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A Few Notes on the Kοινὴ Ὁρμασία and Some Musical Examples of the Old Organum

A Few Notes on the Kοινὴ Ὁρμασία and Some Musical Examples of the Old Organum AbstractThe article discusses – on the basis of manuscript readings and the wider context – two musical examples from the Old organum (Musica enchiriadis 14 and Micrologus 19), both with respect to an occursus at the end of the melody. These examples were previously used by the author for the illustration of similar features in the κοινὴ ὁρμασία, but without the critical discussion given here. The discussion shows that the Micrologus example most probably must be renounced as an illustration for the sequence b♭-b and that the Musica enchiriadis example can serve as an illustration for parallel fourths, but that it remains ambiguous with respect to the occursus. In addition, a few further musical examples from the Musica enchiriadis and from an associated treatise (De organo, with the Alleluia/Benedicta) are discussed which may help us to understand the role of the tritone in Gaudentius and in some of the restored hormasia tables. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Greek and Roman Musical Studies Brill

A Few Notes on the Kοινὴ Ὁρμασία and Some Musical Examples of the Old Organum

Greek and Roman Musical Studies , Volume 10 (1): 13 – Mar 7, 2022

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Publisher
Brill
Copyright
Copyright © Koninklijke Brill NV, Leiden, The Netherlands
ISSN
2212-974X
eISSN
2212-9758
DOI
10.1163/22129758-bja10039
Publisher site
See Article on Publisher Site

Abstract

AbstractThe article discusses – on the basis of manuscript readings and the wider context – two musical examples from the Old organum (Musica enchiriadis 14 and Micrologus 19), both with respect to an occursus at the end of the melody. These examples were previously used by the author for the illustration of similar features in the κοινὴ ὁρμασία, but without the critical discussion given here. The discussion shows that the Micrologus example most probably must be renounced as an illustration for the sequence b♭-b and that the Musica enchiriadis example can serve as an illustration for parallel fourths, but that it remains ambiguous with respect to the occursus. In addition, a few further musical examples from the Musica enchiriadis and from an associated treatise (De organo, with the Alleluia/Benedicta) are discussed which may help us to understand the role of the tritone in Gaudentius and in some of the restored hormasia tables.

Journal

Greek and Roman Musical StudiesBrill

Published: Mar 7, 2022

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