![]() ![]() All these sporadic attempts at polyphony culminated, in the fourteenth century, in the addition of different melodies to the cantus firmus in accordance with well-formulated laws of counterpoint which are still valid at the present day. Later, the third below was transposed an octave higher, giving rise to the falso-bordone, faux-bourdon, or false bass. ![]() The gymel consisted in adding the interval of the third both above and below the cantus firmus. In England the gymel, or cantus gemellus (twin song), flourished at an even earlier date. In the twelfth century, in France, the custom arose, and became general among singers of improvising one or more independent melodies above the liturgical melody, or cantus firmus. The desire for harmony, that is, the simultaneous sounding with the cantus firmus, tenor, or theme, of one or more voices on different intervals, first found expression in the so-called diaphony or "Organum" of Hucbald (840-930 or 932). The term counterpoint originated in the fourteenth century, though the art designated by it had been practiced for several centuries previous. From punctum, "point" - as a note was formerly called in music - and contra, "against" originally, punctum contra punctum, or nota contra notam - "point against point", or note against note". Samuel Pepys, (1633-1703) English diarist Music and women I cannot but give way to, whatever my business is. Previous lesson :: next lesson :: contents :: index :: manuscript paper :: comments or queries? To use the menu you must first enable javascript ![]()
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