| NotreDame school(Conductus) |
| Ver pacis apperit | Heu quo progreditur |
| Eclypsim patitur | Novus miles sequintur |
| Redit etas aurea |
| Payne's investigations into the datable conductus repertory's musical design
uncovered specific characteristics held in common by conductus composed around
the same time, enabling him to divide the datable repertory into five groups:
①the polyphonic cantio group, 例Ver pacis aperit in the form AAB ②the earliest layer group, 例Novus miles sequitur, In occasu syderis These works are similar to the polyphonic cantio group but are not in cantio form. ③the earliest conductus with caudae, in this style as "much more ornate.例； Eclypsim patitur this style makes use of "synchronicity and mirror-image counterpoint" ― features of the Aquitanian polyphonic style. ④the classic Notre Dame conductus style group例；Redit etas aurea the cum littera and sine littera sections in the classic style function more independently of each other than do the sine littera and cum littera sections of the earlier conductus with caudae. ⑤the thirteenth-century group.例；Anni favor iubilei This style of writing includes dovetailing of voices, "motivic interrelationships among the voices, voice exchange, and occasionally canon." Relationships between the Twelfth-Century Aquitanian Polyphonic Versus and Two-Part Conductus Repertories p９０(PDFページ) Datable Condutus by Payne The Cauda is a characteristic feature of songs in the Conductus style of a cappella music which flourished between the mid-12th and the mid-13th century. The conductus style placed strict rules on composition, and some such rules were devoted to the cauda, which came at the penultimate syllable of each verse. It takes the form of a lengthy section of counterpoint - where several simultaneous melodies are combined into one - slurred over the one syllable. The cauda was repeated in each verse. The significance of the cauda in Conductus music is such that most Conducti were divided into the categories Conductus cum Cauda and Conductus sine cauda (Conductus with or without Cauda.) The latter made up less than a third of the repertoire. The writing of medieval music did not include strict rhythmic notation, but when multiple notes were given to one syllable, known as a melisma, special notation, known as rhythmic modes, were used. As the cauda is a specific type of melisma, it contains this special notation. |