The group of composers working at or near the Notre Dame Cathedral in Paris from about 1160 to 1250, along with the music they produced, is referred to as the Notre Dame school, or the Notre Dame School of Polyphony.
The only composers whose names have come down to us from this time are Léonin and Pérotin. Both were mentioned by an anonymous English student, known as Anonymous IV, who was either working or studying at Notre Dame later in the 13th century. In addition to naming the two composers as "the best composers of organum," and specifying that they compiled the big book of organum known as the Magnus Liber Organi, he provides a few tantalizing bits of information on the music and the principles involved in its composition. Pérotin is the first composer of organum quadruplum — four-voice polyphony — at least the first composer whose music has survived, since complete survivals of notated music from this time are scarce.
Léonin, Pérotin and the other anonymous composers whose music has survived are representatives of the era of European music history known as the ars antiqua. The motet was first developed during this period out of the clausula, which is one of the most frequently encountered types of composition in the Magnus Liber Organi.
While music with notation has survived, in substantial quantity, the interpretation of this music, especially with regard to rhythm, remains controversial. Three music theorists describe the contemporary practice: Johannes de Garlandia, Franco of Cologne, and Anonymous IV; however they were all writing more than two generations after the music was written, and may have been imposing their current practice, which was quickly evolving, on music which was conceived differently. In much music of the Notre Dame School the lowest voices sing long note values while the upper voice or voices sing highly ornamented lines, which often use repeating patterns of long and short notes known as the "rhythmic modes." This marked the beginning of notation capable of showing relative durations of notes within and between parts (Hoppin 1978, p. 221).
Contemporary composers such as Steve Reich and Arvo Pärt cite the music of the Notre Dame School as an influence on their work.
... between approximately 1170 and 1310, covering the period of the Notre Dame school of polyphony and the subsequent years which saw the early development of the motet ... c.1180 – c.1220) were the two composers known by name from the Notre Dame school in the subsequent period, Petrus de Cruce, a composer of motets, is one of the few whose name has been preserved ... The early Gothic includes the French music composed in the Notre Dame school up until about 1260, and the high Gothic all the music between then and about 1310 or 1320, the conventional beginning of the ...
... A Dame may be Dame (title), a female title of rank, equivalent to 'Sir' used as the title of a knight A title of respect for certain Benedictine nuns equivalent to the male "Dom" A ...
... See also CategoryPeople educated at Notre Dame School (Surrey) Sacha Mascolo-Tarbuck, head of hairdressing company Toni Guy and daughter of co-founder Toni Mascolo ...
... Dame-Marie may refer to several communes in France Dame-Marie, Eure, in the Eure département Dame-Marie, Orne, in the Orne département Dame-Marie-les-Bois, in the Indre-et-Loire département It ...
... The construction of Notre Dame Cathedral on the Île de la Cité took place between 1163 and 1238 and this period coincides with the various phases of ... The Cathedral of Notre Dame and the University of Paris served as the center of musical composition and as a transmitter of musical theory in the 12th and 13th centuries ... The presence of Leonin and Perotin at the Notre Dame School made Paris the center of the musical world in the 12th century ...
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Such blessings, as I remarked, in effect, to the waiter,
Are added unto them that have plenty of water.”
—Norman Cameron (b. 1905)
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Je notre qui cavore, je la qu, la qui, la quai!
Le spinash or le busho, cigaretto toto bello,
Ce rakish spagoletto, si la tu, la tu, la tua!
Senora pelefima, voulez-vous le taximeter,
La zionta sur le tita, tu le tu le tu le wa!”
—Charlie Chaplin (18891977)
“Come dame or maid, be not afraid,
Poor Tom will injure nothing.”
—Unknown. Tom o Bedlams Song (l. 1112)