Catechism of musical history (Vol 2) by Riemann, Hugo, 1849-1919

By Riemann, Hugo, 1849-1919

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To tenor c. This strange rule gives us the key to the origin of the Organum The numerous directions as well as to that of its name. for the construction of organ pipes, which have been preserved from the loth century, have all of them this in common, that the pipe placed lowest corresponds with The ''organizing'" part was obviously not our tenor c. The older disung originally, but played on the organ. rections for the Organum all agree in directing that it should be played discreetly (modesta morositate)\ this direction strips the parallel singing in fourths and fifths of all its horror for modern ears, the mind being evidently directed not to the voices independently but to the har- monious effect of each single combination, which cannot be denied.

And actually says of them that they have their particular notations (habent signa propria suarum notarum). It is in the highest degree probable that this was still the old organ notation, which at last we find appearing again in the 15 th century as German tablature in extant docu- ments (Konrad organisandi]). Paumann's Organ book [Fundamentura be imagined that instruments played It will an important role at popular merry-makings; but the old dance songs, the larger part of which consisted of a dance common time (circular dances) with its appended afterdance, springing dance in triple time (called also proportion because the kind of time was the sesquialtera), were sung, for they always come down to us with words, and the instrumentalists (were these but fiddlers or pipers) played them as well.

But hymns also, which, like the Crux fidelis, are correctly scanned, appear not to have the metre impressed upon the melody in the antique manner (for instance, the iam- bus by h composed I), but are distinguished chiefly from those by the fact that they never have, like an accumulation of syllables, but always proceed by equal steps (cf. the Crux fidelis and Te deum, above). To antique Greek music, that kind of vocal composition not bound by a strict, but only by a free rhetorical rhythm, was entirely foreign; but it is very possible that Hebrew music in the earliest times was already arranged in such a half recitative style that here a number of syllables were hurried rapidly over, and there single ones lingered upon longer, and sung with melodious ornamentation, regard being to prose these, had, naturally, to the significance of the words.

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