LEONIN VIDERUNT OMNES PDF

The thing that appeals to me the most about this style is the lack of instruments. I really enjoyed seeing what the early singers could accomplish with just their voices. So for this post I want to talk a bit more about one of the chants we went over in class, Viderunt Omnes by Perotin. Viderunt Omnes is a traditional Gregorian chant that is based on a Gradual of the same title. Though the composer of the original chant is unknown, several variations of it have been made over the years. Probably the most famous version of the chant is the one by Perotin, a composer from the Notre Dame school of polyphony.

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Horizontal bands of architecture proceed upwards, each with their own internal rhythms: the ponderous steps of the great columns marching down the aisle, surmounted by a tripling of speed in the smaller rank of triforium gallery arches, in turn crowned by the radiance of the clerestory windows and often yet another celestial rank in the upper rose windows.

Each builds upon its foundation in an architectural style that appears literally to strive upwards toward the transcendent Godhead. In much the same way, the music of the Notre Dame School of polyphony harmonizes a complex musical architecture to strive toward perfection in the act of divine worship. Very little is known about the two leading composers of the Notre Dame School. The foundation of Viderunt omnes is a plainchant that likely served the Parisian liturgy for Christmas Day.

Incidentally, the text naturally seems to call for such a concord of many voices! Following the responsory form of plainchant, Viderunt omnes consists of a solo incipit, a chanted conclusion, a short verset also perhaps for solo , and a repeat of the opening section. For each clausula, the choir sings the notes of the chant melody, but each note is greatly extended. Above this abstracted chant is woven a web of three solo voices dancing about one another in long, metrical melismas on the chant syllables.

The most astounding innovation of Notre Dame polyphony was the addition of rhythm to such ornamental voices: the upper voices sing dozens of notes above each step of the chant, regulated by the six modal rhythms.

Within the limitations of these rhythms, the voices move freely as if by elaborate improvisation. Each phrase begins with a "perfect" harmony of fifths and octaves; the music then progresses in a compelling filigree upon the chant tone, a lengthy marginal gloss.

But each phrase returns irrevocably from dissonance to perfection of harmony. And the final moments of the music are given to the liturgically perfect plainchant alone, in unison singing as if to represent the unity of the Church itself. Appears On.

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Viderunt Omnes

All the ends of the earth have seen the salvation of our God. Rejoice in the Lord, all lands. The Lord has made known his salvation; in the sight of the nations he has revealed his righteousness. In his variation, the bottom voice sings the familiar chant as a drone while the top voice echoes in rich polyphony—a symbol of religious unity; a form of communal togetherness. Due in large part to the development of mensural notation , his vision became common practice, allowing for discant and clausula. We know that at this time Eudes de Sully , Bishop of Paris , was promoting the use of polyphony. While only solo sections are polyphonic, the organum remains clear when juxtaposed with the traditional, monophonic choir chant.

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Viderunt omnes

Horizontal bands of architecture proceed upwards, each with their own internal rhythms: the ponderous steps of the great columns marching down the aisle, surmounted by a tripling of speed in the smaller rank of triforium gallery arches, in turn crowned by the radiance of the clerestory windows and often yet another celestial rank in the upper rose windows. Each builds upon its foundation in an architectural style that appears literally to strive upwards toward the transcendent Godhead. In much the same way, the music of the Notre Dame School of polyphony harmonizes a complex musical architecture to strive toward perfection in the act of divine worship. Very little is known about the two leading composers of the Notre Dame School. The foundation of Viderunt omnes is a plainchant that likely served the Parisian liturgy for Christmas Day. Incidentally, the text naturally seems to call for such a concord of many voices! Following the responsory form of plainchant, Viderunt omnes consists of a solo incipit, a chanted conclusion, a short verset also perhaps for solo , and a repeat of the opening section.

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