clausula

clausula, (Latin: “clause”, ) plural Clausulae, in music, a 13th-century polyphonic genre featuring two strictly measured parts: notable examples are the descant sections based on the Gregorian chant melisma (several notes to a syllable), which in the organa of the Notre-Dame school alternated with sections featuring ...

Term: Substitute clausula (or several passages) composed as a replacement for a segment of Notre-Dame organum. It employs a short excerpt of plainsong or plainchant (e.g. Gregorian chanting) in the tenor voice and new material in the organal voice(s).

Substitute clausula were reusable, polyphonic phrases inserted into organum arrangements at specific moments, usually at the end.

Compositionally, they are the same; the difference is in the text. Motets have newly added words in the upper voices and are syllabic. Substitute clausulae were composed for chant melismas, so the only text is a single syllable on which the chant melisma was sung.

The clausula (Latin for "little close” or “little conclusion"; plural clausulae) was a newly composed section of discant ("note against note") inserted into a pre-existing setting of organum. Clausulae flourished in the late twelfth and thirteenth centuries and were associated with the Notre Dame school.

A passage of (usually) discant preserved separately from its parent organum, in which it could be substituted. Several 13th-century MSS contain separate fascicles of clausulae, with up to twenty different clausula settings of the same tenor fragment.

The clausula (Latin for "little close” or “little conclusion"; plural clausulae) was a newly composed section of discant ("note against note") inserted into a pre-existing setting of organum. Clausulae flourished in the late twelfth and thirteenth centuries and were associated with the Notre Dame school.

six rhythmic modes In most sources there were six rhythmic modes, as first explained in the anonymous treatise of about 1260, De mensurabili musica (formerly attributed to Johannes de Garlandia, who is now believed merely to have edited it in the late 13th century for Jerome of Moravia, who incorporated it into his own compilation).

The clausula (Latin for "little close” or “little conclusion"; plural clausulae) was a newly composed section of discant ("note against note") inserted into a pre-existing setting of organum. Clausulae flourished in the late twelfth and thirteenth centuries and were associated with the Notre Dame school.

In origin, discant is a style of organum that either includes a plainchant tenor part (usually on a melisma in the chant) or is used without a plainchant basis in conductus, in either case with a "note against note" upper voice, moving in contrary motion. It is not a musical form, but rather a technique.

In Léonin's organa de gradali et antiphonario two forms of organum technique are evident, organum purum and "discantus".

900; “Musical Handbook”), organum consisted of two melodic lines moving simultaneously note against note. Sometimes a second, or organal, voice doubled the chant, or principal voice, a fourth or a fifth below (as G or F below c, etc.). In other instances, the two voices started in unison, then moved to wider intervals.