Even if the poet Leonius was Anonymus IV’s (or rather, the Paris university lecturer’s) Leoninus, that still would not guarantee the story’s status as fact. A famous church poet would in fact be the ideal mythological creator of Notre Dame polyphony, for the great glory of that repertory in the eyes of its latter-day practitioners was the fact that it was metrical. That is to say, it managed to incorporate precise time-measurement into musical composition and notation, and it did so by adapting to musical purposes the principles of “quantitative” poetic meter.
- Citation (MLA):
- Richard Taruskin. "Chapter 6 Notre Dame de Paris." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 27 May. 2016. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-006003.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 6 Notre Dame de Paris. In Oxford University Press, Music from the Earliest Notations to the Sixteenth Century. New York, USA. Retrieved 27 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-006003.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 6 Notre Dame de Paris." In Music from the Earliest Notations to the Sixteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 27 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-006003.xml