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{{Italic title}}
'''''Musica enchiriadis''''' is an [[Anonymity|anonymous]] musical [[treatise]] of the 9th century. It is the first surviving attempt to set up a system of rules for [[polyphony]] in [[classical music]]. The treatise was once attributed to [[Hucbald]], but this is no longer accepted. <ref name=hoppin>Hoppin, Richard H. ''Medieval Music''. Norton, 1978, pp.188-193.</ref> Some historians once attributed it to [[Odo of Cluny]] (879-942). <ref name=finney>Finney, Theodore M. A History of Music. Harcourt, Brace and Company, 1935, p. 61</ref>
'''''Musica enchiriadis''''' is an [[Anonymity|anonymous]] musical [[treatise]] of the 9th century. It is the first surviving attempt to set up a system of rules for [[polyphony]] in western art music. The treatise was once attributed to [[Hucbald]], but this is no longer accepted.<ref name=hoppin>Hoppin, Richard H. ''Medieval Music''. Norton, 1978, pp.188-193.</ref> Some historians once attributed it to [[Odo of Cluny]] (879-942).<ref name=finney>Finney, Theodore M. A History of Music. Harcourt, Brace and Company, 1935, p. 61</ref> It has also been attributed to Abbot [[Hoger (abbot)|Hoger]] (d. 906).<ref name=wright>Wright, Craig and Simms, Bryan. Music in Western Civilization. Schirmer Cengage Learning, 2010, p. 52</ref>


This [[music theory]] treatise, along with its companion text, ''[[Scolica enchiriadis]]'', was widely circulated in medieval [[manuscript]]s, often in association with [[Boethius]]' ''[[De Institutione Musica|De institutione musica]]''.<ref name=grove>Erickson, Raymond. "Musica enchiriadis, Scholia enchiriadis". ''The New Grove Dictionary of Music and Musicians''. London: Macmillan, 2001.</ref> It consists of nineteen chapters; the first nine are devoted to [[musical notation|notation]], [[mode (music)|mode]]s, and [[monophony|monophonic]] [[plainchant]].<ref name=grove/>
This [[music theory]] treatise, along with its companion text, ''[[Scolica enchiriadis]]'', was widely circulated in medieval [[manuscript]]s, often in association with [[Boethius]]' ''[[De Institutione Musica|De institutione musica]]''.<ref name=grove>Erickson, Raymond. "Musica enchiriadis, Scholia enchiriadis". ''The New Grove Dictionary of Music and Musicians''. London: Macmillan, 2001.</ref> It consists of nineteen chapters; the first nine are devoted to [[musical notation|notation]], [[mode (music)|mode]]s, and [[monophony|monophonic]] [[plainchant]].<ref name=grove/>


Chapters 10-18 deal with [[polyphonic music]]. The author here shows how [[Consonance and dissonance|consonant]] intervals should be used to compose or [[improvisation|improvise]] the type of early-medieval polyphonic music called <ref name=grove/> [[organum]], an early style of note-against-note polyphony several examples of which are included in the treatise.<ref name=grove/> (''Scolica enchiriadis'' also observes that some melodies should be sung sung "more quickly" (''celerius''), others "more slowly" (''morosius'').) The last, nineteenth, chapter of ''Musica enchiriadis'' relates the legend of [[Orpheus]].<ref name=grove/>
Chapters 10-18 deal with [[polyphonic music]]. The author here shows how [[Consonance and dissonance|consonant]] intervals should be used to compose or [[improvisation|improvise]] the type of early-medieval polyphonic music called <ref name=grove/> [[organum]], an early style of note-against-note polyphony; several examples of which are included in the treatise.<ref name=grove/> (''Scolica enchiriadis'' also observes that some melodies should be sung "more quickly" (''celerius''), others "more slowly" (''morosius'').) The nineteenth chapter of ''Musica enchiriadis'' relates the legend of [[Orpheus]].<ref name=grove/>


[[Image:DasiaNotation2.jpg|thumb|right|400px| The notation used in Musica enchiriadis. The scale comprises four tetrachords. The symbols indicating the notes are rotated and mirrored depending on the tetrachords. A modern transcription of the notes is below.]]
[[Image:DasiaNotation2.jpg|thumb|right|400px| The notation used in Musica enchiriadis. The scale comprises four tetrachords. The symbols indicating the notes are rotated and mirrored depending on the tetrachords. A modern transcription of the notes is below.]]
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The [[scale (music)|scale]] used in the work, which is based on a system of [[tetrachord]]s, appears to have been created solely for use in the work itself, rather than taken from actual musical practice.<ref name=hoppin/> The treatise also uses a very rare system of notation, known as [[Daseian]] notation. This notation has a number of figures which are rotated ninety degrees to represent different pitches.
The [[scale (music)|scale]] used in the work, which is based on a system of [[tetrachord]]s, appears to have been created solely for use in the work itself, rather than taken from actual musical practice.<ref name=hoppin/> The treatise also uses a very rare system of notation, known as [[Daseian]] notation. This notation has a number of figures which are rotated ninety degrees to represent different pitches.


A critical edition of the treatises was published in 1981, and an English translation in 1995.<ref name=grove/>
A critical edition of the treatises was published in 1981, and an English translation by Raymond Erickson in 1995.<ref name=grove/>

== See also ==
*[[Daseian notation]]
*[[Tonary]]


==References==
==References==
{{Reflist}}
<references/>


==External links==
==External links==
*{{cite book
* [http://www.chmtl.indiana.edu/tml/9th-11th/MUSENCI_TEXT.html complete Latin text from the Critical Edition]
|last=Anonymous
|title=Musica et scolica enchiriadis una cum aliquibus tractatulis adiunctis
|series=Veröffentlichungen der Musikhistorischen Kommission
|volume=3
|publisher=Bayerische Akademie der Wissenschaften; C. H. Beck
|location=Munich
|pages=1–59
|url=http://boethius.music.indiana.edu/tml/9th-11th/MUSENCI
|accessdate=6 August 2013
|editor=Hans Schmid
|date=1981
|ref=MuE
}}
* Link to [http://digi.ub.uni-heidelberg.de/diglit/bav_pal_lat_1342/0213 colour images of the MS of the text ('''V-CVbav pal. lat. 1342''')] available via the University of Heidelberg's site.
* Link to [http://daten.digitale-sammlungen.de/bsb00046540/image_5 colour images of the MS of the text ('''D-Msb Clm 14372''')] available via the Bavarian State Library.

{{Authority control}}


[[Category:9th-century books]]
[[Category:9th-century books]]

Latest revision as of 15:44, 8 June 2023

Musica enchiriadis is an anonymous musical treatise of the 9th century. It is the first surviving attempt to set up a system of rules for polyphony in western art music. The treatise was once attributed to Hucbald, but this is no longer accepted.[1] Some historians once attributed it to Odo of Cluny (879-942).[2] It has also been attributed to Abbot Hoger (d. 906).[3]

This music theory treatise, along with its companion text, Scolica enchiriadis, was widely circulated in medieval manuscripts, often in association with Boethius' De institutione musica.[4] It consists of nineteen chapters; the first nine are devoted to notation, modes, and monophonic plainchant.[4]

Chapters 10-18 deal with polyphonic music. The author here shows how consonant intervals should be used to compose or improvise the type of early-medieval polyphonic music called [4] organum, an early style of note-against-note polyphony; several examples of which are included in the treatise.[4] (Scolica enchiriadis also observes that some melodies should be sung "more quickly" (celerius), others "more slowly" (morosius).) The nineteenth chapter of Musica enchiriadis relates the legend of Orpheus.[4]

The notation used in Musica enchiriadis. The scale comprises four tetrachords. The symbols indicating the notes are rotated and mirrored depending on the tetrachords. A modern transcription of the notes is below.

The scale used in the work, which is based on a system of tetrachords, appears to have been created solely for use in the work itself, rather than taken from actual musical practice.[1] The treatise also uses a very rare system of notation, known as Daseian notation. This notation has a number of figures which are rotated ninety degrees to represent different pitches.

A critical edition of the treatises was published in 1981, and an English translation by Raymond Erickson in 1995.[4]

See also

[edit]

References

[edit]
  1. ^ a b Hoppin, Richard H. Medieval Music. Norton, 1978, pp.188-193.
  2. ^ Finney, Theodore M. A History of Music. Harcourt, Brace and Company, 1935, p. 61
  3. ^ Wright, Craig and Simms, Bryan. Music in Western Civilization. Schirmer Cengage Learning, 2010, p. 52
  4. ^ a b c d e f Erickson, Raymond. "Musica enchiriadis, Scholia enchiriadis". The New Grove Dictionary of Music and Musicians. London: Macmillan, 2001.
[edit]
  • Anonymous (1981). Hans Schmid (ed.). Musica et scolica enchiriadis una cum aliquibus tractatulis adiunctis. Veröffentlichungen der Musikhistorischen Kommission. Vol. 3. Munich: Bayerische Akademie der Wissenschaften; C. H. Beck. pp. 1–59. Retrieved 6 August 2013.
  • Link to colour images of the MS of the text (V-CVbav pal. lat. 1342) available via the University of Heidelberg's site.
  • Link to colour images of the MS of the text (D-Msb Clm 14372) available via the Bavarian State Library.
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