Copula (music)

Copula, latin from con - together, and apere / connect apisci. Binders, link, tape, rope, grappling hook; also the result of connecting, connection, association, pair.

Provençal cobla; French couple; Italian copula. The term Copulatio is the Latin for the activity of joining, as well as the means and results of joining.

In medieval literature music playing words of bonding, including copula and Copulatio a significant role. Some late medieval authors copula in the sense of the ligature, the connection of notes to a rhythmic set sequence of notes used.

In the polyphony teaching in 1100 and Copulatio copula are used as terms of circuit formation.

In the theoretical reflection on the art of the Notre Dame school copula is used by Johannes de Garlandia as a term for a standing between Discantus and organum setting manner. In the further course of music history Lambertus omitted treatment of the copula and replaces them with the Hoquetus. The anonymous St. Emmeram ( 1279 ) and the Anonymus IV use copula for the irregular presentation of the chorale section. Franco of Cologne defined around 1280 copula also referred to as the chorale presentation, as Velox Discantus, and distinguishes between a bound and unbound copula copula Ligata non ligata.

The transformation of the concept of copula thus corresponds to the compositional development in the 13th century. Partially contradictory statements are primarily due to the different theoretical conceptions of the authors. With the stagnation of the Notre Dame tradition since the early 14th century, interest in the copula lecture decreases rapidly. In the late 14th century Quartum principale the Coplula is then defined as fran lusted Mensureinheit.

• Morphology
• Early Music