POLYPHONY IN AQUITANIAN MONASTIC CENTERS
By the time the word discant became current, a new style of organum had arisen in contrast to it. This new style resembles some of Guido’s examples (which may have helped inspire it) in that one voice is relatively stationary while the other moves freely, creating a variety of intervals against the first. The great difference is that in the new style the dronelike voice is the vox principalis, and the vox organalis is the moving voice—or, as we now should call it, the melismatic voice, since it sings several notes against each syllable-carrying note of the original chant. Hand in hand with this difference went another just as big: the vox principalis is now the lower, not the upper voice.
- 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. 26 Jun. 2016. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-005004.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 26 Jun. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-005004.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 26 Jun. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-005004.xml