The conductus (plural: conducti) was a sacred Latin song in the Middle Ages, one whose poetry and music were newly composed. It is non-liturgical since its Latin lyric borrows little from previous chants. The conductus was northern French equivalent of the versus, which flourished in Aquitaine. It was originally found in the twelfth-century Aquitanian repertories. But major collections of conducti were preserved in Paris. The conductus typically includes one, two, or three voices. A small number of the conducti are for four voices. Stylistically, the conductus is a type of discant (i.e. note-against-note polyphony). Its form can be strophic or through-composed form. The genre flourished from the early twelfth century to the middle of thirteenth century. It was one of the principal types of vocal composition of the ars antiqua period of medieval music history.
The conductus was most likely sung while the lectionary was carried from its place of safekeeping to the place from which it was to be read. But the origins of the term "conductus" remain obscure. The noun is derived from the verb conducere, which can mean to lead, guide, or escort. Thus according to one hypothesis, the genre was called "conductus" because it served to accompany a procession. For example, according to the record of manuscript in the Institución Colombina, Seville, the conductus Salve festa dies was used for the same role of procession as the ancient hymn. The hymn with the same name was sung during the procession to the altar. But conducere can also mean "to bring together" or "join together." Thus according to another hypothesis, the genre was called "conductus" because it brings sequence or hymn together. The conductus is based on a condensed version of a sequence or hymn. For instance, the conductus Orienti oriens is derived from the sequence Noster cetus iste letus.
The genre of the conductus most likely originated in the south of France around 1150 and reached its peak development during the activity of the Notre Dame School in the early thirteenth century.
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The Notre-Dame school or the Notre-Dame school of polyphony refers to the group of composers working at or near the Notre-Dame Cathedral in Paris from about 1160 to 1250, along with the music they produced. The only composers whose names have come down to us from this time are Léonin and Pérotin. Both were mentioned by an anonymous English student, known as Anonymous IV, who was either working or studying at Notre-Dame later in the 13th century.
Ars antiqua, also called ars veterum or ars vetus, is a term used by modern scholars to refer to the Medieval music of Europe during the High Middle Ages, between approximately 1170 and 1310. This covers the period of the Notre-Dame school of polyphony (the use of multiple, simultaneous, independent melodic lines), and the subsequent years which saw the early development of the motet, a highly varied choral musical composition.
Pérotin (1200) was a composer associated with the Notre Dame school of polyphony in Paris and the broader ars antiqua musical style of high medieval music. He is credited with developing the polyphonic practices of his predecessor Léonin, with the introduction of three and four-part harmonies. Other than a brief mention by music theorist Johannes de Garlandia in his De Mensurabili Musica, virtually all information on Pérotin's life comes from Anonymous IV, a pseudonymous English student who probably studied in Paris.
Throughout this thesis, we are interested in modeling music composition. To do so, we study the association of music theory concepts with the learning capabilities of recurrent neural networks. Especially, we explore numerical formalizations of music so th ...