español | français Cristobal de Morales The Scholars Baroque Ensemble 10 CDs for a desert island : Jonathan Dunford Nuria Rial Ton Koopman The school of Notre-Dame The songs of The King Thibaut of Navarre   54 - 53 - 52 - 51 - 50 - 49 - 48 - 47 - 46 - 45 - 44 - 43 - 42 - 41 - 40 - 39 - 38 - 37 - 36 - 35 - 34 - 33 - 32 - 31 - 30 - 29 - 28 - 27 - 26 - 25 - 24 - 23 - 22 - 21 - 20 - 19 - 18 - 17 - 16 - 15 - 14 - 13 - 12 - 11 - 10 - 09 - 08 - 07 - 06 - 05 - 04 - 03 - 02 - 01 - THE SCHOOL OF NOTRE-DAME By Juan Carlos Asensio. Translated by Yolanda Acker The difficulty of notating sounds on parchment was one of the greatest concerns of the composers of the Late Middle Ages. During this period numerous attempts were made at representing music in time and space, initially in the form of neumes in campo aperto and later in Guidonian notation, but such efforts were clearly incomplete when it came to representing all of music’s parameters. The exhaustive rhythmic precision of the 'first generation' of neumatic notations was overshadowed by the undeniable advances made by Guido d’Arezzo. The notable improvement in the system made by the monk from Pomposa turned singers’ memories upside down. This system provided a cantor from St. Gall, accustomed to reading notation, with everything he needed to know: rhythm and expression marks and occasional details with respect to the melody (significant words in the text). The rest was supplied by his prodigious memory, the result of an apprenticeship that endured for no less than nine years. Discography Goldberg Articles ABOUT US | CONTRIBUTE   web map - home page - cover Legal warning Copyright 2003, Goldberg. info@goldberg-magazine.com