Organum - Revision history

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JJMC89 bot III: Moving :Category:European music to :Category:Music of Europe per Wikipedia:Categories for discussion/Speedy

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Moving Category:European music to Category:Music of Europe per Wikipedia:Categories for discussion/Speedy

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	[[Category:Musical techniques]]		[[Category:Musical techniques]]
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	{{Short description\|Type of plainchant melody}}		{{Short description\|Type of plainchant melody}}
	{{About\|a style of music\|the musical instrument\|organum (instrument)\|the experimental group\|David Jackman (musician)}}		{{About\|a style of music\|the musical instrument\|organum (instrument)\|the experimental group\|David Jackman (musician)}}
	{{Italic title}}		{{Italic title}}

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	== Sources ==		== Sources ==
	* {{Wikicite\|ref={{harvid\|Apel\|1949}}\|reference=Apel, Willi. 1949. "From St. Martial to Notre Dame". ''Journal of the American Musicological Society'' 2, no. 3 (Autumn): 145–58.}}		* {{Wikicite\|ref={{harvid\|Apel\|1949}}\|reference=Apel, Willi. 1949. "From St. Martial to Notre Dame". ''Journal of the American Musicological Society'' 2, no. 3 (Autumn): 145–58.}}
	* {{Wikicite\|ref={{harvid\|Fuller\|1990}}\|reference=Fuller, Sarah. 1990. "Early Polyphony". In ''The New Oxford History of Music'' 2: ''The Early Middle Ages to 1300'', revised edition, edited by Richard Crocker and David Hiley, 485–556. Oxford and New York: Oxford University Press, 1990. {{ISBN\|9780193163294}}}}		* {{Wikicite\|ref={{harvid\|Fuller\|1990}}\|reference=Fuller, Sarah. 1990. "Early Polyphony". In ''The New Oxford History of Music'' 2: ''The Early Middle Ages to 1300'', revised edition, edited by Richard Crocker and [[David Hiley]], 485–556. Oxford and New York: Oxford University Press, 1990. {{ISBN\|9780193163294}}}}
	* {{Wikicite\|ref={{harvid\|Johannes de Garlandia\|1972}}\|reference=Johannes de Garlandia. 1972. ''De mensurabili musica'', edited by Erich Reimer, 2 vols. Supplement to the ''[[Archiv für Musikwissenschaft]]'' 10–11. Wiesbaden: Franz Steiner Verlag.}}		* {{Wikicite\|ref={{harvid\|Johannes de Garlandia\|1972}}\|reference=Johannes de Garlandia. 1972. ''De mensurabili musica'', edited by Erich Reimer, 2 vols. Supplement to the ''[[Archiv für Musikwissenschaft]]'' 10–11. Wiesbaden: Franz Steiner Verlag.}}
	* {{Wikicite\|ref={{harvid\|Lewis\|1890}}\|reference=Lewis, Charlton, T. 1890. "[https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.04.0060%3Aentry%3Dorganum Organum]". ''An Elementary Latin Dictionary''. New York, Cincinnati, and Chicago. American Book Company. Online access at Perseus Digital Library, Tufts University, Gregory R. Crane, editor-in-chief (Accessed 26 December 2013).}}		* {{Wikicite\|ref={{harvid\|Lewis\|1890}}\|reference=Lewis, Charlton, T. 1890. "[https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.04.0060%3Aentry%3Dorganum Organum]". ''An Elementary Latin Dictionary''. New York, Cincinnati, and Chicago. American Book Company. Online access at Perseus Digital Library, Tufts University, Gregory R. Crane, editor-in-chief (Accessed 26 December 2013).}}

WikiCleanerBot: v2.05b - Bot T20 CW#61 - Fix errors for CW project (Reference before punctuation)

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← Previous revision		Revision as of 13:21, 19 November 2023
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	The organa that were created in Paris were disseminated throughout Europe. The three main sources are W1, St. Andrews, Wolfenbüttel 677, olim Helmstedt 628; the large and illuminated copy made in Florence, owned by Piero de Medici, the Pluteo 29.1 of the Bibliotheca Mediceo-Laurenziana (F), which is by far the most extensive copy of the repertory. Finally W2, Wolfenbüttel 1206, olim Helmstedt 1099, which was compiled the latest (and contains the greatest number of motets).		The organa that were created in Paris were disseminated throughout Europe. The three main sources are W1, St. Andrews, Wolfenbüttel 677, olim Helmstedt 628; the large and illuminated copy made in Florence, owned by Piero de Medici, the Pluteo 29.1 of the Bibliotheca Mediceo-Laurenziana (F), which is by far the most extensive copy of the repertory. Finally W2, Wolfenbüttel 1206, olim Helmstedt 1099, which was compiled the latest (and contains the greatest number of motets).

	There are arguments that support a relative freedom of rhythm in organa dupla but others who say that the interpretation of the music should always be according to modal or Franconian principles. Willi Apel and William G. Waite insisted upon a rigorously modal interpretation.{{sfn\|Apel\|1949}}{{sfn\|Waite\|1954}} Though Waite in his dissertation, notably in chapter 4: The notation of organum duplum' acknowledged that in organum duplum and monophonic conducts relative freedom may have been taken, he transcribed a selection of the ''Magnus Liber Organi'' of Léonin into strict modal rhythm. Apel argued that the long values for dissonances (in violation of the basic principle of consonance) produced by modal rhythms in Notre-Dame organa, can be reconciled by a statement made by several medieval theorists that "the tenor pauses, if a dissonance appears".{{sfn\|Apel\|1949\|p=155}} Debates on interpretation are ongoing. However, Waite was working in the 1950s{{Sfn\|Waite\|1954}}, and his point of view has been supplanted by newer research: "...but [Waite's] view that the entire corpus [of the Magnus Liber Organi] should be transcribed according to the rhythmic modes is no longer accepted" ([[Peter Jeffery]] in the Notation Course Medieval Music 1100–1450, Princeton).{{Full citation needed\|date=December 2013}}<!--Where is this document published where it can be consulted, either online or in a library?-->		There are arguments that support a relative freedom of rhythm in organa dupla but others who say that the interpretation of the music should always be according to modal or Franconian principles. Willi Apel and William G. Waite insisted upon a rigorously modal interpretation.{{sfn\|Apel\|1949}}{{sfn\|Waite\|1954}} Though Waite in his dissertation, notably in chapter 4: The notation of organum duplum' acknowledged that in organum duplum and monophonic conducts relative freedom may have been taken, he transcribed a selection of the ''Magnus Liber Organi'' of Léonin into strict modal rhythm. Apel argued that the long values for dissonances (in violation of the basic principle of consonance) produced by modal rhythms in Notre-Dame organa, can be reconciled by a statement made by several medieval theorists that "the tenor pauses, if a dissonance appears".{{sfn\|Apel\|1949\|p=155}} Debates on interpretation are ongoing. However, Waite was working in the 1950s,{{Sfn\|Waite\|1954}} and his point of view has been supplanted by newer research: "...but [Waite's] view that the entire corpus [of the Magnus Liber Organi] should be transcribed according to the rhythmic modes is no longer accepted" ([[Peter Jeffery]] in the Notation Course Medieval Music 1100–1450, Princeton).{{Full citation needed\|date=December 2013}}<!--Where is this document published where it can be consulted, either online or in a library?-->

	In the range of forms of compositions found in the later two manuscripts that contain the Notre-Dame repertory (F and W2) one class of distinction can be made: that which is (strictly) modal and that which is not. Organum duplum in its organum purum sections of syllabic setting, the cum littera sections in two-part conductus, copulae in general and monophonic conductus would be that part of the repertory which is not strictly modal. In monophonic song, be it chant or a conductus simplex by Perotin, there is no need to vary from the classical standards for declamation that were a rooted tradition at the time, going back to St. Augustine's ''De Musica''. It has been firmly established by extensive research in chant traditions (Gregorian Semiology) that there is a fluency and variability in the rhythm of declamatory speech that should also govern chant performance. These principles extend to the not strictly modal sections or compositions, as a contrasting quality with musica mensurabilis.		In the range of forms of compositions found in the later two manuscripts that contain the Notre-Dame repertory (F and W2) one class of distinction can be made: that which is (strictly) modal and that which is not. Organum duplum in its organum purum sections of syllabic setting, the cum littera sections in two-part conductus, copulae in general and monophonic conductus would be that part of the repertory which is not strictly modal. In monophonic song, be it chant or a conductus simplex by Perotin, there is no need to vary from the classical standards for declamation that were a rooted tradition at the time, going back to St. Augustine's ''De Musica''. It has been firmly established by extensive research in chant traditions (Gregorian Semiology) that there is a fluency and variability in the rhythm of declamatory speech that should also govern chant performance. These principles extend to the not strictly modal sections or compositions, as a contrasting quality with musica mensurabilis.

Gould363: /* Early organum */ copyedit (partial)

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Early organum: copyedit (partial)

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36.11.224.230: /* Early organum */ uncited

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Early organum: uncited

← Previous revision		Revision as of 02:23, 7 August 2023
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	The first document to describe organum specifically, and give rules for its performance, was the ''[[Musica enchiriadis]]'' (c. 895), a treatise traditionally (and probably incorrectly) attributed to [[Hucbald of St. Amand]]. The oldest methods of teaching organum can be found in the ''Scolica'' and the ''Bamberg Dialogues'', along with the ''Musica enchiriadis''. The societies that have developed [[polyphony]] usually have several types of it found in their culture. In its original conception, organum was never intended as polyphony in the modern sense; the added voice was intended as a reinforcement or harmonic enhancement of the [[plainchant]] at occasions of High Feasts of importance to further the splendour of the [[liturgy]]. The analogue evolution of sacred architecture and music is evident: during previous centuries monophonic Mass was celebrated in Abbatial churches, in the course of the 12th and 13th centuries the newly consecrated [[cathedral]]s resounded with ever more complex forms of polyphony. Exactly what developments took place where and when in the evolution of polyphony is not always clear, though some landmarks remain visible in the treatises. As in these instances, it is hard to evaluate the relative importance of treatises, whether they describe the 'actual' practice or a deviation of it. As key-concept behind the creative outburst that manifested in the 11th and 12th centuries is the vertical and harmonic expansion of dimension, as the strongly resonant harmony of organum magnified the splendour of the celebration and heightened its solemnity.{{Citation needed\|date=October 2019}}		The first document to describe organum specifically, and give rules for its performance, was the ''[[Musica enchiriadis]]'' (c. 895), a treatise traditionally (and probably incorrectly) attributed to [[Hucbald of St. Amand]]. The oldest methods of teaching organum can be found in the ''Scolica'' and the ''Bamberg Dialogues'', along with the ''Musica enchiriadis''. The societies that have developed [[polyphony]] usually have several types of it found in their culture. In its original conception, organum was never intended as polyphony in the modern sense; the added voice was intended as a reinforcement or harmonic enhancement of the [[plainchant]] at occasions of High Feasts of importance to further the splendour of the [[liturgy]]. The analogue evolution of sacred architecture and music is evident: during previous centuries monophonic Mass was celebrated in Abbatial churches, in the course of the 12th and 13th centuries the newly consecrated [[cathedral]]s resounded with ever more complex forms of polyphony. Exactly what developments took place where and when in the evolution of polyphony is not always clear, though some landmarks remain visible in the treatises. As in these instances, it is hard to evaluate the relative importance of treatises, whether they describe the 'actual' practice or a deviation of it. As key-concept behind the creative outburst that manifested in the 11th and 12th centuries is the vertical and harmonic expansion of dimension, as the strongly resonant harmony of organum magnified the splendour of the celebration and heightened its solemnity.{{Citation needed\|date=October 2019}}

	The earliest European sources of information concerning organum regard it as a well-known practice.{{sfn\|Fuller\|1990\|p=487}} Organum is also known to have been performed in several different rites, but the main wells of information concerning its history come from [[Gregorian chant]]. Considering that the trained singers had imbibed an oral tradition that was several centuries old, singing a small part of the chant repertory in straightforward heterophony of parallel harmony or other ways of "singing by the ear" would come naturally.{{Citation needed\|date=October 2019}} It is made clear in the ''Musica enchiriadis'' that octave doubling (magadization) was acceptable, since such doubling was inevitable when men and boys sang together. The 9th-century treatise ''[[Scolica enchiriadis]]'' treats the subject in greater detail. For parallel singing, the original chant would be the upper voice, ''vox principalis''; the ''vox organalis'' was at a parallel perfect interval below, usually a fourth. Thus the melody would be heard as the principal voice, the ''vox organalis'' as an accompaniment or harmonic reinforcement. This kind of organum is ~~now usually~~ called parallel organum, although terms such as ''sinfonia'' or ''diaphonia'' were used in early treatises.{{Citation needed\|date=October 2019\|reason=Which early treatises?}}		The earliest European sources of information concerning organum regard it as a well-known practice.{{sfn\|Fuller\|1990\|p=487}} Organum is also known to have been performed in several different rites, but the main wells of information concerning its history come from [[Gregorian chant]]. Considering that the trained singers had imbibed an oral tradition that was several centuries old, singing a small part of the chant repertory in straightforward heterophony of parallel harmony or other ways of "singing by the ear" would come naturally.{{Citation needed\|date=October 2019}} It is made clear in the ''Musica enchiriadis'' that octave doubling (magadization) was acceptable, since such doubling was inevitable when men and boys sang together. The 9th-century treatise ''[[Scolica enchiriadis]]'' treats the subject in greater detail. For parallel singing, the original chant would be the upper voice, ''vox principalis''; the ''vox organalis'' was at a parallel perfect interval below, usually a fourth. Thus the melody would be heard as the principal voice, the ''vox organalis'' as an accompaniment or harmonic reinforcement. This kind of organum is sometimes called parallel organum, although terms such as ''sinfonia'' or ''diaphonia'' were used in early treatises.{{Citation needed\|date=October 2019\|reason=Which early treatises?}}

	The history of organum would not be complete without two of its greatest innovators, [[Léonin]] and [[Pérotin]]. These two men were "the first international composers of polyphonic music".{{sfn\|Waite\|1954\|p=2}} The innovations of Léonin and Pérotin mark the development of the rhythmic modes. These innovations are grounded in the forms of Gregorian chant, and adhere to the theoretical rhythmic systems of [[St. Augustine]]. It is the composers' love for ''[[cantus firmus]]'' that caused the notation of the tenor line to stay the same, even when the methods of penning music were changing. It was the use of [[modal rhythm]], however, that would make these two men great. Modal rhythm is defined clearly as a succession of (usually) unequal notes arranged in a definite pattern. The Notre Dame composers' development of musical rhythm allowed music to be free from its ties to text. While it is well known that Léonin composed a great deal of organum, it was the innovations of Pérotin, who spent much of his time revising the ''organum purum'' of Léonin, that caused generations of organum and motet composers to exploit the principles of the rhythmic modes.		The history of organum would not be complete without two of its greatest innovators, [[Léonin]] and [[Pérotin]]. These two men were "the first international composers of polyphonic music".{{sfn\|Waite\|1954\|p=2}} The innovations of Léonin and Pérotin mark the development of the rhythmic modes. These innovations are grounded in the forms of Gregorian chant, and adhere to the theoretical rhythmic systems of [[St. Augustine]]. It is the composers' love for ''[[cantus firmus]]'' that caused the notation of the tenor line to stay the same, even when the methods of penning music were changing. It was the use of [[modal rhythm]], however, that would make these two men great. Modal rhythm is defined clearly as a succession of (usually) unequal notes arranged in a definite pattern. The Notre Dame composers' development of musical rhythm allowed music to be free from its ties to text. While it is well known that Léonin composed a great deal of organum, it was the innovations of Pérotin, who spent much of his time revising the ''organum purum'' of Léonin, that caused generations of organum and motet composers to exploit the principles of the rhythmic modes.

Epolk at 22:02, 19 May 2023

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			{{Short description\|Type of plainchant melody}}
	{{About\|a style of music\|the musical instrument\|organum (instrument)\|the experimental group\|David Jackman (musician)}}		{{About\|a style of music\|the musical instrument\|organum (instrument)\|the experimental group\|David Jackman (musician)}}
	{{Italic title}}		{{Italic title}}

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	{{About\|a style of music\|the musical instrument\|organum (instrument)\|the experimental group\|David Jackman}}		{{About\|a style of music\|the musical instrument\|organum (instrument)\|the experimental group\|David Jackman (musician)}}
	{{Italic title}}		{{Italic title}}
	{{more footnotes\|date=October 2008}}		{{more footnotes\|date=October 2008}}

2601:646:C900:77F0:E403:E084:13FD:7D30: /* Early organum */

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Early organum

← Previous revision		Revision as of 13:23, 30 July 2021
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	The earliest European sources of information concerning organum regard it as a well-known practice.{{sfn\|Fuller\|1990\|p=487}} Organum is also known to have been performed in several different rites, but the main wells of information concerning its history come from [[Gregorian chant]]. Considering that the trained singers had imbibed an oral tradition that was several centuries old, singing a small part of the chant repertory in straightforward heterophony of parallel harmony or other ways of "singing by the ear" would come naturally.{{Citation needed\|date=October 2019}} It is made clear in the ''Musica enchiriadis'' that octave doubling (magadization) was acceptable, since such doubling was inevitable when men and boys sang together. The 9th-century treatise ''[[Scolica enchiriadis]]'' treats the subject in greater detail. For parallel singing, the original chant would be the upper voice, ''vox principalis''; the ''vox organalis'' was at a parallel perfect interval below, usually a fourth. Thus the melody would be heard as the principal voice, the ''vox organalis'' as an accompaniment or harmonic reinforcement. This kind of organum is now usually called parallel organum, although terms such as ''sinfonia'' or ''diaphonia'' were used in early treatises.{{Citation needed\|date=October 2019\|reason=Which early treatises?}}		The earliest European sources of information concerning organum regard it as a well-known practice.{{sfn\|Fuller\|1990\|p=487}} Organum is also known to have been performed in several different rites, but the main wells of information concerning its history come from [[Gregorian chant]]. Considering that the trained singers had imbibed an oral tradition that was several centuries old, singing a small part of the chant repertory in straightforward heterophony of parallel harmony or other ways of "singing by the ear" would come naturally.{{Citation needed\|date=October 2019}} It is made clear in the ''Musica enchiriadis'' that octave doubling (magadization) was acceptable, since such doubling was inevitable when men and boys sang together. The 9th-century treatise ''[[Scolica enchiriadis]]'' treats the subject in greater detail. For parallel singing, the original chant would be the upper voice, ''vox principalis''; the ''vox organalis'' was at a parallel perfect interval below, usually a fourth. Thus the melody would be heard as the principal voice, the ''vox organalis'' as an accompaniment or harmonic reinforcement. This kind of organum is now usually called parallel organum, although terms such as ''sinfonia'' or ''diaphonia'' were used in early treatises.{{Citation needed\|date=October 2019\|reason=Which early treatises?}}

	The history of organum would not be complete without two of its greatest innovators, [[Léonin]] and [[Pérotin]]. These two men were "the first international composers of polyphonic music".{{sfn\|Waite\|1954\|p=2}} The innovations of Léonin and Pérotin mark the development of the rhythmic modes. These innovations are grounded in the forms of Gregorian chant, and adhere to the theoretical rhythmic systems of [[St. Augustine]]. It is the composers' love for ''[[cantus firmus]]'' that caused the notation of the tenor line to stay the same, even when the methods of penning music were changing. It was the use of [[modal rhythm]], however, that would make these two men great. Modal rhythm is defined clearly as a succession of unequal notes arranged in a definite pattern. The Notre Dame composers' development of musical rhythm allowed music to be free from its ties to text. While it is well known that Léonin composed a great deal of organum, it was the innovations of Pérotin, who spent much of his time revising the ''organum purum'' of Léonin, that caused generations of organum and motet composers to exploit the principles of the rhythmic modes.		The history of organum would not be complete without two of its greatest innovators, [[Léonin]] and [[Pérotin]]. These two men were "the first international composers of polyphonic music".{{sfn\|Waite\|1954\|p=2}} The innovations of Léonin and Pérotin mark the development of the rhythmic modes. These innovations are grounded in the forms of Gregorian chant, and adhere to the theoretical rhythmic systems of [[St. Augustine]]. It is the composers' love for ''[[cantus firmus]]'' that caused the notation of the tenor line to stay the same, even when the methods of penning music were changing. It was the use of [[modal rhythm]], however, that would make these two men great. Modal rhythm is defined clearly as a succession of (usually) unequal notes arranged in a definite pattern. The Notre Dame composers' development of musical rhythm allowed music to be free from its ties to text. While it is well known that Léonin composed a great deal of organum, it was the innovations of Pérotin, who spent much of his time revising the ''organum purum'' of Léonin, that caused generations of organum and motet composers to exploit the principles of the rhythmic modes.

	====Notre-Dame school====		====Notre-Dame school====

← Previous revision		Revision as of 04:47, 25 December 2023
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	== Sources ==		== Sources ==
	* {{Wikicite\|ref={{harvid\|Apel\|1949}}\|reference=Apel, Willi. 1949. "From St. Martial to Notre Dame". ''Journal of the American Musicological Society'' 2, no. 3 (Autumn): 145–58.}}		* {{Wikicite\|ref={{harvid\|Apel\|1949}}\|reference=Apel, Willi. 1949. "From St. Martial to Notre Dame". ''Journal of the American Musicological Society'' 2, no. 3 (Autumn): 145–58.}}
	* {{Wikicite\|ref={{harvid\|Fuller\|1990}}\|reference=Fuller, Sarah. 1990. "Early Polyphony". In ''The New Oxford History of Music'' 2: ''The Early Middle Ages to 1300'', revised edition, edited by Richard Crocker and David Hiley, 485–556. Oxford and New York: Oxford University Press, 1990. {{ISBN\|9780193163294}}}}		* {{Wikicite\|ref={{harvid\|Fuller\|1990}}\|reference=Fuller, Sarah. 1990. "Early Polyphony". In ''The New Oxford History of Music'' 2: ''The Early Middle Ages to 1300'', revised edition, edited by Richard Crocker and [[David Hiley]], 485–556. Oxford and New York: Oxford University Press, 1990. {{ISBN\|9780193163294}}}}
	* {{Wikicite\|ref={{harvid\|Johannes de Garlandia\|1972}}\|reference=Johannes de Garlandia. 1972. ''De mensurabili musica'', edited by Erich Reimer, 2 vols. Supplement to the ''[[Archiv für Musikwissenschaft]]'' 10–11. Wiesbaden: Franz Steiner Verlag.}}		* {{Wikicite\|ref={{harvid\|Johannes de Garlandia\|1972}}\|reference=Johannes de Garlandia. 1972. ''De mensurabili musica'', edited by Erich Reimer, 2 vols. Supplement to the ''[[Archiv für Musikwissenschaft]]'' 10–11. Wiesbaden: Franz Steiner Verlag.}}
	* {{Wikicite\|ref={{harvid\|Lewis\|1890}}\|reference=Lewis, Charlton, T. 1890. "[https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.04.0060%3Aentry%3Dorganum Organum]". ''An Elementary Latin Dictionary''. New York, Cincinnati, and Chicago. American Book Company. Online access at Perseus Digital Library, Tufts University, Gregory R. Crane, editor-in-chief (Accessed 26 December 2013).}}		* {{Wikicite\|ref={{harvid\|Lewis\|1890}}\|reference=Lewis, Charlton, T. 1890. "[https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.04.0060%3Aentry%3Dorganum Organum]". ''An Elementary Latin Dictionary''. New York, Cincinnati, and Chicago. American Book Company. Online access at Perseus Digital Library, Tufts University, Gregory R. Crane, editor-in-chief (Accessed 26 December 2013).}}

← Previous revision		Revision as of 02:23, 7 August 2023
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	The first document to describe organum specifically, and give rules for its performance, was the ''[[Musica enchiriadis]]'' (c. 895), a treatise traditionally (and probably incorrectly) attributed to [[Hucbald of St. Amand]]. The oldest methods of teaching organum can be found in the ''Scolica'' and the ''Bamberg Dialogues'', along with the ''Musica enchiriadis''. The societies that have developed [[polyphony]] usually have several types of it found in their culture. In its original conception, organum was never intended as polyphony in the modern sense; the added voice was intended as a reinforcement or harmonic enhancement of the [[plainchant]] at occasions of High Feasts of importance to further the splendour of the [[liturgy]]. The analogue evolution of sacred architecture and music is evident: during previous centuries monophonic Mass was celebrated in Abbatial churches, in the course of the 12th and 13th centuries the newly consecrated [[cathedral]]s resounded with ever more complex forms of polyphony. Exactly what developments took place where and when in the evolution of polyphony is not always clear, though some landmarks remain visible in the treatises. As in these instances, it is hard to evaluate the relative importance of treatises, whether they describe the 'actual' practice or a deviation of it. As key-concept behind the creative outburst that manifested in the 11th and 12th centuries is the vertical and harmonic expansion of dimension, as the strongly resonant harmony of organum magnified the splendour of the celebration and heightened its solemnity.{{Citation needed\|date=October 2019}}		The first document to describe organum specifically, and give rules for its performance, was the ''[[Musica enchiriadis]]'' (c. 895), a treatise traditionally (and probably incorrectly) attributed to [[Hucbald of St. Amand]]. The oldest methods of teaching organum can be found in the ''Scolica'' and the ''Bamberg Dialogues'', along with the ''Musica enchiriadis''. The societies that have developed [[polyphony]] usually have several types of it found in their culture. In its original conception, organum was never intended as polyphony in the modern sense; the added voice was intended as a reinforcement or harmonic enhancement of the [[plainchant]] at occasions of High Feasts of importance to further the splendour of the [[liturgy]]. The analogue evolution of sacred architecture and music is evident: during previous centuries monophonic Mass was celebrated in Abbatial churches, in the course of the 12th and 13th centuries the newly consecrated [[cathedral]]s resounded with ever more complex forms of polyphony. Exactly what developments took place where and when in the evolution of polyphony is not always clear, though some landmarks remain visible in the treatises. As in these instances, it is hard to evaluate the relative importance of treatises, whether they describe the 'actual' practice or a deviation of it. As key-concept behind the creative outburst that manifested in the 11th and 12th centuries is the vertical and harmonic expansion of dimension, as the strongly resonant harmony of organum magnified the splendour of the celebration and heightened its solemnity.{{Citation needed\|date=October 2019}}

	The earliest European sources of information concerning organum regard it as a well-known practice.{{sfn\|Fuller\|1990\|p=487}} Organum is also known to have been performed in several different rites, but the main wells of information concerning its history come from [[Gregorian chant]]. Considering that the trained singers had imbibed an oral tradition that was several centuries old, singing a small part of the chant repertory in straightforward heterophony of parallel harmony or other ways of "singing by the ear" would come naturally.{{Citation needed\|date=October 2019}} It is made clear in the ''Musica enchiriadis'' that octave doubling (magadization) was acceptable, since such doubling was inevitable when men and boys sang together. The 9th-century treatise ''[[Scolica enchiriadis]]'' treats the subject in greater detail. For parallel singing, the original chant would be the upper voice, ''vox principalis''; the ''vox organalis'' was at a parallel perfect interval below, usually a fourth. Thus the melody would be heard as the principal voice, the ''vox organalis'' as an accompaniment or harmonic reinforcement. This kind of organum is ~~now usually~~ called parallel organum, although terms such as ''sinfonia'' or ''diaphonia'' were used in early treatises.{{Citation needed\|date=October 2019\|reason=Which early treatises?}}		The earliest European sources of information concerning organum regard it as a well-known practice.{{sfn\|Fuller\|1990\|p=487}} Organum is also known to have been performed in several different rites, but the main wells of information concerning its history come from [[Gregorian chant]]. Considering that the trained singers had imbibed an oral tradition that was several centuries old, singing a small part of the chant repertory in straightforward heterophony of parallel harmony or other ways of "singing by the ear" would come naturally.{{Citation needed\|date=October 2019}} It is made clear in the ''Musica enchiriadis'' that octave doubling (magadization) was acceptable, since such doubling was inevitable when men and boys sang together. The 9th-century treatise ''[[Scolica enchiriadis]]'' treats the subject in greater detail. For parallel singing, the original chant would be the upper voice, ''vox principalis''; the ''vox organalis'' was at a parallel perfect interval below, usually a fourth. Thus the melody would be heard as the principal voice, the ''vox organalis'' as an accompaniment or harmonic reinforcement. This kind of organum is sometimes called parallel organum, although terms such as ''sinfonia'' or ''diaphonia'' were used in early treatises.{{Citation needed\|date=October 2019\|reason=Which early treatises?}}

	The history of organum would not be complete without two of its greatest innovators, [[Léonin]] and [[Pérotin]]. These two men were "the first international composers of polyphonic music".{{sfn\|Waite\|1954\|p=2}} The innovations of Léonin and Pérotin mark the development of the rhythmic modes. These innovations are grounded in the forms of Gregorian chant, and adhere to the theoretical rhythmic systems of [[St. Augustine]]. It is the composers' love for ''[[cantus firmus]]'' that caused the notation of the tenor line to stay the same, even when the methods of penning music were changing. It was the use of [[modal rhythm]], however, that would make these two men great. Modal rhythm is defined clearly as a succession of (usually) unequal notes arranged in a definite pattern. The Notre Dame composers' development of musical rhythm allowed music to be free from its ties to text. While it is well known that Léonin composed a great deal of organum, it was the innovations of Pérotin, who spent much of his time revising the ''organum purum'' of Léonin, that caused generations of organum and motet composers to exploit the principles of the rhythmic modes.		The history of organum would not be complete without two of its greatest innovators, [[Léonin]] and [[Pérotin]]. These two men were "the first international composers of polyphonic music".{{sfn\|Waite\|1954\|p=2}} The innovations of Léonin and Pérotin mark the development of the rhythmic modes. These innovations are grounded in the forms of Gregorian chant, and adhere to the theoretical rhythmic systems of [[St. Augustine]]. It is the composers' love for ''[[cantus firmus]]'' that caused the notation of the tenor line to stay the same, even when the methods of penning music were changing. It was the use of [[modal rhythm]], however, that would make these two men great. Modal rhythm is defined clearly as a succession of (usually) unequal notes arranged in a definite pattern. The Notre Dame composers' development of musical rhythm allowed music to be free from its ties to text. While it is well known that Léonin composed a great deal of organum, it was the innovations of Pérotin, who spent much of his time revising the ''organum purum'' of Léonin, that caused generations of organum and motet composers to exploit the principles of the rhythmic modes.