Musica enchiriadis and scolica enchiriadis pdf

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musica enchiriadis and scolica enchiriadis pdf

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Musica enchiriadis and Scolica Claude V. Palisca; Raymond Erickson

Anonymous 9th-century Latin music treatises of signal importance for the early history of modal theory and of polyphony. They are generally transmitted together in the manuscript tradition, frequently with other contemporary tracts ed. Though best known for containing the earliest extant discussions of improvised polyphonic singing organum , they are equally notable for transmitting the first chant melodies preserved in a precise pitch notation and for drawing upon a wide range of late Latin literary and philosophical sources; they thus document the intellectual environment as well as the state of musical theory and practice of the Carolingian Renaissance. Unless otherwise stated, the edition and translation of Musica enchiriadis and Scolica enchiriadis referred to in this article are those by Schmid, , and Erickson, Musica enchiriadis [ ME ], which has no title in the earliest sources, is a succinct, well-argued account of the theory and practice of ecclesiastical music of the time. The first nine of its 19 chapters are concerned with monophonic chant, a notational system for representing melodies dasian notation , a description of the modes based on both final and ambitus but not of modal octave species , vocal exercises for practising different modal characteristics determined by the placement of the semitone , and basic musical and mathematical terminology. SE , on the other hand, is a dialogue in three unequal parts, the total being three times as long as ME.

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These handbooks have been handed down to posterity as the Musica Enchiriadis and the Scolica Enchiriadis. That Gerbert misattributed them to Hucbald need not concern us here. Although they reject the daseian tetrachords and notation that are the hallmarks of the Enchiriadis group, many of the concepts they employ and issues they address arise directly from those treatises. They delve into reasons for basic musical phenomena, selectively appropriating from Boethius principles that have explanatory value and relate directly to ninth-century practices. They are serious in trying to discover and explain the deep reasons behind well-formed melody and agreeable sounds armonia , the Scolica , with Boethius as guide, pursuing this far into the numerical realm, the Musica chapter 19 concluding that the real profundity of music, its impact upon the soul anima , can scarcely be expressed in words. In trying to understand their realm of musical experience in a rational way, they came to recognize two fundamental realities. One was the four basic pitches or functions that accounted for the four distinct modal qualities familiar to them.

Erickson's translation is excellent. It is smooth, fluent, and eminently readable. Miller, Sixteenth-Century Journal. The English is fluent and clear and projects a deeply insightful understanding of the theoretical issues—remarkable accomplishments given the difficulty of these often enigmatic texts. The first accurate, clear, and readable translations of two very difficult, yet crucial, documents in the history of Western music and its theory.

Musica enchiriadis ; and, Scolica enchiriadis

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In the tenth century, when the earliest chant books were being compiled in the heart of the Carolingian Empire and polyphonic music was entering the realm of theoretical speculation in the anonymous writings of Musica enchiriadis and Scolica enchiriadis, organa were also being notated for performance outside music treatises. We would not know this, were it not for a two-voice organum on an antiphon for Saint Boniface written in the first decades of the tenth c Queue ["Typeset",MathJax. The file s for this record are currently under an embargo.


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