151:
23:
282:. In such compositions, the length of the color and talea are often unequal, causing the repetition of the melody in differing rhythmic patterns. As an example, if the "color" includes nine notes and the "talea" five, the "color" would have to be repeated five times before the two schemes again realign. Examples can be found in motets and Mass movements by
117:
and other musicologists expanded its scope further as an organizing structural element in 14th- and early 15th-century compositions—in particular, motets. Some of the earliest works organized around isorhythms are early 14th-century motets by various composers in an illuminated manuscript of the
324:
quarter notes in the upper parts, creating an uneven ratio of 4:9 that causes the parts to lose synchronization. The lower part then steadily contracts in a series of
Pythagorean proportions (12:9:8:6) until the parts come back into alignment.
301:
found in the Old Hall manuscript (named for the
English town in which it was eventually discovered), demonstrates the high sophistication and complexity of panisorhythmic techniques. The lower parts have a recurring
278:
During the decades following and into the 15th century, upper voices became increasingly involved in isorhythmic organization. Many compositions became isorhythmic in all voices, a practice known as
328:
As an analytical concept, isorhythm has proven valuable for understanding musical practices in other cultures; for example, the peyote culture songs of certain North
American Indian groups and the
139:
that governed most late medieval polyphony. Discarding modal-rhythmic limitations, isorhythm became a significant organizing principle of much of 14th-century French polyphony by extending the
314:, one for each major section of the composition. The rhythmic relationship between upper and lower parts changes as the music progresses. Each quarter note in the lower part equals 4
564:
147:. "The playful complexity of ... that mixes mensuration and undergoes diminution by half—became a typical, even a defining feature of motets in the 14th century and beyond".
195:('their voice has gone out into all the world'). The cantus firmus of the motet is a perfect fifth higher than the original chant; notes used for the tenor marked in red.
490:
798:
101:—the latter in a variety of senses related to repetition and embellishment—the term "isorhythm" was not coined until 1904 by musicologist
876:
198:
Staff 2: isorhythmic tenor as notated in mensural notation. Numbers 1–3 and brackets indicate three rhythmically identical sequences (
824:
699:, edited by David Butler Cannata, Gabriela Ilnitchi Currie, Rena Charnin Mueller, and John Louis Nádas, 121–143. Publications of the
753:
738:
712:
213:
Staves 3–5: abbreviated transcription into modern notation. Each line represents one full repetition of the tenor's melody (
508:
210:, respectively. (In the manuscript these signs are in fact found at the end of the line, together with a repetition sign.)
900:
667:
629:
602:
847:
787:
768:
Hartt, Jared C. (2010). "Tonal and
Structural Implications of Isorhythmic Design in Guillaume de Machaut's Tenors".
704:
700:
555:
102:
1112:
1051:
869:
229:
are rendered here.) The three mensuration signs in the line above correspond to the change in time signatures:
809:, 2 vols. Outstanding dissertations from British Universities. New York and London: Garland University Press.
1107:
499:
807:
Compositional
Procedure in the Four-Part Isorhythmic Works of Philippe de Vitry and his Contemporaries
1102:
862:
552:
The Motets of the
Manuscripts Chantilly Musée Condé. Bibliothèque, Biblioteca estense (Modena, Italy)
812:
Ludwig, Friedrich (1903–04). "Die 50 Beispiele
Coussemaker's aus der Handschrift von Montpellier".
150:
143:
of an initial section to the entire composition in conjunction with variation of a corresponding
991:
793:
69:
690:
Les
Colloques de Wégimont II, 1955: L'Ars nova; recueil d'études sur la musique du XIV siècle
202:). The three mensuration signs in the beginning define the pattern of diminution, indicating
692:, edited by Suzanne Clercx-Lejeune, 139–148. Paris: Société d'Edition "Les Belles Lettres".
110:
36:
31:
594:
588:
8:
819:
26:
Transcription in modern notation of the isorhythmic tenor voice from the opening of the
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170:
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55:(from the Greek for "the same rhythm") is a musical technique using a repeating
1076:
966:
775:
733:, revised reprint edition. Cambridge and New York: Cambridge University Press.
329:
283:
835:, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan.
726:, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan.
650:, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan.
204:
tempus perfectum cum prolatione maiore, tempus perfectum cum prolatione minore
1096:
1041:
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719:
621:
495:
485:
423:
183:
136:
128:(1291–1361) and Guillaume de Machaut (c. 1300–1377). Machaut's second motet,
48:
of four durations which repeats seven times (28 Ă· 4 = 7).
1061:
915:
643:
527:
565:"A Reevaluation of Isorhythm in the "Old Corpus" of the Montpellier Codex"
1056:
910:
1071:
1021:
1016:
986:
952:
942:
685:
759:
Harbinson, Denis (1966). "Isorhythmic
Technique in the Early Motets".
124:. Two of the era's most important composers of isorhythmic motets are
1046:
1026:
935:
905:
509:"The Isorhythmic Technique and the Cycling Principles in Composition"
106:
67:
are typically applied to one or more melodic patterns of pitches or
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854:
188:
17:
697:
Quomodo
Cantabimus Canticum? Studies in Honor of Edward H. Roesner
525:
432:
22:
981:
310:
that unite the composition. The upper parts have four different
177:
late 14th century), featuring threefold isorhythmic diminution.
154:
Structural diagram of the isorhythmic tenor in Johannes Alanus'
105:(1872–1930), initially to describe the practice in 13th-century
1081:
885:
840:
The Monstrous New Art: Divided Forms in the Late Medieval Motet
822:(2013). "Proportion and Symbolism in Some Ars Antiqua Motets".
298:
56:
357:
1066:
162:
109:. Ludwig later extended its use to the 14th-century music of
86:
27:
796:(1982–83). "Related Motets from Fourteenth-Century France".
450:
221:
in each, resulting in a nine-part structure. (Within each
132:, is an example of typical 14th-century use of isorhythm.
73:, which may be of the same or a different length from the
748:, edited by Jared C. Hartt, 77–101. Woodbridge: Boydell.
386:
384:
167:
Sub arturo plebs / Fons citharizantium / In omnem terram
156:
Sub arturo plebs – Fons citharizantium – In omnem terram
462:
63:, in at least one voice part throughout a composition.
842:. Cambridge and New York: Cambridge University Press.
381:
161:
The structural diagram at right shows the isorhythmic
130:
De souspirant / Tous corps qui de bien amer / Suspiro
593:. Oxford, England: Oxford University Press. p.
438:
413:
411:
638:
363:
345:
191:for the first nocturn of the commons for Apostles,
814:Sammelbände der Internationalen Musik-Gesellschaft
688:(1959). "Remarks about the Isorhythmic Motet". In
613:
408:
396:
93:. Although 14th-century theorists used the words
1094:
662:. Oxford and New York: Oxford University Press.
297:A 15th-century mass by a composer known only as
833:The New Grove Dictionary of Music and Musicians
724:The New Grove Dictionary of Music and Musicians
695:Bent, Margaret (2008). "What Is Isorhythm?" In
648:The New Grove Dictionary of Music and Musicians
491:The New Grove Dictionary of Music and Musicians
369:
612:Randel, Don Michael, ed. (2003). "Isorhythm".
870:
660:The Oxford History of Western Music, Volume 1
620:(fourth ed.). Cambridge, Massachusetts:
799:Proceedings of the Royal Musical Association
703:: Miscellanea, No. 7. Middleton, Wisconsin:
526:Editors of Encyclopædia Britannica (1998).
877:
863:
80:
654:
456:
390:
208:tempus imperfectum cum prolatione minore
149:
135:Isorhythm is a logical outgrowth of the
21:
746:A Critical Companion to Medieval Motets
744:Earp, Lawrence (2018). "Isorhythm". In
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546:
506:
468:
444:
433:Editors of Encyclopædia Britannica 1998
351:
1095:
611:
583:
417:
402:
858:
571:. The College Music Society Symposium
884:
831:Sanders, Ernest H. (2001). "Talea".
484:
375:
165:voice of a late 14th-century motet,
89:of the 13th century, such as in the
225:, only the first few notes of each
13:
678:
193:In omnem terram exivit sonus eorum
85:Isorhythms first appear in French
14:
1124:
44:of 28 pitches is arranged with a
805:Leech-Wilkinson, Daniel (1989).
705:American Institute of Musicology
701:American Institute of Musicology
556:American Institute of Musicology
722:(2001). "Vitry, Philippe de ".
616:The Harvard Dictionary of Music
181:Staff 1: preexisting Gregorian
731:The Motet in the Age of Du Fay
534:. Encyclopædia Britannica, Inc
1:
590:The Oxford Companion to Music
339:
820:Planchart, Alejandro Enrique
494:, second edition, edited by
7:
765:47, No. 2 (April): 100–109.
587:, ed. (2002). "Isorhythm".
10:
1129:
838:Zayaruznaya, Anna (2015).
782:. New York: W. W. Norton.
15:
896:
563:Lanford, Michael (2011).
1007:Non-retrogradable rhythm
507:Coppini, Andrea (2013).
364:Sanders and Lindley 2001
794:Leech-Wilkinson, Daniel
729:Cumming, Julie (2003).
217:), including the three
187:melody, from the first
81:History and development
158:
49:
1113:Medieval music theory
901:Additive and divisive
488:(2001). "Isorhythm".
153:
25:
1027:Prolation and tempus
718:Bent, Margaret, and
569:symposium.music.org/
502:. London: Macmillan.
111:Guillaume de Machaut
37:Messe de Nostre Dame
32:Guillaume de Machaut
770:Theory and Practice
762:Music & Letters
1108:Musical techniques
640:Sanders, Ernest H.
532:www.britannica.com
159:
59:pattern, called a
50:
1090:
1089:
1002:Metric modulation
825:Musica Disciplina
776:Hoppin, Richard H
754:978-1-78327-307-2
739:978-0-521-54337-8
713:978-1-59551-496-7
656:Taruskin, Richard
646:(2001). "Color".
126:Phillipe de Vitry
115:Heinrich Besseler
91:Montpellier Codex
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1103:Rhythm and meter
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288:Johannes Ciconia
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585:Latham, Alison
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550:, ed. (1965).
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573:. Retrieved
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551:
536:. Retrieved
531:
515:. Retrieved
500:John Tyrrell
489:
477:
476:
469:Coppini 2013
464:
452:
445:GĂĽnther 1965
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371:
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352:Lanford 2011
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1057:Syncopation
828:58:231–264.
686:Apel, Willi
528:"Isorhythm"
418:Randel 2003
403:Latham 2002
1097:Categories
1072:Time point
1022:Polyrhythm
1017:Note value
987:Homorhythm
953:Note value
943:Cross-beat
816:5:177–224.
778:. (1978).
459:, 409–410.
340:References
16:See also:
1047:Stop-time
997:Isorhythm
972:Half-time
936:Count off
906:Anacrusis
802:109:1–22.
772:35:57–94.
575:6 January
538:6 January
517:6 January
376:Bent 2001
107:polyphony
53:Isorhythm
948:Duration
931:Counting
926:Colotomy
658:(2010).
189:antiphon
57:rhythmic
18:Isometer
1032:Prosody
982:Hemiola
478:Sources
471:, 6–39.
319:⁄
70:colores
1082:Tuplet
967:Groove
886:Rhythm
846:
786:
752:
737:
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642:, and
628:
601:
393:, 266.
334:Africa
299:Pycard
219:taleae
200:taleae
87:motets
65:Taleae
1067:Tempo
1052:Swing
1037:Pulse
961:Gatra
890:meter
512:(PDF)
447:, LI.
312:talea
308:talea
304:color
227:talea
223:color
215:color
163:tenor
145:color
141:talea
99:color
95:talea
75:talea
61:talea
46:talea
42:color
28:Kyrie
1062:Tala
992:Iqa'
916:Beat
888:and
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784:ISBN
750:ISBN
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664:ISBN
626:ISBN
599:ISBN
577:2017
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498:and
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