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Contents

Music from the Earliest Notations to the Sixteenth Century

CHAPTER 5 Polyphony in Practice and Theory

Early Polyphonic Performance Practices and the Twelfth-Century Blossoming of Polyphonic Composition

Chapter:
CHAPTER 5 Polyphony in Practice and Theory
Source:
MUSIC FROM THE EARLIEST NOTATIONS TO THE SIXTEENTH CENTURY
Author(s):
Richard Taruskin

Richard Taruskin

As we have seen, and as it is important to remember, there has never been a time in the recorded history of European music—or of any music, it seems—when polyphony was unknown. Descriptions of music-making in classical Greece and Rome are full of tantalizing suggestions about harmonic and contrapuntal practices, and music theory, all the way back to “Pythagoras,” is full of elaborate accounts of harmonic consonances. As soon as they were in possession of the means for writing their liturgical music down, moreover, the Franks illustrated sundry methods of harmonically amplifying that music. We have evidence of polyphonic performance practice for medieval chant as early as we have written evidence of the chant itself.

Citation (MLA):
Richard Taruskin. "Chapter 5 Polyphony in Practice and Theory." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 24 Apr. 2014. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-chapter-005.xml>.
Citation (APA):
Taruskin, R. (n.d.). Chapter 5 Polyphony in Practice and Theory. In Oxford University Press, Music from the Earliest Notations to the Sixteenth Century. New York, USA. Retrieved 24 Apr. 2014, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-chapter-005.xml
Citation (Chicago):
Richard Taruskin. "Chapter 5 Polyphony in Practice and Theory." In Music from the Earliest Notations to the Sixteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 24 Apr. 2014, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-chapter-005.xml
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