Notre Dame'S new clothes

Abstract

Starting from the numerous contradictions that characterize what we know about vocal practices of Notre Dame (ca 1200), the article acknowledges the Twentieth century the will to interpret the mensural sources as a Gothic speculative product, that is the 'origin' of a supposed evolution process of Western polyphony. The study attempts to give back to the Notre Dame chant the role of extemporaneous unwritten practice and, above all, try to re-read the last production as the result of a redundant Romanesque liturgy. In this way, it attempts to heal some historographical misunderstandings and offer an alternative reading to the surviving notations of polyphonic Paris corpus. This contribution is complemented by Livio Giuliano's article in this journal.

Cite this work

No public copy is stored for this record, so only the metadata is cited.

Stored only when both papers are in the corpus — 13 citations exist upstream.

Papers that cite the same references — the relational fallback while embeddings are still backfilling.