Notre Dame school
The Notre- Dame school or Notre -Dame- epoch referred to in the history of music commonly the period of 1160 / 80-1230 / 50.
Presumably, this epoch is directly linked to the Saint -Martial- repertoire of, or overlap with it. This refers to the time in which the composer has Pérotin at the Notre Dame Cathedral in Paris begun by Léonin " magnus liber organi de gradali et antifonaio per servitio divino " ( Anonymus IV) shortened and with better terms or point A. " This Master Perotinus created best Quadrupla as Viderunt and Sederunt with an abundance of Colores harmonious art [ ... ] " The delineation of this epoch to another is essentially the fact that here the Modalnotation and the centrality of the chorale ( organum ) are highlighted. In the later Ars antiqua the mensural notation was used.
The polyphonic music, which should be covered by the name Notre- Dame school, had in the Cathedral of Notre- Dame de Paris, or even the center. However, once needs to be added,
Compositions in the style of Notre Dame repertoire can be found, inter alia, in today in London, Sens and in the Herzog August Library in Wolfenbüttel preserved manuscripts. Evidences for a center position of the Paris Notre- Dame Cathedral are present but not numerous, while in property notices vague and in the times quite uncertain. They come almost exclusively from the English Anonymous 4, who wrote 1270-1280.
" The probable source of loss that makes everything uncertain, the proven participation of other places, the relative sparseness of looking at Notre Dame testimonies put on nomination of the music-historical period as Notre -Dame- era ' or, Notre - Dame school ' question mark. The following is likely: in the name of Notre -Dame- era Paris cathedral is named not only as the ( presumed ) starting point and focus of polyphonic church music of that time, but at the same time acts as a signum, a landmark that the new polyphonic art, especially the chorale and their increase to the largest sound form of the Middle Ages, the Organum quadruplum, essentially was a cathedrals. "
As cathedrals, the music of this period is their function, a form of liturgical music. Their repertoire consists of chorale melodies, more precisely from the responsorial chants of the Mass and the Office, which were carried out in several voices. The organization of the vote was only possible through the use of an ordering rhythm, the six modes of Modalrhythmus.