Notre Dame School

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Handwriting  W2 of the Herzog August Bibliothek , beginning of the Conductus Salvatoris hodie

The Notre-Dame-School or Notre-Dame-Era belongs to the music of the Middle Ages and in the history of music commonly describes the period from 1160/80 to 1230/50. Presumably, this epoch ties in directly with the Saint Martial repertoire or overlaps with it.

What is meant is the time when the composer Pérotin at the Notre-Dame Cathedral in Paris shortened the magnus liber organi de graduali et antiphonario pro servitio divino ( Anonymus IV ) begun by Léonin and provided it with better clauses or points.

"This Magister Perotinus created the best quadrupla like Viderunt and Sederunt with an abundance of colores of harmonic art [...]"

Compositions in the style of the Notre Dame repertoire can be found in manuscripts that today u. a. in London , Sens and in the Herzog August Library in Wolfenbüttel .

Characteristics

The demarcation of this epoch from others is essentially due to the fact that the central position of the chorale arrangement ( organum ) and the modal notation are emphasized. In the later Ars antiqua, however, the mensural notation was used.

As cathedral art, the music of this period is functionally a form of liturgical music . Her repertoire consists of chorale melodies, more precisely of the responsorial chants of the mass and the office , which were performed with several voices . The organization of the voices was only possible through the use of an ordering rhythm , the six modes of the modal rhythm .

Notre Dame as the center

The polyphonic music, which is said to be covered by the name Notre-Dame School , had one or even the center in the Cathedral of Notre-Dame de Paris. Indeed

  1. a great loss of music recordings can be expected here
  2. At that time other places were also partly presumably, partly verifiably involved in the maintenance and development of polyphonic music.

Evidence for a central position of the Paris Notre-Dame Cathedral is available, but not numerous and not very specific in the factual information and quite uncertain in the dates. They come almost exclusively from the English Anonymus 4 , who wrote between 1270 and 1280.

“The probable loss of sources, which makes everything indeterminate, the demonstrable participation in other places as well, the relative scarcity of evidence pointing to Notre-Dame add to the naming of the musical historical period as the 'Notre-Dame-Epoch' or 'Notre-Dame-School ' Question mark. The following is likely: in the name of the Notre Dame epoch, the Paris cathedral is not only named as the (presumed) starting point and center of the polyphonic church music of the time, but also functions as a symbol, a symbol that the new polyphonic art, especially the chorale processing and its increase to the greatest sound form of the Middle Ages, the Organum quadruplum, was essentially a cathedral art. "

literature

Web links

Commons : Notre Dame School  - collection of pictures, videos and audio files

Individual evidence

  1. ^ Fritz Reckow: Der Musiktraktat des Anonymus 4. Steiner, Wiesbaden 1967. Part 1. 46, 1-20
  2. ↑ Hans Heinrich Eggebrecht : Music in the Occident. Piper, Munich 1996, ISBN 3-492-22301-X , p. 91.