In Roman rhetoric, a clausula (Latin "clause"; plural
clausulae) was a rhythmic figure used to add finesse
and finality to the end of a sentence or phrase. There
was a large range of popular clausulae. Most well known
is the classically Ciceronian "esse videatur" type.
In late medieval Western music, a clausula was a newly
composed polyphonic section for two or more voices sung
in discant style ("note against note") over a cantus
firmus. Clausulae eventually became used as substitutes
...(+)
In Roman rhetoric, a clausula (Latin "clause"; plural
clausulae) was a rhythmic figure used to add finesse
and finality to the end of a sentence or phrase. There
was a large range of popular clausulae. Most well known
is the classically Ciceronian "esse videatur" type.
In late medieval Western music, a clausula was a newly
composed polyphonic section for two or more voices sung
in discant style ("note against note") over a cantus
firmus. Clausulae eventually became used as substitutes
for passages of original plainchant. They occur as
melismatic figures based on a single word or syllable
within an organum (a composition where one or more
voices have been added to a plainchant melody to create
polyphony). The text of a clausula differs from that of
the plainchant melody underneath it. Each clausula is
clearly delineated by a final cadence.
Clausulae emerged from the compositional practices of
the Notre Dame school in Paris c. 1160–1250 (during
the stylistic period known as ars antiqua), especially
those of the composers Léonin and Pérotin. Rather
than write entirely new music, the preference was to
take existing music, that is, plainchant melodies, and
develop or improve upon them. Pérotin's clausulae make
use of the rhythmic modes, whose strict metrical feet
necessitated that voices change notes together
(discantus). This was in contrast to the earlier
practice of one voice moving in a free rhythm above a
"tenor" voice (Latin tenere: "to hold") sustaining the
long notes of a cantus firmus. The tenor line was often
repeated to allow for expansion of the clausula; this
was the origin of the technique known as isorhythm.
Hundreds of clausulae in two, three and four parts were
incorporated into the Magnus Liber Organi of Léonin
and Pérotin. Others were arranged in liturgical order
within appropriate manuscripts so that they could be
easily introduced into a particular organum setting or
piece of plainchant. As they were notated separately,
it was possible for them to be expanded and developed
further, and they eventually became standalone pieces
which could be sung at certain points in the liturgy.
The composition of clausulae died out in the mid-13th
century as they were replaced by motets as the main
platform for the development of new compositional
techniques.
Although originally written for Chorus (SATB) &
Percussion, I created this arrangement for String
Quartet (Violins (2), Viola & Cello).
SHEET MUSIC