In most recent times, Notre Dame de Paris tended to be exclusively linked with the art of Gothic architecture.

But how about musical art?

Other than the “big hit” musical “Notre de Dame de Paris“, based on Victor Hugo‘s works, not much else can be thought of in the mind of the general public by associating the two!

http://www.youtube.com/watch?v=gtkmnhnHWhw

Léonin: “viderunt omnes“

The truth is, there is a long-standing music tradition attached to Paris’s most celebrated cathedral.

This tradition was born around the same time the sacred edifice was being constructed.

The École de Notre-Dame de Paris, the “Notre Dame School“, also known as “Notre Dame School of Polyphony“, goes back to the late 12th century, the era marked by the music style later identified as “Ars antiqua” (literally “old art”, or “old technique.”)

Most of the school’s work was dedicated to liturgical prayer and sacramental celebration, and in that aspect differed from the other forms of music popular around that time, such as those of the Troubadours.

Some wonder as to why only very little is known today about the individuals who composed music in those times in general, and those who belonged to this French school of music in particular.

There was in fact a very good reason for that.

Contrary to later trends, that is from the Renaissance up to our time, medieval musicians did not seek to achieve fame by means of their music, nor did they wish to be renown as “individuals.”

They above all wanted the listener’s attention to be focused solely on their œuvres (works.)

The author s’efface (steps aside) completely vis-a-vis his work.

There is little wonder, therefore, that the two main composers who belonged to the Notre-Dame school are known to us only through the writings left by one of their English students— himself known to posterity by the fitting name of “Anonymous IV.”

The earlier of these master composers is Léonin, author of the famous “Magnus Liber“, or “Great Book of Organum.”

The second, possibly a student of the former, is “Pérotin“, known as “Pérotin le Grand” (“Perotin the Great”), who revised a substantial amount of Leonin’s work produced in the “Magnum Liber.”

Pérotin “Gradual Sederunt Principes“

Under Pérotin’s able mastership, the school of Notre-Dame was to leave a profound mark upon all subsequent forms of la musique occidentale (Western music.)

Indeed, Pérotin is credited with shifting Gregorian chant from the simple mode of monophonie (i.e. one melodic voice) to that of la polyphonie (several melodic voices), at the heart of which lies le contrepoint. 

Literally meaning “against point“, the contrepoint technique consists in the inspired combination of different music notes aimed to highlight their perfect spiritual harmony, as well as that of l’âme (the soul) of its listeners.