Like the jubilus itself, the early sequentia vocalises—sung on the word “Alleluia” but so melismatic as to be virtually textless—had many internal phrase repetitions designed to make them easier to memorize. Another memory aid employed by Frankish singers was of far-reaching artistic significance: they added words to melismatic chants that turned them, perhaps paradoxically, into syllabic hymns. This led to a fantastic flowering of new devotional song that developed over three centuries and reached its peak in twelfth-century France.
- Citation (MLA):
- Richard Taruskin. "Chapter 2 New Styles and Forms." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 8 Mar. 2014. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-002002.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 2 New Styles and Forms. In Oxford University Press, Music from the Earliest Notations to the Sixteenth Century. New York, USA. Retrieved 8 Mar. 2014, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-002002.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 2 New Styles and Forms." In Music from the Earliest Notations to the Sixteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 8 Mar. 2014, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-002002.xml