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Latin in Medieval Britain$
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Richard Ashdowne and Carolinne White

Print publication date: 2017

Print ISBN-13: 9780197266083

Published to British Academy Scholarship Online: September 2017

DOI: 10.5871/bacad/9780197266083.001.0001

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English Music Theory in Medieval Latin

English Music Theory in Medieval Latin

Chapter:
(p.147) 7 English Music Theory in Medieval Latin
Source:
Latin in Medieval Britain
Author(s):

Leofranc Holford-strevens

Publisher:
British Academy
DOI:10.5871/bacad/9780197266083.003.0007

Medieval English music theory, almost always expressed in Latin, though not isolated from Continental—in particular French—developments, has a strong tendency to resist them and go its own way in both language and content; moreover, despite the early establishment of the name proprius cantus (‘properchant’) for the natural hexachord, it is more characteristically marked by divergence from one writer to another, so that even when doctrines are compatible the same thing may be called by different names and the same name may be applied to different things. This chapter studies the variations in conception, notation, and terminology exhibited in the works of numerous English authors from the 13th to the 16th centuries, noting differences from the far more standardised French Ars nova associated with the names of Philippe de Vitry and Jean des Murs.

Keywords:   Ars nova, Jean des Murs, music theory, notation, Philippe de Vitry, Proprius cantus

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