Pérotin
Pérotin was a composer associated with the Notre Dame school of polyphony in Paris and the broader ars antiqua musical style of high medieval music. He is credited with developing the polyphonic practices of his predecessor Léonin, with the introduction of three and four-part harmonies.
Other than a brief mention by music theorist Johannes de Garlandia in his De Mensurabili Musica, virtually all information on Pérotin's life comes from Anonymous IV, a pseudonymous English student who probably studied in Paris. Anonymous IV names seven titles from a Magnus Liber—including Viderunt omnes, Sederunt principes and Alleluia Nativitas—that have been identified with surviving works and gives him the title Magister Perotinus, meaning he was licensed to teach. It is assumed that Perotinus was French and named Pérotin, a diminutive of Peter, but attempts to match him with persons in contemporary documents remain speculative.
Identity and career
Pérotin, about whom little is known, most likely lived around the end of the 12th and beginning of the 13th century and is presumed to have been French. The closest thing to a contemporary account of his life comes from two much later reporters: a brief mention attributed to the music theorist Johannes de Garlandia in his De Mensurabili Musica, and four mentions in the works of a late 13c English student known as Anonymous IV. At one stage Anonymous IV was thought to be a pupil of Johannes de Garlandia, but this is unlikely, and the name is a misnomer, derived from the title of notes by Charles-Edmond-Henri de Coussemaker, Anonymus IV. These were probably notes taken by the student in a lecture. including this paragraph:These rules were used in many older books; this was so during and after the time of Perotinus the Great. Nevertheless, they did not know how to distinguish these notes from those which will be presented shortly. This was so even since the time of Leo, because two ligated notes were put for the durational value of a brevis longa, and in a similar manner, three ligated notes were quite often used for a longa brevis, longa. People say Maître Leonin was the best composer of Organum, he composed the Great Organum Book for the gradual and antiphonary in order to prolong the divine service. This book remained in use until the time of the great Perotin who abridged it and composed clausules and sections that were many in number and better because he was the best composer of descant. This Magister Perotinus made the best quadrupla, such as Viderunt and Sederunt, with an abundance of striking musical embellishments ; likewise, the noblest tripla, such as Alleluia, Posui adiutorium and , Nativitas etc. He also made three-voice conductus, such as Salvatoris hodie, and two-voice conductus, such as Dum sigillum summi Patris, and also, among many others, monophonic conductus, such as Beata viscera etc. The book, that is, the books of Magister Perotinus, were in use in the choir of the Paris cathedral of the Blessed Virgin up to the time of Magister Robertus de Sabilone, and from his time up to the present day.
There have been many speculative attempts to identify Pérotin with members of the Notre Dame administration, but these have not generally been accepted. Of the several people with that name that have been suggested, the commonest are Petrus Cantor, who was a theologian, and another Petrus who was Succentor at Notre Dame ca. 1207–1238. Of these two, Petrus Succentor has been suggested as more probable, in part on chronological grounds, and partly because of the succentor's role in overseeing the celebration of the liturgy in the cathedral, but this is purely speculative, resting on an assumption that the composer held some important rank in the cathedral hierarchy.
Pérotin is considered to be the most important member of the Notre Dame school of polyphony, a group of composers working at or near the cathedral in Paris from about 1160 to 1250, creators of the ars antiqua style. The dates of Pérotin's life and works have long been a subject of debate, but are generally thought to be from about 1155/60 to around 1200/05, based on the evolution of French choral writing during this time, in particular, his apparent absence from the flowering of the French motet that occurred after 1210.
Pérotin was one of very few composers of his day whose name has been preserved, and can be reliably attached to individual compositions, most of which have been transcribed. Anonymous IV called him Magister Perotinus. The title, employed also by Johannes de Garlandia, means that Perotinus, like Léonin, earned the degree magister artium, almost certainly in Paris, and that he was licensed to teach. However, only Anonymous IV employed the epithet Perotinus Magnus. The name Perotinus, the Latin diminutive of Petrus, is assumed to be derived from the French name Pérotin, diminutive of Pierre. However "Petrus" was one of the most common names in the Ile de France during the High Middle Ages, making further identification difficult. The diminutive was presumably a mark of respect bestowed by his colleagues. The title Magnus was a mark of the esteem in which he was held, even long after his death.
Historical context
Notre Dame School
The reign of Louis VII witnessed a period of cultural innovation, in which appeared the Notre Dame school of musical composition, and the contributions of Léonin, who prepared two-part choral settings for all the major liturgical festivals. This period in musical history has been described as a paradigm shift of lasting consequence in musical notation and rhythmic composition, with the development of the organum, clausula, conductus and motet. The innovative nature of the Notre Dame style stands in contrast to its predecessor, that of the Abbey of St Martial, Limoges, replacing the monodic Gregorian chant with polyphony. This was the beginning of polyphonic European church music. Organum at its roots involves simple doubling of a chant at intervals of a fourth or fifth, above or below. This school also marked a transition from music that was essentially performance to a less ephemeral entity that was committed to parchment, preserved and transmitted to history. It is also the beginning of the idea of composers and compositions, the introduction of more than two voices and the treatment of vernacular texts. For the first time, rhythm became as important as pitch, to the extent that the music of this era came to be known as musica mensurabilis. These developments and the notation that evolved laid the foundations of musical practice for centuries. The surviving manuscripts from the thirteenth century together with the contemporaneous treatises on musical theory constitute the musical era of ars antiqua. The Notre Dame repertory spread throughout Europe. In Paris polyphony was being performed in the late 1190s but later sources imply that some of the compositions date back as far as the 1160s. Although often linked to the construction of the cathedral itself, construction commenced in 1163 and the altar consecrated in 1182. However, there was evidence of musical creativity there from the early twelfth century.Léonin's work was distinguished by two distinctive organum styles, purum and discantus. This early polyphonic organa was still firmly based on Gregorian chant, to which a second voice was added. The chant was called the tenor, which literally "holds" the melody. The tenor is based on an existing plainsong melody from the liturgical repertoire. This quotation of plainchant melody is a defining characteristic of thirteenth century musical genres. In organum purum the tenor part was drawn out into long pedal points, while the upper part or duplum contrasted with it in a much freer rhythm, consisting of melisms. In the second, discantus, style, the tenor was allowed to be melismatic, and the notes were quicker and more regular with the upper part becoming equally rhythmic. These more rhythmic sections were known as clausulae. Another innovation was the standardization of note forms, and Léonin's new square notes were quickly adopted. Although he developed the discantus style, Léonin's strength was as a writer of organum purum. The singing of organa fell into disuse by the mid thirteenth century. Associated with the Notre Dame school, was Johannes de Garlandia, whose De mensurabili provided a theoretical basis, for Notre Dame polyphony is essentially musica mensurabilis, music that is measured in time. In his treatise, he defines three forms of polyphony, organum in speciali, copula, and discant, which are defined by the relationship of the voices to each other and by the rhythmic flow of each voice.