Organum |

Late Lat. Organum, from Greek. organon – instrument

The general name of several. the earliest types of Europe. polyphony (late 9th – mid-13th centuries). Initially, only the accompanying voice was called O., later the term became a designation for the type of polyphony. In a broad sense, O. includes everything from the early Middle Ages. polyphony; in the narrow one, its initial, strict forms (parallel movement in fourths and fifths, also with the addition of their octave extensions), in contrast to those developed within the framework of O. and received their own. names of types and genres of polygols. letters.

O. covers several. polygonal schools. letters, moreover, not always genetically related to each other. Main types of O. (as well as the main stages of its historical development): parallel (9th-10th centuries); free (11th – mid-12th centuries); melismatic (12th century); metrized (late 12th – 1st half of the 13th centuries).

Historically O., apparently, preceded the so-called. paraphony in late Roman music (according to information coming from the Ordo romanum, 7-8 centuries; some of the singers of the papal Schola Cantorum are called paraphonists; it is assumed that they sang in parallel fourths and fifths). The term “organicum melos”, close in meaning to “O.”, is first encountered by John Scotus Eriugena (“De divisione naturae”, 866). The first O. samples that have come down to us are contained in anonymous theoretical. treatises “Musica enchiriadis” and “Scholia enchiriadis” (ninth century). O. is based here on the choral melody, which is duplicated by perfect consonances. The voice leading the choral melody, naz. principalis (vox principalis – main voice), and also (later) tenor (tenor – holding); duplicating voice – organalis (vox organalis – organ, or organum, voice). The rhythm is not exactly specified, the voices are monorhythmic (principle punctus contra punctum or nota contra notam). In addition to parallel leading to a quart or fifth, there are octave doublings of voices (aequisonae – equal sounds):

Samples of a parallel organum from the treatises Musica enchiriadis (top) and Scholia enchiriadis (bottom).

Later English. O.’s variety – gimel (cantus gemellus; gemellus – double, twin) allows movement in thirds (a well-known sample of gimel is the hymn to St. Magnus Nobilis, humilis).

In the era of Guido d’Arezzo, another type of O. developed – free O., or diaphonia (initially, the word “diaphonia” was scientific and theoretical, and “O.” – an everyday practical designation of the same phenomenon; in the beginning In the 12th century, the terms “diaphonia” and “o.” became the definitions of various composition techniques). It is also monorhythmic, but the voices in it are linearly free; indirect movement, countermovement, as well as the crossing of voices are widely used. An exposition of the principles and examples of free O. – in Guido d’Arezzo in the Microlog (c. 1025-26), in the Milanese treatise Ad Organum faciendum (c. 1150), in John Cotton in his work De musica ( about 1100); other sources are the Winchester Troparion (1st half of the 11th century), the manuscripts of the monasteries of Saint-Martial (Limoges, c. 1150) and Santiago de Compostela (c. 1140). Free O. (as well as parallel) is usually two-voiced.

Sample organum from the treatise “Ad Organum faciendum”.

O. parallel and O. free, according to the general type of writing, should be attributed more to homophony (as a kind of chord warehouse or as its extreme voices) than to polyphony in the usual sense.

A new music was born in O. warehouse – polyphony based on the harmony of vertical harmonies. This is a great historical the value of O., which marked a sharp line between fundamentally monodic. thinking in music culture of all dr. world (including the Other East), while the monodic early forms of Christ. singing (1st millennium AD), on the one hand, and based on this new (by type – polyphonic) harmony, the New Western culture, on the other. Therefore, the turn of the 9th-10th centuries is one of the most significant in music. stories. In subsequent epochs (up to the 20th century), music was substantially updated, but remained polyphonic. Even within the framework of free O., there was occasionally an opposition to one sound of the principalis of several in the organalis. This method of writing became the main one in melismatic. A. The extended sound of the tenor (punctus organicus, punctus organalis) accounted for several. sounds to a rather long melody:

Organum from the manuscripts of the monastery of Saint-Martial.

Melismatic O. (diaphonie basilica) already has a pronounced polyphonic. character. Melismatic samples. O. – in the codes of Santiago de Compostela, Saint-Martial, and especially the Paris school of Notre Dame (in Leonin’s “Magnus liber organi”, which was called optimus organista – the best organist, in the sense of “the best organist”). In con. 12th century, in addition to the traditions. two-voiced (dupla) O., the first samples of three-voiced (tripla) and even four-voiced (quadrupla) appear. At several Organalis voices have names: duplum (duplum – second), triplum (triplum – third) and quadruplum (quadruplum – fourth). Liturgich. the tenor still retains the meaning of ch. vote. Thanks to melismatic. embellishment of each sustained tone of the tenor, the overall scale of the composition increases to ten times the length.

The spread of modal rhythms and the strict metrization of the church (from the end of the 12th century) testify to the influence of factors that are far from its original liturgical style. foundations, and connect O. with secular and Nar. art. This is the decline of O.’s suit. In Leonin’s organum, melismatic. parts of the composition alternate with metrized ones. Apparently, metrization was also determined by an increase in the number of voices: the organization of more than two voices made their rhythmic more precise. coordination. Vershina O. – two-, three- and even four-part Op. Perotin (School of Notre Dame), named optimus dis-cantor (the best discantist):

Perotin. Gradual “Sederunt principes” (c. 1199); organum quadruplum.

Within the framework of O., modal rhythm and imitation appeared (Saint-Martial, Notre-Dame), and the exchange of voices (Notre-Dame).

In the 12th-13th centuries. O. merges into the art of the motet, the early examples of which are very close to the metrized O.

Throughout its history, O. – singing is solo and ensemble, and not choral, which still remained monophonic (according to G. Khusman). The two- and polyphony O. was an adornment of the church. chants, such chants were originally sung only at celebrations/occasions (eg Christmas services). According to some information, early O. was performed with the participation of instruments.

References: Gruber R. I., History of musical culture, vol. 1, part 1-2, M.-L., 1941; Riemann H., Geschichte der Musiktheorie im IX.-XIX. Jahrhundert, Lpz., 1898; Handschin J., Zur Geschichte der Lehre vom Organum, “ZfMw”, 1926, Jg. 8, Heft 6; Chevallier L., Les theories harmoniques, in the book: Encyclopédie de la musique …, (n. 1), P., 1925 (Russian translation – Chevalier L., History of the doctrine of harmony, ed. and with additions M V. Ivanov-Boretsky, Moscow, 1932); Wagner R., La paraphonie “Revue de Musicologie”, 1928, No 25; Perotinus: Organum quadruplum “Sederunt principes”, hrsg. v. R. Ficker, W.-Lpz., 1930; Besseler H., Die Musik des Mittelalters und der Renaissance, Potsdam, (1937); Georgiades Thr., Musik und Sprache, B.-Gott.-Hdlb., (1954); Jammers E., Anfänge der abendländischen Musik, Stras.-Kehl, 1955; Waeltner E., Das Organum bis zur Mitte des 11. Jahrhunderts, Hdlb., 1955 (Diss.); Chominski JM, Historia harmonii i kontrapunktu, t. 1, (Kr., 1958) (Ukrainian translation: Khominsky Y., History of harmony and counterpoint, vol. 1, Kiev, 1975); Dahlhaus G., Zur Theorie des frehen Organum, “Kirchenmusikalisches Jahrbuch”, 1958, (Bd 42); his own, Zur Theorie des Organum im XII. Jahrhundert, ibid., 1964, (Bd 48); Machabey A., Remarques sur le Winchester Troper, in: Festschrift H. Besseler, Lpz., 1961; Eggebrecht H., Zaminer F., Ad Organum faciendum, Mainz, 1970; Gerold Th., Histoire de la musique…, NY, 1971; Besseler H., Güke P., Schriftbild der mehrstimmigen Musik, Lpz., (1); Reskow F., Organum-Begriff und frühe Mehrstimmigkeit, in: Forum musicologicum. 1. Basler Studien zur Musikgeschichte, Bd 1973, Bern, 1.

Yu. H. Kholopov