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Willy Apel From St. Martial to Notre Dame.pdf


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146 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY
and combination of these signs, as

Turning now to our main question,
that is, the rhythmic interpretation

mode) encountered in modal nota-

that the following varieties of rhyth-

opposed to the regular grouping of
ligatures (e.g., 3 2 2 2... for the first

tion. Another striking difference is
the fairly extended use of many-note
ligatures and, particularly, conjuncturas, the latter often with as many

as ten notes in descending motion.
In the clausula sections the number

of the organal sections, it appears

mic style must be admitted as possi-

bilities:

A. Free Rhythm. The notes of

the duplum are all essentially isochronous, admitting, of course, a

certain flexibility of tempo and oc-

of notes combined into a single graph casional lengthening of notes, par-

ticularly at the end of a phrase. This
rarely goes beyond four (ligatura
quaternaria). The accompanying re-style is similar to the Solesmes method
of interpreting Gregorian chant, alproduction, showing the organum
duplum Viderunt onmes, illustratesthough the specific principles of this
the chief traits of form, style, andmethod (ictus, etc.) cannot, of
course, be applied, since they have
notation encountered in this period.
no historical foundation.
The short clausula section, "om," appears at the end of the second brace. B. Measured Rhythm. The notes
Organum duplum Viderunt omnes
W1, f. 21 r

Ex. I

itY

IIU'TTF-

"t

I
v

W-

-MIA il"

?-'

-

--l

,

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