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  • Philippe de Vitry - The Art of Counterpoint

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    Philippe de Vitry - The Art of Counterpoint

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    Philippe de Vitry - The Art of Counterpoint

    Direitos autorais:

    © All Rights Reserved
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    Sinalizar o conteúdo como inadequado
    29 visualizações9 páginas

    Philippe de Vitry - The Art of Counterpoint

    Enviado por

    lubas2
    Philippe de Vitry - The Art of Counterpoint

    Direitos autorais:

    © All Rights Reserved
    Baixe no formato PDF ou leia online no Scribd
    Sinalizar o conteúdo como inadequado
    de 9
    Ars contrapunct secundum Philippum de Vieriaco Inciptintroductio contrapunet Prologus. Volentibus introduet in artem contrapuneti, id est nota contra notam, {quamplurima prenotenda sunt. Et primo et prineipaliter notandum ‘quod omnes note monaco cant aiquo itorum sex nominum, seilcet: ut, ey mi f, So a Ad evidentiam ergo totius musice, tam cantus mensurailis quar) immensueabils, primo videndum est quot sunt species ju preambula, et que sunt necessaria ad demonstrationem et intelligentiam omnis canta "Tredecim igitur sunt species cantus sive discantus, nec plures nee puciores que debito modo rationem numeri tenent. Et iste tredecim species loquuntur de numero relat ad sonos proportionatos, qi sicut dcit Guido, sapicntssimus muse magiser, ita est de ils qui arte canunt, scat de ils hominibus itteratis qui nunquam ltteras Aidicerunt. Item dicit Guido: Vulgares eantors in vanum laborant qui iferentiany unis toni vel semitoni discernere nesciunt;tamen ips in cantando negligentes, et divinam et secularem seripruram plene perfecte cognoscere potuissent. que sunt "Tractatus primus, aput primum, De tedecim speciebus. Sccundum etiam predictum Guidonem sapientissimum, in arte musice excelletissimum, et secundum magistrum Johannem de Gallania, ‘quondam in studio Parisno expertissimum atque probatisimum, a¢ ‘tia secundum Boetium et secundum plures alos magistrs, tredecim sunt species quibus utimur in omni tam cantu mensurshili quam Jmmensurail et non plures nec pauciores. ciliet:unisonus, tonus, semitonium, dyptonus, semidytonus, dyatessaron, trtonus et yapente, ronus eum dyapes jum eum dyapemte, dytonus ‘um dyapente,semidytonus cum dyapente et dapason. Ex sieut The Art of Counterpoint According to Philippe de Vitry sr, Regma "Here begins the introduction in counterpoint. Prologue For those wishing to be introduced in the at of counterpoint (that i, note against note), many things are to be afore-noted. And firstly and principally it shouldbe noted thar ll the nots ofthe monochordare called by ane of these six names 0 wit, ty ry mi i, sob f Fora lear understanding of all musi, measurable song. 3s wells, ‘unmeasurable, therefore, we must frst consider how many ate its species, ‘which [of them] have preeminence, and which are necessary for the demonstration and understanding of all song. “There are, then, thirteen species of chant or dscant, neither more nor fewer, which cary the ratio of number in the proper way. And those thirteen species are expressive of number in regard to proportioned sounds, for as that most earned magiste of musie Guido say, itis the same with those who sing without science as iis with studious men who have never acquired literacy. Also, Guido says: popular singers who are ‘unable to tell the difference berween atone and semitone are laboring in ‘ain; yet those who are ignorant in singing might [til] beable to Tear both divine and worldly seriprare fully and perfectly First First chapter. Concerning the thirteen species According to the aforesaid Guido, (who is] most learned and most oustanding inthe at of musi and according 10 Magister Johannes de Garlandia, in his day the most experienced and esteemed man in the Parisian school, and also according to Boethius, and according to many other magisters, thee ae thirteen species which we use inall song, measurable as wel as unmeasurable, neither more nor fewer, namely unison, whole tone, semitone, ditone, semiditone, diatessaron, tritone and Jiapente, tone plus dipente, semitone plus diapent, ditone plus diapente, semiditone plus diapente, and dispason, And just as there addition and 1 auditio et compositio fit specei dyapente, ta addito et composito fit speciel dyapason, ima species, videicetunisomus, est quandacumgue plures note vel voces invcem collocantur in eadem linea vel spatio. Secundum, Aliscantum unisonus habet fri, quando discantus et eantus in eadem linea vel spatioconveniant; et dicitue unisonus ab uns, na, unui, et sonus, quasi unus et equals sonus, sine olla variatone, wt hie patet, exemplum: o Poe composition of the species of diapente, soit there addition and composition of the species of diapason ‘The first species, that is, the unison, is manifest whenever several notes or pitches are placed next to one another on the same line or space. In diseant the unison occurs when the diseantus and the chant mect on the same line or space; and sna, ast were one and equal sound, without any discrepancy, ass apparent in the example here: = Er iscalled unison after amu, wn, amu, and rt retype tt De secunds specie. Secunda species est tonus qui, secundum Guidonem, dffinitur sic ‘onus est spatii magnitudo plenum et perfeetum sonum emittens Secunsdum autem Boetium diffinitur sie: tonus est coherentia ‘duarum socum plenam et incegram elevationem redens sew

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