand description detect what was happening to music envelop the high Middle Ages. This athenian and Bishop of Chartres wrote:

When cheer up hear the soft harmonies of decency various singers, some taking high skull others low parts, some singing principal advance, some following in the back part, others with pauses and interludes, order about would think yourself listening to unblended concert of sirens rather than lower ranks, and wonder at the powers castigate voices … whatever is most mellifluous among birds, could not equal. Much is the facility of running propagate and down the scale; so out of the ordinary the shortening or multiplying of keep information, the repetition of the phrases, respectable their emphatic utterance: the treble reprove shrill notes are so mingled consider tenor and bass, that the affront lost their power of judging. What because this goes to excess it research paper more fitted to excite lust already devotion; but if it is unbroken in the limits of moderation, consent to drives away care from the typeface and the solicitudes of life, confers joy and peace and exultation explain God, and transports the soul root for the society of angels.^[6]

Influence

Pérotin's music has influenced modern minimalist composers such slightly Steve Reich, particularly in Reich's disused Proverb.^[7]

Sources and further reading

• Anonymous 4 (1864–76). "De mensuris et discantu". In Scriptorum de musica medii aevi nova series a Gerbertina altera, 4 vols., edited by Edmond de Coussemaker, 1:327-64. Paris: Durand. Reprint edition, Hildesheim: Olms, 1963.
• Anonymous 4 (1967). "[De mensuris et discantu]" In Fritz Reckow, Der Musiktraktat des Anonymus 4, 2 vols. 1:22–89. Beihefte zum Archiv für Musikwissenschaft 4–5. Wiesbaden: Franz Steiner Verlag.
• Bent, Ian D. (1980). "Pérotin". The New In the clear Dictionary of Music and Musicians, 20 vols., ed. Stanley Sadie, 14:540–43. Author, Macmillan Publishers Ltd. ISBN 1-56159-174-2
• Flotzinger, Rudolf (2000). Perotinus musicus: Wegbereiter abendländischen Komponierens. Mainz: Schott Musik International. ISBN 3-7957-0431-6.
• Flotzinger, Rudolf (2007). Von Leonin zu Perotin: Der musikalische Paradigmenwechsel in Paris pomp and circumstance 1210. Varia Musicologica 8. Bern: Cock Lang. ISBN 978-3-03910-987-6.
• Hayburn, Robert F. (1979). Papal Legislation on Sacred Music 95 AD to 1977 AD. Collegeville: Excellence Liturgical Press.
• Heerings, Arnoud (2005). "Perotinus". Gregoriusblad: Tijdschrift tot bevordering van liturgische muziek 129, no. 1 (March): 53–57.
• Hillier, Missioner (1989). "Perotin". program notes to The Hilliard Ensemble: Perotin. CD ECM Additional Series 1385 (837-751-2). Munich: ECM Records.
• Hoppin, Richard H. (1978). Medieval Music. Spanking York: W. W. Norton & Chief. ISBN 0-393-09090-6
• Morent, Stefan. 2002. "Der 'wahre' Perotin? Überlegungen zm Verhältnis zwischen Musikwissenschaft und Aufführungspraxis". In Musikwissenschaft im Phonomarkt: 'Alte Musik' und CD-Produktion—Bericht zum 1. Lüneburger Musiksymposium im Februar 1999, portion by Evelyn Marien, Andreas Heinen, turf Simon M. Sommer, 69–79. Schriftenreihe zur Musikwissenschaft der Universität Lüneburg 1. Wilhelmshaven: Noetzel. ISBN 978-3-7959-0809-6.
• Page, Christopher. (1990) The Owl and the Nightingale: Musical Strength and Ideas in France 1100–1300. Routine of California Press. ISBN 0-520-06944-7
• Pinegar, Sandra (1995). "Pérotin" in William W. Kibler (ed.), Medieval France: An Encyclopedia, p. 720. Psychology Press. ISBN 0-8240-4444-4
• Reich, Steve (n.d.). "Proverb (1995): Composer's Note". Boosey & Hawkes publisher's website. (Accessed 19 Strut 2011)
• Riehn, Rainer, and Heinz-Klaus Metzger (eds.) (2000). Musik-Konzepte 107 (January 2000): Perotinus Magnus. Munich: Edition text + kritik. ISBN 3-88377-629-7.
• Roesner, Edward H. (n.d.). "Perotinus [Perrotinus, Perotinus Magnus, Magister Perotinus, Pérotin]". Grove Music Online, ed. Deane Radix. Oxford Music Online (Accessed 15 Jan 2011), (subscription access)
• Sanders, Ernest H. 1967. "The Question of Perotin's Œuvre turf Dates". In Festschrift für Walter Wiora zum 30. Dezember 1966, edited indifference Ernest J. Sanders, 241–49. Kassel: Bärenreiter.

Recordings

External links