Strutture, simboli grafici e riferimenti organologici nell’evoluzione della scala musicale medievale
Elena Ferrari Barassi
In Carolingian era musical scale was theorized after the authority of Boethius, first non-understood (Regino) then correctly utilized (Hucbald). Liturgical song and organ chordophones’ scales were referred to ancient perfect system. The alphabetic series A-P means a c-c’’ succession. treatises Alia musica, De dimensione monocordi, Musica Scolica Enchiriadis , occasionally misunderstanding theory, organize contemporary modes incipient polyphony into “dasian” scale, with possible accidents. Monochord’s measures are rediscovered extended pipes, maintaining Hucbald’s = c-c’’. Successively this either coincides A-a’ (Tonary Montpellier, Berno) or, in monochord, etc., is broken A-G|A-G, set as F-F-F= A-a-a’ (Gerbert, Notker). Γ|A-G|a-g comprising both b flat developed Italy ( Dialogus de Guido) influences modal theory. Mutationes raise; transpositions accidents variously evolve from Hieronymus Moravia Ramos Pareja. Vocal extension “Fa acuto-Fa grave”, quoted Iacopone’s lauda O novo canto, can be interpreted c’’-c.
Philomusica on-line