It was a technique used in works like Homer’s Odyssey. The word “apostrophe” comes from the Greek meaning “turning back”. When writers make use of this technique it is often accompanied by escalations like “Oh!” or “Alas”. These disparate recipients of a speaker’s words are unified by the belief, on the part of the speaker, real or not, that whoever or whatever they are speaking to can hear and understand them. Often, this technique is used when a speaker addresses a god or group of gods. It might also be a non-human animal, an abstracted, but personified force, or even an object. Such intervals are called perfect because they are the first intervals derived from the overtone series (see chapter one).This could be a person they know or don’t know someone who is alive or dead, or someone who never existed at all. Perfect intervals are the intervals of fourths, fifths, and octaves. In this case, growing musical complexity seems to parallel growing architectural complexity.Ĭomposers wrote polyphony so that the cadences, or ends of musical phrases and sections, resolved to simultaneously sounding perfect intervals. Polyphonic liturgical music, originally called organum, emerged in Paris around the late twelfth and thirteenth centuries. Originally, these polyphonic compositions featured two musical lines at the same time eventually, third and fourth lines were added. With the advent of musical notation that could indicate polyphony, composers began writing polyphonic compositions for worship, initially intended for select parts of the Liturgy to be sung by the most trained and accomplished of the priests or monks leading the mass. Initial embellishments such as the addition of a musical drone to a monophonic chant were probably improvised during the Middle Ages. The Emergence of Polyphonic Music for the Medieval Church Strophe 4: Venter enim tuus gaudium havuit… “Your womb held joy…” Strophe 3: O pulsherrima et dulcissima… “O lovely and tender one…” Strophe 2: Nam hec superna infusio in te fuit… “The essences of heaven flooded into you… Repetition of the melody to new words sung by all with monophonic texture (the drone continues) Strophe 1 continues: Gloriosa et intacta puella… “Noble, glorious, and whole woman…” Since the drone is improvised, this is still monophony. The melody continues mostly conjunctly, with melismas added. Group joins with line two, some singing a drone pitch. Strophe 1: Ave, generosa, “Hail generous one” ![]() The melody opens with an upward leap and then moves mostly by step: conjunct ![]() Solo vocalist enters with first line using a monophonic texture. It has a Latin text sung in a strophic form.It is monophonic (although this performance adds a drone).Its rhythms follow the rhythms of the text.What we want you to remember about this composition: Performing Forces: small ensemble of vocalists Nature of Text: multiple, four-line strophes in Latin, praising the Virgin Mary ![]() Performers of the Middle Ages possibly did likewise, even if prevailing practices called for entirely a cappella worship. Performances of chant music today often add embellishments such as occasionally having a fiddle or small organ play the drone instead of being vocally incorporated. Source: WikimediaĬhant is by definition monophonic, but scholars suspect that medieval performers sometimes added musical lines to the texture, probably starting with drones (a pitch or group of pitches that were sustained while most of the ensemble sang together the melodic line). \): Depiction of Hildegard of Bingen in the Rupertsberger Codex of her Liber Scivias by Hildegard.
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