Conceptions of Rhythm in 13th-century Polyphony

The project is concerned with an investigation of modal treatises in the middle and late 13th century and an analysis of earlier rhythmic concepts and notational techniques: a comparison of modal theory and Notre-Dame- rhythm, not an identification. Whilst early 13th -century polyohony has always been understood by means of - later - modal theory, and theory has vice versa been treated as a mere expedient to understand the meaning of the musical sources, both shall be explored rather independently and comprehensively, at all events avoiding the neglect of seemingly obscure aspects. Special attention shall be given to usually neglected subject-matters, such as the hoquetus-like imperfect modes, already to be found as an essential issue in Johannes de Garlandia`s treatise and beeing discussed extensively by Anonymus 4, or the detailed instructions how to construe all the different ordines, indeed merely making sense in the context of imperfect modes. The teaching of rhythmic modes can thus be seen in a new historical context: emerging late and rather independently of early 13th century rhythmic structures. That`s to say, we are confronted with the difficult task of re-evaluating the principles of Notre-Dame-music devoid of any reliable reference to music theory. The methodology in this respect shall cover a range from music history and source-studies to information theory, so as to work out the inner logic of rhythm codification in its own right and detached from later treatises. After having re-evaluated independently the cornerstones of rhythmic conceptions in 13th century - late theory and early codification technique - it will be possible to continue the analysis in the field of all the manyfold sources and notational devices, starting an attempt to establish a new historical survey of rhythm and its development during the 13th century.

The high art of polyphony, developed at Paris "Notre Dame" cathedral in the late 12th and early 13th century, has come down to us in a handful of so-called "Notre Dame" manuscripts, actually the starting point of what we know as 800 years of European music history. Music notation of that time has been very different from what we know. Medieval musicians didn`t write distinct note-values, instead they joined groups of similar notes ("ligatures"), thereby giving a hint to decipher the meaning of their rhythm. If we want to perform from these manuscripts, it is of course necessary to know the actual rules of notation. Hundred years ago, when musicologists began to engage in these matters, they tried to find out the solution by reading and interpreting music theory treatises. After some time they even achieved a certain agreement on how to utilize the theorists` concept of "modal rhythm". However, the treatises, which have been thought to be applicable on music from around 1200, have been written in the second half of the 13th century. Their description of ligatures cannot be compared with those of the "Notre Dame" manuscripts, and careful analysis of both reveals very little correlation in general. However, there are no contemporaneous treatises to explain "Notre Dame" sources. In this research-project both areas have been analysed for the first time within their own contextual framework. Concerning the rhythm of music from around 1200 it has been necessary to restart from almost zero and try an independent interpretation without any help from the theorists. Methods of analysis have thus often been those of trial and error, similar to what we find in natural sciences (and in Karl Popper`s work): Define a "rule" (theory) concerning the interpretation of notation, apply it on a certain composition and try, if the musical setting makes sense or not (falsification). Of course it has not been possible to try out all "rules", instead certain criteria have crystallized to understand which possibilities to choose. The results are actually a long way from establishing bumpy triple meter. Nonetheless they are sufficient to secure performance. After that the repertory of polyphony has been examined in its own sphere, its dissemination analysed in regard to the preserved manuscripts. This all led to a new interpretation of the takeoff of what can be called European music history. It could be demonstrated that two things have been necessary to spread this new kind of music from "Notre Dame" to whole Europe: the isolation of the cathedral - a quiet place where musicians could make their experiments without interference - , and the cosmopolitan attitude of a certain college for underprivileged and poor theologists, starting in the mid 13th century to attract the best students from all over Europe and get them to Paris. That`s why it has actually been one of the most important decisions of music history, that Robert de Sorbon (the founder of that college, after whose name it has later been called "Sorbonne") decided to introduce the liturgy of the cathedral - including polyphony - to his college. The same is true of his opening up the Sorbonne to admit poor students and foreigners. In fact that`s how he lay the ground for an important part of the culture of this continent and its dissemination throughout Europe.