Magister leoninus biography

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I think we tend to take polyphony for granted.

We inherited a form of music which has been with us for centuries and, in fact, we have even seen major-minor harmonic polyphony peak in the 18th century and then gradually give way and break down completely.  However, what we take for granted took centuries to develop: from improvised melismatic elaborations of a plainchant over a drone tone to the first attempts to organize this free melodic movement with notated rhythm and early ideas of organizing the vertical sounds into progressive movement toward a cadence.

I will go back to the beginning, back before major-minor, before even the idea existed of chords and appreciating music vertically.  Our understanding of these early periods is somewhat hazy and unclear since the documentary evidence is scant, but it is sufficient for a firm grasp of how polyphony began and proceeded, ultimately, to produce a master composer like J.S. Bach whose manipulation of polyphony was arguably the greatest the world has seen.

&#;Resonemus Hoc Natali (Anon. St. Martial)&#;, The Age of Cathedrals, Theatre of Voices, Paul Hillier.

Beginning as an elaboration of plainchan

Léonin - Magister Leoninus


( - )

Poeta y compositor francés

  • Obras: Magnus liber organi, Gran libro del gradual y del antifonario
  • Instrumento: Organum polifónico
  • Relacionado con: Escuela de Notre Dame
  • Nombre: Léonin o Magister Leoninus
Nació en el año , en París, Francia.

Entre y fue administrador de la catedral en París.

Con Pérotin, llamado el Grande, y Robert de Sabilon, fueron los tres maestros que colaboraron en la escuela de París.


Ordenado sacerdote en la Catedral Notre Dame de París en

Reconocido como el mayor compositor de órganade su época. Órganum (plural, organa) se reconoce como una forma de polifonía primitiva que tuvo su momento álgido en la Escuela de Notre Dame de París, centro del Ars Antiqua (música europea de finales de la Edad Media).

Se le atribuye la creación del Magnus liber organi, (Gran libro del organum), con cantos a dos voces en las partes solistas de los graduales, aleluyas y responsorios usado en Notre Dame hacia El texto original desapareció aunque sobrevivieron diversas copias en manuscritos que se encuentran en Wolfenbüttel Florencia, y Madrid.

Los organa atribuidos a Leoninus son de dos tipos: los e

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During his lifetime, Leoninus wrote both poetry and music.  Among his accomplishments as a poet was the setting of the first eight books of the Old Testament as hexametric verse.  However, today he is chiefly remembered for his contributions as a composer of polyphonic liturgical music.  While most composers of this genre were anonymous, Leoninus is credited with having written the Magnus liber organi (The Great Book of Organum), a work that notated Leoninus’s sacred polyphonic compositions and which greatly influenced western musical practices for the next several hundred years.

Life


While there is some debate as to the identity of the Magnus liber organi’s composer, the theory that the composer was Magister Leonius (Leoninus) of the Paris Notre Dame Cathedral is the most commonly accepted one.  Active in Paris during the building of the Notre Dame Cathedral, Leoninus’s life corresponds with a very exciting time in French history.  He himself was a canon at Notre Dame and would have witnessed firsthand the creation of this architectural masterpiece.

Only traces of evidence concerning Leoninus exist, but

LEONINUS E PEROTINUS

Compaiono i primi nomi di musicisti. I primi due musicisti menzionati nella storia della musica europea sono: Magister Leoninus e Magister Perotinus (quest&#;ultimo chiamato anche optimus discantor, perché componeva soprattutto clausolae in stile di discanto che piacevano molto). Il primo scrisse il Magnus Liber organi, che contiene un ciclo di graduali, responsi e alleluja a due voci per l'intero anno liturgico. Il secondo aggiunse una terza voce alle opere di Leonino. Questi compositori compongono negli stili di organum e di discanto.
Esemplificando, un canto gregoriano può essere paragonato ad una retta divisibile in sezioni(o sequenze). Vi era, infatti, una prima parte del canto gregoriano, cantata in cantus planus dal coro dei fedeli, a cui faceva seguito una seconda sequenza, in polifonia, che non poteva essere cantata dai fedeli perché presupponeva un maggior professionismo. Poi c&#;era una terza sezione che era ancora in cantus planus, quindi cantata dal coro dei fedeli. Infine poteva esserci un'ultima sezione, data in polifonia. Le sezioni interne venivano messe in polifonia in stile di organuum melismatica. La parte finale di un canto gregorian

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