Musica enchiriadis: Difference between revisions
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|editor=Hans Schmid |
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Revision as of 22:10, 6 August 2013
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 classical 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]
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.[3] It consists of nineteen chapters; the first nine are devoted to notation, modes, and monophonic plainchant.[3]
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 [3] organum, an early style of note-against-note polyphony several examples of which are included in the treatise.[3] (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.[3]
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 in 1995.[3]
References
External links
- 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.
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