223 Sentences With "organum" | Random Sentence Generator

Almost 400 years earlier, renowned English philosopher Francis Bacon published one of his most notable pieces of work— Novum Organum.

Four hundred years ago, in 1620, Francis Bacon published "Novum Organum," the classical formulation of a new instrument for building and organizing knowledge: the scientiﬁc method.

The first group comprises fourths, fifths, and octaves; while the second group has octave-plus-fourths, octave-plus-fifths, and double octaves. This new practice is given the name organum by the author of the treatises. Organum can further be classified depending on the time period in which it was written. The early organum as described in the enchiriadis can be termed "strict organum" Strict organum can, in turn, be subdivided into two types: diapente (organum at the interval of a fifth) and diatesseron (organum at the interval of a fourth).

However, both of these kinds of strict organum had problems with the musical rules of the time. If either of them paralleled an original chant for too long (depending on the mode) a tritone would result. This problem was somewhat overcome with the use of a second type of organum. This second style of organum was called "free organum".

Kircher's earlier Arca Musarithmica was a music composing device of similar design to the Organum. The content of the rods was essentially the same as the musical rods in the Organum (although there was room for more of them). The Organum can be thought of as an improved and generalized version of the Arca.

This kind of organum is now usually called parallel organum, although terms such as sinfonia or diaphonia were used in early treatises. The history of organum would not be complete without two of its greatest innovators, Léonin and Pérotin. These two men were "the first international composers of polyphonic music" . The innovations of Léonin and Pérotin mark the development of the rhythmic modes.

Organum Maximum is the debut solo organ album made by Max Kenworthy.

The Notre Dame composers' development of musical rhythm allowed music to be free from its ties to text. While it is well known that Léonin composed a great deal of organum, it was the innovations of Pérotin, who spent much of his time revising the organum purum of Léonin, that caused generations of organum and motet composers to exploit the principles of the rhythmic modes.

These additional aids, however, were never explained beyond their initial limited appearance in Novum Organum.

Organum is the ninth album of electronic composer Peter Michael Hamel, released in 1986 through Kuckuck Schallplatten.

Retrieved 8 July 2017. From 1996, he has been singing with Marcel Pérès and the Ensemble Organum.

An organum is any one of a number of musical instruments which were the forerunners of the organ. The name comes from the Latin organum, meaning any tool in general or any musical instrument in particular (or an organ of the body), which in turn came from the Greek organon, with similar meanings, itself derived from ergon and so meaning something by which a task is accomplished. The name organum in turn gave rise to the modern everyday term organ.

The organum singing style is common in Saint Thomas Christian music. It appears in antiphons, responsories, and hymns. Ross notes that this is found among three other disparate and isolated cultures: the nearby Cochin Jews, the Yemenite Jews, and the Samaritans. Organum may be sung in either duplum or triplum.

The Notre- Dame school was a group of composers who used a style of polyphonic organum that flourished at Paris' Notre-Dame Cathedral between about 1170 to 1250. The only composers whose names have survived are Léonin and Pérotin. These two are believed to have written the Magnus Liber, a comprehensive book of organum.

This final kind of organum was also incorporated by the most famous polyphonic composer of this time—Léonin. He united this style with measured discant passages, which used the rhythmic modes to create the pinnacle of organum composition. This final stage of organum is sometimes referred to as Notre Dame school of polyphony, since that was where Léonin (and his student Pérotin) were stationed. Furthermore, this kind of polyphony influenced all subsequent styles, with the later polyphonic genera of motets starting as a trope of existing Notre Dame organums.

The Novum Organum, fully Novum Organum, sive Indicia Vera de Interpretatione Naturae ("New organon, or true directions concerning the interpretation of nature") or Instaurationis Magnae, Pars II ("Part II of The Great Instauration"), is a philosophical work by Francis Bacon, written in Latin and published in 1620. The title is a reference to Aristotle's work Organon, which was his treatise on logic and syllogism. In Novum Organum, Bacon details a new system of logic he believes to be superior to the old ways of syllogism. This is now known as the Baconian method.

The Micrologus is a treatise on Medieval music written by Guido of Arezzo, dating to approximately 1026. It was dedicated to Tedald, Bishop of Arezzo. This treatise outlines singing and teaching practice for Gregorian chant, and has considerable discussion of the composition of polyphonic music. This treatise discusses modified parallel organum as well as free organum.

Ensemble Organum is a group performing early music, co-founded in 1982 by Marcel Pérès and based in France. Its members have changed, but have included at one time or another, Josep Cabré, Josep Benet, Gérard Lesne, Antoine Sicot, Malcolm Bothwell. They have often collaborated with Lycourgos Angelopoulos and are influenced by Orthodox music.Ensemble Organum, www.medieval.

It is suggested by scholars such as Grout, that Léonin used this non-melismatic style in order to mirror the grandeur of Notre Dame Cathedral itself. Current research suggests that the word 'discantus' was formed with the intention of providing a separate term for a newly developed type of polyphony. If true, then it is ironic that the newer term, "discantus", ended up being applied to the older note-against-note style, while the older word "organum" was transferred to the more innovative style of florid-against-sustained-note polyphony. This may have been partly because the 12th century was an era that believed in progress, so that the more familiar "organum" was kept for the style then considered to be the most up-to-date.Rudolf Flotzinger, "Organum, §6: ‘Organum’ and ‘Discant’: New Terminology".

This Organum appears identical to the Florence model. Some photos show an additional metal frame which may have been added later for protection.

The Organum Mathematicum of Athanasius Kircher The Organum Mathematicum was an information device or teaching machine that was invented by the Jesuit polymath and scholar Athanasius Kircher in the middle of the 17th century. The device was intended to aid in mathematical and other calculations, much as we now use digital computers and calculators. With proper instruction and use, the device was capable of assisting in a wide assortment of calculations, including arithmetic, cryptography, and music. Kircher adopted some of the ideas in the Organum from preexisting inventions like Napier's bones, almanacs, and his own Arca Musarithmica.

Both techniques of polyphonic performance, the punctum contra punctum (discant) and florid organum as puncta contra punctum have been once discussed in a 15th-century treatise from Italy, which had been obviously associated with the treatise "Ad organum faciendum" of Aquitanian provenance.In a recent critical edition, Christian Meyer (2009) could prove that certain parts of it can be traced back to the 12th century and belong to an abbot and cantor Guy de Cherlieu of the Cistercian reform group. In fact, there is no evidence that "discantus" and "organum" have been distinguished this way already during the 11th century.

The gradual contains pieces of Gregorian chant, as well as its own repertoire: sequences, proses, readings and three polyphonic pieces with two voices: Res est admirabilis (sequence), Verbum bonum (sequence) and a Credo. In 1993, an interpretation of parts of the gradual was recorded by Ensemble Organum in the refectory of the abbey.Marcel Pérès, Ensemble Organum. Le Graduel d'Aliénor de Bretagne.

In 1661, 11 years after the publication of Musurgia Universalis, which contains a description of a similar, but more limited device, the Arca Musarithmica, Kircher sent an Organum Mathematicum to Gottfried Aloys Kinner, the tutor to the 12-year-old Charles Joseph, Archduke of Habsburg, for whom the Organum was likely intended. Kircher enclosed instructions in a drawer in the base of the device, as well as a set of mathematical instruments.Kircher page 1 The Organum Mathematicum was later described in a 1668 book of the same title by Gaspar Schott, who was Kircher's pupil. The book includes numerous excerpts from the original manual.

Around the end of the 9th century, singers in monasteries such as St. Gall in Switzerland began experimenting with adding another part to the chant, generally a voice in parallel motion, singing mostly in perfect fourths or fifths above the original tune (see interval). This development is called organum and represents the beginnings of counterpoint and, ultimately, harmony. Over the next several centuries, organum developed in several ways. The most significant of these developments was the creation of "florid organum" around 1100, sometimes known as the school of St. Martial (named after a monastery in south-central France, which contains the best-preserved manuscript of this repertory).

Organum at its roots involves simple doubling (organum duplum or organum purum) of a chant at intervals of a fourth or fifth, above or below. This school also marked a transition from music that was essentially performance to a less ephemeral entity that was committed to parchment, preserved and transmitted to history. It is also the beginning of the idea of composers and compositions, the introduction of more than two voices and the treatment of vernacular texts. For the first time, rhythm became as important as pitch, to the extent that the music of this era came to be known as musica mensurabilis (music that can be measured).

This quote from the Book of Daniel appears also in the title page of Bacon's Instauratio Magna and Novum Organum, in Latin: "Multi pertransibunt & augebitur scientia".

The Organum Mathematicum was a box or chest divided into nine or more compartments. Each compartment was filled with wooden rods or slats (called "tariffa" by Kircher). The compartments were organized according to the nine functions they performed (see #Topics). To use the organum, you would remove the rods you needed, manipulate them or rearrange them as needed to perform your calculation, and then return the rods to the box.

The first document to describe organum specifically, and give rules for its performance, was the Musica enchiriadis (c. 895), a treatise traditionally (and probably incorrectly) attributed to Hucbald of St. Amand. The oldest methods of teaching organum can be found in the Scolica and the Bamberg Dialogues, along with the Musica enchiriadis. The societies that have developed polyphony usually have several types of it found in their culture.

Novum organum was actually published as part of a much larger work, Instauratio Magna ("The Great Instauration"). The word instauration was intended to show that the state of human knowledge was to simultaneously press forward while also returning to that enjoyed by man before the Fall. Originally intending Instauratio Magna to contain six parts (of which Novum organum constituted the second), Bacon did not come close to completing this series, as parts V and VI were never written at all. Novum organum, written in Latin and consisting of two books of aphorisms, was included in the volume that Bacon published in 1620; however, it was also unfinished, as Bacon promised several additions to its content which ultimately remained unprinted.

Pérotin's four-part version of Viderunt, one of the few existing examples of organum quadruplum, may have been written for the Feast of the Circumcision in 1198. We know that at this time Eudes de Sully, Bishop of Paris, was promoting the use of polyphony. The melismas in particular are especially diminuted, rendering the text virtually incomprehensible. While only solo sections are polyphonic, the organum remains clear when juxtaposed with the traditional, monophonic choir chant.

Alighieri, Dante. Paradiso canto XIII: 118–20. Trans. Allen Mandelbaum. Ibn Khaldun noticed the same effect in his Muqaddimah:. In the Novum Organum, English philosopher and scientist Francis Bacon (1561–1626).

As key-concept behind the creative outburst that manifested in the 11th and 12th centuries is the vertical and harmonic expansion of dimension, as the strongly resonant harmony of organum magnified the splendour of the celebration and heightened its solemnity. The earliest European sources of information concerning organum regard it as a well-known practice . Organum is also known to have been performed in several different rites, but the main wells of information concerning its history come from Gregorian chant. Considering that the trained singers had imbibed an oral tradition that was several centuries old, singing a small part of the chant repertory in straightforward heterophony of parallel harmony or other ways of "singing by the ear" would come naturally.

The organum voice simply sings the text of the first verse with the melody notated with the text of the second one, and the cantus does vice versa repeat the melody of the first verse, while the singers applies it to the text of the second verse. On folio 81r and 105r we have three early examples of later added florid organum. Its notation technique had already developed in the monophonic manuscripts notated in parts by Adémar, in cases where the scribe of the text did not leave enough space for the neumes. The notator already used vertical strokes, which do indicate how the melismas have been coordinated with the syllables. On folio 105 recto, a «Benedicamus domino» was notated separately from the florid organum.

The first recorded observation is attributed to English scholar Francis Bacon when he recorded in his 1620 Novum Organum that "It is well known that all sugar, whether candied or plain, if it be hard, will sparkle when broken or scraped in the dark."Bacon, Francis. Novum Organum The scientist Robert Boyle also reported on some of his work on triboluminescence in 1663. In the late 1790s, sugar production began to produce more refined sugar crystals.

The rods in this section could be used by non musicians to compose church music. The system used was the same as that used for Kircher's previous device, the Arca Musarithmica. They contained sets of musical phrases which could be combined randomly to set verses to music, producing millions of hymns in 4-part harmony. The Organum Mathematicum at the Museo Galileo in Florence Another view of the Organum Mathematicum at the Museo Galileo in Florence, Italy.

The Novum Organum implied in its title a further reform of Aristotle, and its aphorism viii of Book I made this exact point.Brian Vickers, Francis Bacon: The Major Works (2002), p. 342.

The imitation of these forms in Spain, and Italy were caused by papal reforms which tried to organize the church provinces in newly conquered territories or territories which conserved older rites, because reforms could hardly be established for a long time. The diastematic notation of Aquitanian cantors and their most innovative use in tropes and punctum contra punctum polyphony which can be also found in the Chartres cathedral, the Abbey Saint-Maur-des- Fossés near Paris, and Fleury Abbey, also influenced the Winchester troper (see its tonary), the earliest and hugest collection of early organum or discantus. Since 1100, the florid organum reproduced the original function of the earlier intonation formula as it can be found in the tonaries. An initial ornament called principium ante principium ("beginning before the beginning") in the Notre Dame school allowed the solistic organum singer to indicate the basis degree of the cantus by an individual intonation in the higher octave, while the finale octave of each section was prepared by an paenultima ornament, which had developed by the "meeting" (occursus) of chant and organum voice.

The earliest motets arose in the 13th century from the organum tradition exemplified in the Notre-Dame school of Léonin and Pérotin.Ernest H. Sanders and Peter M. Lefferts, "Motet, §I: Middle Ages", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001). The motet probably arose from clausula sections in a longer sequence of organum. Clausulae represent brief sections of longer polyphonic settings of chant with a note-against-note texture.

French music history dates back to organum in the 10th century, followed by the Notre Dame School, an organum composition style. Troubadour songs of chivalry and courtly love were composed in the Occitan language between the 10th and 13th centuries, and the Trouvère poet-composers flourished in Northern France during this period. The fiddle was their instrument of choice. By the end of the 12th century, a form of song called the motet arose, accompappnied by traveling musicians called jongleurs.

Francis Bacon's statue at Gray's Inn, South Square, London Francis Bacon (no direct relation to Roger, who lived 300 years earlier) was a seminal figure in philosophy of science at the time of the Scientific Revolution. In his work Novum Organum (1620)—an allusion to Aristotle's Organon—Bacon outlined a new system of logic to improve upon the old philosophical process of syllogism. Bacon's method relied on experimental histories to eliminate alternative theories.Bacon, Francis Novum Organum (The New Organon), 1620.

Its distinguishing factor is that the parts did not have to move only in parallel motion, but could also move in oblique, or contrary motion. This made it much easier to avoid the dreaded tritone. The final style of organum that developed was known as "melismatic organum", which was a rather dramatic departure from the rest of the polyphonic music up to this point. This new style was not note against note, but was rather one sustained line accompanied by a florid melismatic line.

Paul Fromm (September 28, 1906 – July 4, 1987) was a Jewish Chicago wine merchant and performing arts patron through the Fromm Music Foundation. The Organum for Paul Fromm was composed by John Harbison in his honor.

Although they probably died at least fifty years earlier, he described them as still famous and part of the living tradition. Anonymous IV mentions Léonin and Pérotin as the best composers of organum and discant respectively. He also mentions specific compositions as being by Pérotin (or Perotinus), including the four-part organa quadrupla Viderunt and Sederunt. Anonymous IV also mentions the work of the theorist Franco of Cologne, and gives descriptions of organum, discantus, rhythmic modes, rules for use of consonance and dissonance, notation, and genres of composition.

This Organum is the 'odd man out' - it is very different in appearance from the Florence and Prague devices, which are essentially identical. The chest is not sloped, and there are a lot of extra drawers in the pedestal.

Acta Zoologica, 72, 223-232. the structure of the olfactory organ in bichir embryos,Bjerring, H. C. (1988). The morphology of the organum olfactus of a 32 mm embryo of the brachiopterygian fish Polypterus senegalus. Acta Zoologica, 69, 47-54.

The motet, a lyrical piece of music in several parts, evolved from the Notre-Dame school when upper-register voices were added to discant sections, usually strophic interludes, in a longer sequence of organum. Usually the discant representing a strophic sequence in Latin which was sung as a descant over a cantus firmus, which typically was a Gregorian chant fragment with different words from the descant. The motet took a definite rhythm from the words of the verse, and as such appeared as a brief rhythmic interlude in the middle of the longer, more chantlike organum.

The Magnus Liber or Magnus liber organi (English translation: Great Book of Organum), written in Latin, was a repertory of medieval music known as organum. The book was in use by the Notre-Dame school composers working in Paris around the end of the 12th and beginning of the 13th centuries. It is known from references to a "magnum volumen" by Johannes de Garlandia and to a "Magnus liber organi de graduali et antiphonario pro servitio divino" by the English music theorist known simply as Anonymous IV. Today it is known only from later manuscripts containing compositions named in Anonymous IV's description.

European polyphony rose out of melismatic organum, the earliest harmonization of the chant. Twelfth-century composers, such as Léonin and Pérotin developed the organum that was introduced centuries earlier, and also added a third and fourth voice to the now homophonic chant. In the thirteenth century, the chant-based tenor was becoming altered, fragmented, and hidden beneath secular tunes, obscuring the sacred texts as composers continued to play with this new invention called polyphony. The lyrics of love poems might be sung above sacred texts in the form of a trope, or the sacred text might be placed within a familiar secular melody.

His autobiography More Lives Than One (1938) alludes to both his belief in reincarnation and his varied career paths. In 1922, he helped translate and publish P.D. Ouspensky's Tertium Organum, for which he also wrote an introduction to the English translation.P.D. Ouspensky Tertium Organum (1922). Bragdon’s work fell out of favor in the 1930s as American architects and clients embraced International Style modernism. But it left an ongoing legacy as younger architects—in particular Buckminster Fuller, who adapted some of Bragdon’s ideas and designs—found new ways of using geometric pattern to promote architectural and social integration.

During the 12th century, the abbey became known for the strict adoption of the Cluniac observance. John Cotton, whose "De musica" (c. 1100-1121) is one of the earliest musical theses, covers the ecclesiastical use of monody in the organum and the roots of polyphony.

The vascular organ of lamina terminalis (VOLT), organum vasculosum of the lamina terminalis (OVLT), or supraoptic crest is one of the four sensory circumventricular organs of the brain, the others being the subfornical organ, the median eminence, and the area postrema in the brainstem.

Kiviniemi received the Luonnotar Prize at the Sibelius Festival in Lahti in 2003 and the trophy of the Organum Society in 2004 for services to Finnish organ music. In 2009 he was awarded the State Prize for Music in Finland for lifelong achievements in music.

The Saint Martial School was a medieval school of music composition centered in the Abbey of Saint Martial, Limoges, France. It is known for the composition of tropes, sequences, and early organum. In this respect, it was an important precursor to the Notre Dame School.

Boyle's air pump Boyle's great merit as a scientific investigator is that he carried out the principles which Francis Bacon espoused in the Novum Organum. Yet he would not avow himself a follower of Bacon, or indeed of any other teacher. On several occasions he mentions that to keep his judgment as unprepossessed as might be with any of the modern theories of philosophy, until he was "provided of experiments" to help him judge of them. He refrained from any study of the atomical and the Cartesian systems, and even of the Novum Organum itself, though he admits to "transiently consulting" them about a few particulars.

He also made a single, "Breakthrough" for The Haters without the intervention or collaboration of their principal member, GX Jupitter-Larsen; Jackman's website reports that Larsen said of the single that "my music has never sounded better". Prévost, Stapleton and Heemann all released Organum albums on their respective labels with other releases appearing on Touch Records, Robot Records and German label Die Stadt. More recently, he guested with AMM and made several collaborative releases with percussionist Z'EV, all credited jointly to Z'EV and Organum. He is also known for the distinctive artwork which adorns his releases, mostly surreal colourful collages, often meticulous in their detail.

Rebuked by Pierre de Capuano, the papal legate of the time, the bishop sought to reform the rituals around the Christmas season, forbidding the boistrous costumed performances that existed at the time, in particular, the Feast of Fools. His preference was for elaborate music in its stead, calling for performance in organa triplo vel quadruplo for the Responsory and Benedicamus and other settings. The bishop's edicts are quite specific, and suggest that Pérotin's organum quadruplum Viderunt omnes was written for Christmas 1198, and his other organum quadruplum Sederunt Principes was composed for Saint Stephen's Day 1199, for the dedication of a new wing of the Notre Dame Cathedral.

The four parts of the novel are preceded by Epigraphs taken from Francis Bacon's Novum Organum. The first three quotations describe three of Bacon's four Idols of the mind. The fourth quotation is the source of the title. The quotation is much abbreviated, with no ellipses showing the omissions.

It is also hypothesized that the VOLT may be the mechanism through which pyrogens function to initiate a febrile response in the CNS. Finally, VOLT neurons have been observed to respond to temperature changes indicating that the organum vasculosum of the lamina terminalis is subject to different climates.

Of other classifications of fallacies in general the most famous are those of Francis Bacon and J. S. Mill. Bacon (Novum Organum, Aph. 33, 38 sqq.) divided fallacies into four Idola (Idols, i.e. False Appearances), which summarize the various kinds of mistakes to which the human intellect is prone.

Chant was normally sung in unison. Later innovations included tropes, which is a new text sung to the same melodic phrases in a melismatic chant (repeating an entire Alleluia-melody on a new text for instance, or repeating a full phrase with a new text that comments on the previously sung text) and various forms of organum, (improvised) harmonic embellishment of chant melodies focusing on octaves, fifths, fourths, and, later, thirds. Neither tropes nor organum, however, belong to the chant repertory proper. The main exception to this is the sequence, whose origins lay in troping the extended melisma of Alleluia chants known as the jubilus, but the sequences, like the tropes, were later officially suppressed.

In its earliest stages, organum involved two musical voices: a Gregorian chant melody, and the same melody transposed by a consonant interval, usually a perfect fifth or fourth. In these cases the composition often began and ended on a unison, the added voice keeping to the initial tone until the first part has reached a fifth or fourth, from where both voices proceeded in parallel harmony, with the reverse process at the end. Organum was originally improvised; while one singer performed a notated melody (the vox principalis), another singer—singing "by ear"—provided the unnotated second melody (the vox organalis). Over time, composers began to write added parts that were not just simple transpositions, thus creating true polyphony.

Jim Bumgardner has created a data transcription and software simulation of the algorithms employed by the Arca which produces both MIDI files as well as PDF scores.Bumgardner pp. 5-6 The data was transcribed from the tables in Musurgia Universalis, the illustrations in "Organum Mathematicum", and photographs of the Wolfenbuttel Arca.

Pars destruens / pars construens (Latin) is in common parlance about different parts of an argumentation. The negative part of criticizing views is the pars destruens. And the positive part of stating one's own position and arguments is the pars construens. The distinction goes back to Francis Bacon and his work Novum Organum (1620).

Discant, or descant (descant), (, meaning "singing apart") originated as a style of liturgical setting in the Middle Ages, associated with the development of the Notre Dame school of polyphony. In origin, it is a style of organum that either includes a plainchant tenor part (usually on a melisma in the chant) or is used without a plainchant basis in conductus, in either case with a "note against note" upper voice, moving in contrary motion. It is not a musical form, but rather a technique. The term continued to be used down to modern times with changing senses, at first for polyphony in general, then to differentiate a subcategory of polyphony (either in contrast to organum, or for improvised as distinct from written polyphony).

In earlier types of organum, rhythm was either not notated as in organum purum, or notated in only the upper voice part, however Notre Dame composers devised a way of notating rhythm using ligatures and six different types of rhythmic modes. Examples of this can be found in some of Léonin’s late 12th-century settings. These settings are often punctuated with passages in discant style, where both the tenor and upper voice move in modal rhythms, often the tenor part in mode 5 (two long notes) and the upper part in mode 1 (a long then short note). Therefore it is easier to imagine how discant style would have sounded, and we can make a guess as to how to recreate the settings.

Louis VII was succeeded by his son Philip II in 1179 and his reign was marked by integration and revision of the cultural shifts that had transpired under his father. It was during this time that the compositions of Pérotin first appeared, and a shift towards a more predominant discantus style. Pérotin is best known for his composition of both liturgical organa and non-liturgical conducti in which the voices move note on note. He pioneered the styles of organum triplum and organum quadruplum (three and four-part polyphony) and his Viderunt omnes and Sederunt principes, Graduals for Christmas and the feast of St Stephen's Day (December 26) respectively are among only a few organa quadrupla known, early polyphony having been restricted to two-part compositions.

Léonin (also Leoninus, Leonius, Leo) (fl. 1150s — d. ? 1201) was the first known significant composer of polyphonic organum. He was probably French, probably lived and worked in Paris at the Notre Dame Cathedral and was the earliest member of the Notre Dame school of polyphony and the ars antiqua style who is known by name.

Featured various artists like P16.D4, Organum, H.N.A.S., and Nurse With Wound. H.N.A.S. sometimes included Heemann's brother Andreas Martin on guitar and Nicole Schmidt on vocals. This quartet cut several full-length albums, the third of which Im Schatten der Möhre (1987) met with critical acclaim and can be regarded as their major work.

Johannes Cotto (John Cotton, Johannes Afflighemensis) ( c. 1100) was a music theorist, possibly of English origin, most likely working in southern Germany or Switzerland. He wrote one of the most influential treatises on music of the Middle Ages, De musica, first printed by Gerbert in 1784. The treatise included unusually precise directions for composing chant and organum.

He also published Pantometrum Kircherianum (Würtzburg, 1660); Physica curiosa (Würtzburg, 1662), a supplement to the Magia universalis; Anatomia physico-hydrostatica fontium et fluminum (Würtzburg, 1663), Technica Curiosa (1664), "Organum Mathematicum" (1668) and several editions of a Cursus mathematicus. He was also the editor of the Itinerarium extacticum of Athanasius Kircher and the Amussis Ferdidindea of Albert Curtz.

The term "fingerpost" recently received some attention from its use in the best-selling novel, An Instance of the Fingerpost by Iain Pears. The source of the title is found in an epigraph to Part IV of the novel: a—much abbreviated—translation of Aphorism XXI from Book Two, Section XXXVI of Francis Bacon's Novum Organum Scientiarum.

The 1550 edition contains cities, portraits, and costumes. These editions, printed in Germany, are the most valued of this work. Other writings that followed are Horologiographia (a treatise on dialling – constructing sundials, Basel, 1531), and Organum Uranicum (a treatise on the planetary motions, 1536). His Cosmographia of 1544 was the earliest German- language description of the world.

New York: Norton, 1977. Page 142. The text was frequently troped, especially by adding text between the two words, or using the melody as the cantus firmus for an organum. The use of this chant as a tenor was common in the St. Martial and Notre Dame schools of polyphony, including a dozen settings in the Magnus Liber Organi.

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. In addition to naming the two composers as "the best composers of organum," and specifying that they compiled the big book of organum known as the Magnus Liber Organi, he provides a few tantalizing bits of information on the music and the principles involved in its composition.

Another simple form of heterophony is for singers to sing the same shape of melody, but with one person singing the melody and a second person singing the melody at a higher or lower pitch. Organum, for example, expanded upon plainchant melody using an accompanying line, sung at a fixed interval (often a perfect fifth or perfect fourth away from the main melody), with a resulting alternation between a simple form of polyphony and monophony.Vanderbilt University Online Reference Book for Medieval Studies The principles of organum date back to an anonymous 9th century tract, the Musica enchiriadis, which established the tradition of duplicating a preexisting plainchant in parallel motion at the interval of an octave, a fifth or a fourth. Of greater sophistication was the motet, which developed from the clausula genre of medieval plainchant.

In "florid organum" the original tune would be sung in long notes while an accompanying voice would sing many notes to each one of the original, often in a highly elaborate fashion, all the while emphasizing the perfect consonances (fourths, fifths and octaves), as in the earlier organa. Later developments of organum occurred in England, where the interval of the third was particularly favoured, and where organa were likely improvised against an existing chant melody, and at Notre Dame in Paris, which was to be the centre of musical creative activity throughout the thirteenth century. Much of the music from the early medieval period is anonymous. Some of the names may have been poets and lyric writers, and the tunes for which they wrote words may have been composed by others.

Much of the source material is from Guido of Arezzo, Boethius, Odo of Cluny, Isidore of Seville, and Hermannus Contractus. After chapters on 'litterae' (letter notation), monochord, nine 'consonant' intervals (unison, semitone, whole tone, ditone, semiditone, diatessaron, diapente, semitone-plus-diapente, whole-tone-plus-diapente), the Perfect System (systema teleion) of Greeks, musical modes (including a chapter on their ethos), and the composition of chant, the treatise includes one chapter most of interest to contemporary scholars: a detailed description of how to compose organum. Most of his examples are note-against-note, and demonstrate how to end on a fifth or an octave by good voice-leading; he emphasizes the importance of contrary motion, a practice which differed from the parallel organum of the preceding centuries (though it probably reflected a current practice; in the absence of many surviving 11th-century manuscripts it is difficult to date when the switch from mostly parallel to mostly contrary motion occurred). One short passage in De musica which has attracted much attention is his description of organum sung with several notes in the organal voice versus one note in the underlying chant, one of the earliest examples of polyphony escaping from the straitjacket of single note against single note.

Poulenc merges archaic elements of medieval monastic chanting, e. g. organum-imitations or reminiscences of the Gregorian chant with the progressive harmonies typical of him. Nonetheless, the simple-looking melodies embedded in homophony represent a dedication to the work of Francis of Assisi. A performance lasts about eight minutes. Quatre petites prières de saint François d’Assise, music score on petruccilibrary.

Letter 12 speaks of Francis Bacon, author of Novum Organum and father of experimental philosophy. Letter 13 is about John Locke and his theories on the immortality of the soul. Letter 14 compares British philosopher Isaac Newton to French philosopher René Descartes. Upon his death in 1727, Newton was compared to Descartes in a eulogy performed by French philosopher Fontenelle.

There are few surviving examples of the Organum. There are no surviving Organums which closely resembles the device illustrated in Schott's book, but there are three known 17th-century devices which contain essentially the same content. Most of them appear to have been built to impress important patrons to the Jesuits. It is unclear if any of them saw regular use.

Line 3 of "Quy non fecit" from Parma bib. pal. 3597; the voices cross at the barline Voice crossing appears in free organum, with examples appearing as early as John Cotton's treatise De musica (1100).Richard Hoppin, Medieval Music, New York: Norton, 1978, 196. Voice crossing is inherent in voice exchange, which became an important compositional technique in the 12th and 13th centuries.

This approximation Bacon calls the "First Vintage". It is not a final conclusion about the formal cause of the phenomenon but merely a hypothesis. It is only the first stage in the attempt to find the form and it must be scrutinized and compared to other hypotheses. In this manner, the truth of natural philosophy is approached "by gradual degrees", as stated in his Novum Organum.

In another place, Bacon wrote, "Human knowledge and human power meet in one; for where the cause is not known the effect cannot be produced. Nature to be commanded must be obeyed; and that which in contemplation is as the cause is in operation as the rule."Francis Bacon, Novum Organum, Part I, Aphorism III. Boston: Taggard & Thompson, 1863, volume VIII, pp. 67–68.

Idola tribus (singular Idolum tribus) is a category of logical fallacy, normally translated as "Idols of the Tribe", which refers to a tendency of human nature to prefer certain types of incorrect conclusions. It is a Latin term, coined by Sir Francis Bacon and used in his Novum Organum, one of the earliest treatises arguing the case for the methodical approach of modern science.

This Organum has a steep slope which presents all the rods in an attractive manner. There is a dial in the front which can be used to find local time in 24 different cities around the world (the dial duplicates an illustration from Kircher's Ars Magna Lucis et Umbra). The rods are cut to resemble obelisks, perhaps playing on Kircher's reputed expertise in Egyptology.

London: Macmillan, 2001. It consists of nineteen chapters; the first nine are devoted to notation, modes, and monophonic plainchant. Chapters 10-18 deal with polyphonic music. The author here shows how consonant intervals should be used to compose or improvise the type of early-medieval polyphonic music called organum, an early style of note-against-note polyphony several examples of which are included in the treatise.

From 1949 he continued Max Seiffert's collection Organum. From 1951 to 1961 he also worked as director of the Johann-Sebastian-Bach-Institut at the Georg-August-Universität Göttingen. He was a close advisor Friedrich Blume and from 1947 to 1958 belonged to the editors of the encyclopaedia Die Musik in Geschichte und Gegenwart. Albrecht, a Protestant, was married and father of two children.

In the second, discantus, style, the tenor was allowed to be melismatic, and the notes were quicker and more regular with the upper part becoming equally rhythmic. These more rhythmic sections were known as clausulae (puncta). Another innovation was the standardization of note forms, and Léonin's new square notes were quickly adopted. Although he developed the discantus style, Léonin's strength was as a writer of organum purum.

Singing in consecutive fifths may have originated from the accidental singing of a chant a perfect fifth above (or a perfect fourth below) the proper pitch. Whatever its origin, singing in parallel fifths became commonplace in early organum and conductus styles. Around 1300, Johannes de Garlandia became the first theorist to prohibit the practice.Optima introductio in contrapunctum, c1300; Coussemaker, Edmond (1876), Scriptores de musica medii aevi, Vol.

Some 154 clausulae have been attributed to Pérotin but many other clausulae are elaborate compositions that would actually expand the compositions in the Liber, and these stylistically resemble his known works which are on a much grander scale than those of his predecessor, and hence do not represent "abbreviation". An alternative rendering of abbreviavit is to write down, suggesting that he actually prepared a new edition using his better developed system of rhythmic notation, including mensural notation, as mentioned by Anonymous IV. Two styles emerged from the organum duplum, the "florid" and "discant" (discantus). The former was more typical of Léonin, the latter of Pérotin, though this indirect attribution has been challenged. Anonymous IV described Léonin as optimus organista (the best composer of organa) but Pérotin, who revised the former's Magnus Liber Organi (Great Organum Book), as optimus discantor referring to his discant composition.

Music organisations and venues include: Kraków Philharmonic, Sinfonietta Cracovia (a.k.a. the Orchestra of the Royal City of Kraków), the Polish Radio Choir of Kraków, Organum Academic Choir, the Mixed Mariański Choir (Mieszany Chór Mariański), Kraków Academic Choir of the Jagiellonian University, the Kraków Chamber Choir, Amar Corde String Quartet, Consortium Iagellonicum Baroque Orchestra of the Jagiellonian University, Brass Band of T. Sendzimir Steelworks, and Camerata Chamber Orchestra of Radio Kraków.

Axons that react to URP are primarily found in organum vasculosum laminae terminalis (OVLT) and in the median eminence (ME). These axons are located near the hypothalamus and almost always contain the hormone Gondotropin- releasing hormone (GnRH) which was found through in situ hybridization which provides information of the anatomical location URP mRNA. This means that URP might have an effect on reproduction which has not been discovered .

Hinton was one of the many thinkers who circulated in Jorge Luis Borges's pantheon of writers. Hinton is mentioned in Borges' short stories "Tlön, Uqbar, Orbis Tertius", "There Are More Things" and "El milagro secreto" ("The Secret Miracle"): Hinton influenced P. D. Ouspensky's thinking. Many of ideas Ouspensky presents in "Tertium Organum" mention Hinton's works. Hinton's "scientific romance", the "Unlearner", is cited by John Dewey in Art as Experience, chapter 3.

Marcel Pérès (born 15 July 1956, Oran, Algeria) is a French musicologist, composer, choral director and singer, and the founder of the early music group Ensemble Organum. He is an authority on Gregorian and pre-Gregorian chant. Pérès was born into an Algerian family of Spanish origin which was repatriated to France. He grew up in Nice, where he sang at the cathedral and was organist at the Anglican church.

Gary Lachman In Search of P. D. Ouspensky, p. 174, Quest Books, 2006 Tertium Organum was rendered into English by Bragdon who had incorporated his own design of the hypercubeClaude Bragdon, A Primer of Higher Space, Omen Press, Tucson, Arizona, 1972. A primer of higher space (the fourth dimension) by Claude Fayette Bragdon, plates 1, 20 and 21 (following p. 24) into the Rochester Chamber of Commerce building.

The concept of PDCA is based on the scientific method, as developed from the work of Francis Bacon (Novum Organum, 1620). The scientific method can be written as "hypothesis–experiment–evaluation" or as "plan–do–check". Walter A. Shewhart described manufacture under "control"—under statistical control—as a three- step process of specification, production, and inspection. Reprint. Originally published: Washington, DC: Graduate School of the Department of Agriculture, 1939.

153.) (See Publications.) Gamer has composed music in equal-tempered systems other than ETS 12. Robin Wilson, in his Gresham College lecture on “Music and mathematics,” discusses Gamer’s use of the 31-tone equal-tempered system in ORGANUM and of the seven-point projective plane in Fanovar. In the rhythmic domain, Gamer has sometimes employed serialization or the use of recursive sequences—e.g., in “Quietly, with feeling” or Duetude.

The polyphony can be easily recognized, because the notator used a method similar to a modern score. There had been other methods as well. Some later additions in the early Troper-Proser (F-Pn lat. 1120) on folio 73v and on 77v look monophonic on the first sight, but the melody is organized in pairs so that each verse of it has to be sung together with an organum voice.

85: "My third example of the force of tradition concerns another large problem, the persistence of drone music from the Middle Ages to the present day.") can be found in many parts of the world, including bagpipe traditions, among them Scottish pibroch piping; didgeridoo music in Australia, South Indian classical Carnatic music and Hindustani classical music (both of which are accompanied almost invariably by the Tanpura, a plucked, four-string instrument which is only capable of playing a drone); the sustained tones found in the Japanese gagakuA precedent directly cited by La Monte Young, see his quote below (Zuckerman 2002). classical tradition; possibly (disputed) in pre-polyphonic organum vocal music of late medieval Europe;Speculated in 1988 by French musicologist Marcel Pérès of Ensemble Organum (as summarized here ) but disputed in a master thesis (Robert Howe, "The Performance of Mediæval Music in Contemporary Culture", PDF file, p. 6-8) and the Byzantine chant's ison (or drone-singing, attested after the fifteenth century).

Hortus Musicus in Luxembourg, 2008. Joint concert of Hortus Musicus and Ellerhein choir in Brussels, 2008. Hortus Musicus is an Estonian ensemble that was established in 1972 by Andres Mustonen, a violin student of the Tallinn State Conservatory. Hortus Musicus specialises in performing early music, including 8th–15th-century European forms such as Gregorian Chant, Organum, Medieval Liturgic Hymns and Motets, the Franco-Flemish School, and Renaissance Music (including French chansons, villanelles and Italian madrigals).

She recorded with the Penguin Cafe Orchestra when it was led by Simon Jeffes. She met Jeffes while she was in her teens, and he wrote the song "Organum" for her. After Jeffes's death, she played with the Orchestra again over a decade later when it was run by his son, Arthur. Tickell has also recorded with The Chieftains, The Boys of the Lough, Jimmy Nail, Linda Thompson, Alan Parsons, and Andy Sheppard.

Saint Thomas Christian music refers to the musical traditions of the Saint Thomas Christian community of Kerala, India. It is chiefly liturgical and is derived from ancient Syriac Christian music from the Middle East, with remarkably little influence from local Indian styles. Of particular significance is the prevalence of the organum singing style. As a result of the community's isolation and conservatism, these traditions may retain elements of the earliest forms of Early Christian music.

The Canon (without the accompanying gigue) was first published in 1919 by scholar Gustav Beckmann, who included the score in his article on Pachelbel's chamber music.Gustav Beckmann, Johann Pachelbel als Kammerkomponist, Archiv für Musikwissenschaft 1 (1918–19): 267–74. The Canon is found on p. 271. His research was inspired and supported by early music scholar and editor Max Seiffert, who in 1929 published his arrangement of the Canon and Gigue in his Organum series.

Rees, Graham and Maria Wakely The Instauratio Magna, Part II: Novum organum and Associated Texts. Oxford: Clarendon, 2004. Print Importantly though, Bacon set the scene for science to develop various methodologies, because he made the case against older Aristotelian approaches to science, arguing that method was needed because of the natural biases and weaknesses of the human mind, including the natural bias it has to seek metaphysical explanations which are not based on real observations.

According to Anonymous IV, "Magister Leoninus (Léonin) was the finest composer of organum; he wrote the great book (Magnus Liber) for the gradual and antiphoner for the sacred service." All of the Magnus Liber is for two voices, although little is known about actual performance practice: the two voices were not necessarily soloists. According to Anonymous IV, Léonin's work was improved and expanded by the later composer Pérotin. See also Medieval music.

He was the first German artist to ever win the international Naumburg Violin Award in New York. In 2007, he was the violinist in the world premiere of "Two Awakenings and a Double Lullaby", written for him by composer Aaron Jay Kernis. His recordings include the Brahms violin concerto (BPOlive), Mendelssohn's Songs Without Words (Naxos), the violin version of the Clarinet sonatas, op. 120, by Brahms (Organum) and the duo for violin and cello, op.

He argues in the Novum Organum that our only hope for building true knowledge is through this careful method. Old knowledge-building methods were often not based in facts, but on broad, ill- proven deductions and metaphysical conjecture. Even when theories were based in fact, they were often broad generalizations and/or abstractions from few instances of casually gathered observations. Using Bacon's process, man could start fresh, setting aside old superstitions, over-generalizations, and traditional (often unproven) "facts".

The "Baconian method" does not end at the First Vintage. Bacon described numerous classes of Instances with Special Powers, cases in which the phenomenon one is attempting to explain is particularly relevant. These instances, of which Bacon describes 27 in the Novum Organum, aid and accelerate the process of induction. Aside from the First Vintage and the Instances with Special Powers, Bacon enumerates additional "aids to the intellect" which presumably are the next steps in his method.

The treatise also discusses singing technique, ornamentation of plainchant, and polyphony in the style of organum. The scale used in the work, which is based on a system of tetrachords, appears to have been created solely for use in the work itself rather than taken from actual musical practice. The treatise also uses a very rare system of notation, known as Daseian notation. This notation has a number of figures which are rotated ninety degrees to represent different pitches.

The title page of Sir Francis Bacon's Instauratio Magna, 1620 The Pillars appear prominently on the engraved title page of Sir Francis Bacon's Instauratio Magna ("Great Renewal"), 1620, an unfinished work of which the second part was his influential Novum Organum. The motto along the base says Multi pertransibunt et augebitur scientia ("Many will pass through and knowledge will be the greater"). The image was based on the use of the pillars in Spanish and Habsburg propaganda.

During the early Christian era of the Middle Ages, sacred monophonic (only one voice) chant was the dominant form of music, followed by a sacred polyphonic (multi-voices) organum. By the thirteenth century, another polyphonic style called the motet became popular. During the Ars Nova era of the thirteenth and fourteenth centuries, the trend towards writing polyphonic music extended to non-Church music. In the fifteenth century, more secular music emerged, such as the French chanson.

These were almost all released under his given name or the moniker Monoplane. It was not until 1983 that he began to use the name Organum and release his work on vinyl on various labels around Europe as well as his own imprint, Aeroplane. Many of his releases are short; he has released several one sided 7" singles and many EPs. In an interview with US magazine ND (issue 20, 1995), he declared "I don't enjoy lengthy programmes.

He had collaborated with the Athens Radio Broadcast on programs related to Byzantine Music and had performed contemporary music composed by M. Adamis, D. Terzakis and K. Sfetsas. He was a member of the research team headed by Marcel Pérès in France, which studies the old Western chants and their relationship to the Byzantine ones. He had performed Byzantine, Old Roman, Ambrosian and other traditions of Western plainchant in recordings with the Ensemble Organum in France.

L. Macy (Accessed 27 June 2006) (subscription access)] Gregorian melodies provided musical material and served as models for tropes and liturgical dramas. Vernacular hymns such as "Christ ist erstanden" and "Nun bitten wir den Heiligen Geist" adapted original Gregorian melodies to translated texts. Secular tunes such as the popular Renaissance "In Nomine" were based on Gregorian melodies. Beginning with the improvised harmonizations of Gregorian chant known as organum, Gregorian chants became a driving force in medieval and Renaissance polyphony.

Born in Saint-Ouen-de- Sécherouvre in Orne, Sicot worked a lot during the 1980s with the Baroque music ensemble Les Arts Florissants, spearhead of the "baroqueux" movement directed by William Christie. He was then one of the pillars of this ensemble alongside Agnès Mellon, Jill Feldman, Monique Zanetti, Guillemette Laurens, Dominique Visse, Michel Laplénie, Étienne Lestringant, Philippe Cantor, Gregory Reinhart, François Fauché etc. He also collaborated with the Ensemble Clément Janequin, La Chapelle Royale, the Ensemble Organum etc.

Ouspensky's grave at the Holy Trinity Church in Lyne, Surrey, England, photographed in 2013 After the Bolshevik revolution, Ouspensky travelled to London by way of Istanbul. In London, a number of eminent people became interested in his work. Lady Rothermere, wife of Harold Harmsworth, 1st Viscount Rothermere, the press magnate, was willing to promote Tertium Organum. The influential intellectual and editor A. R. Orage became deeply interested in Ouspensky's ideas and promoted their discussion in various circles.

Idola fori (singular Idolum fori), sometimes translated as "Idols of the Market Place" or "Idols of the Forum", are a category of logical fallacy which results from the imperfect correspondences between the word definitions in human languages, and the real things in nature which these words represent. The term was coined in Latin by Sir Francis Bacon and used in his Novum Organum, one of the earliest treatises arguing the case for the logic and method of modern science.

The singing of organa fell into disuse by the mid thirteenth century. Associated with the Notre Dame school, was Johannes de Garlandia, whose De mensurabili provided a theoretical basis, for Notre Dame polyphony is essentially musica mensurabilis, music that is measured in time. In his treatise, he defines three forms of polyphony, organum in speciali, copula, and discant, which are defined by the relationship of the voices to each other and by the rhythmic flow of each voice.

The Baconian method is the investigative method developed by Sir Francis Bacon, one of the founders of modern science, and thus a first formulation of a modern scientific method. The method was put forward in Bacon's book Novum Organum (1620), or 'New Method', and was supposed to replace the methods put forward in Aristotle's Organon. This method was influential upon the development of the scientific method in modern science; but also more generally in the early modern rejection of medieval Aristotelianism.

The signal from the lateral parabrachial nucleus is relayed to the median preoptic nucleus. The median preoptic nucleus and the subfornical organ receive signals of decreased volume and increased osmolite concentration. Finally, the signals are received in cortex areas of the forebrain where thirst arises. The subfornical organ and the organum vasculosum of the lamina terminalis contribute to regulating the overall bodily fluid balance by signalling to the hypothalamus to form vasopressin, which is later released by the pituitary gland.

Epic theatre and its many forms is a response to Richard Wagner's idea of "Gesamtkunstwerk", or "total artwork", which intends each piece of art is composed of each other art form. Since epic theatre is so focused on the specific relationship between form and content, these two ideas contradict each other, despite the fact that Brecht was heavily influenced by Wagner. Brecht discussed the priorities and approach of epic theatre in his work "A Short Organum for the Theatre".Brecht (1949, 276).

Ludwig's contributions to musical scholarship include his investigations into Organum, deciphering early neumatic notation (square note notation), the discovery of Rhythmic modes in the unison songs of the 13th century, and the systematic representation of compositions of the Notre Dame School and the motets of the Ars Nova. He transcribed many multi-part works of the 15th century and published them in critical editions. Ludwig discovered the compositional principal of isorhythm – a term he coined. He also coined the term Stimmtausch.

In the organum style the upper voices are highly mobile over a tenor voice moving in long unmeasured notes. The discant style has the tenor moving in measured notes, but still more slowly than the upper voices. The third style has all voices moving note on note, and is largely limited to conductus. The surviving sources all commence with a four-voice organal setting of the Christmas Gradual, Viderunt omnes, believed to be Pérotin's, as most likely did the original Liber.

In 1620 in England, Francis Bacon's treatise Novum Organum alleged that scholasticism's Aristotelian method of deductive inference via syllogistic logic upon traditional categories was impeding society's progress.Sgarbi, Aristotelian Tradition and the Rise of British Empiricism (Springer, 2013), pp 167–68. Admonishing allegedly classic induction for proceeding immediately from "sense and particulars up to the most general propositions", then deducing generalizations onto new particulars without empirically verifying them, Bacon stated the "true and perfect Induction".Simpson, "Francis Bacon", §k "Induction", in IEP.

However, it is often considered to be a particular type of polyphonic texture similar to organum, but with modal rhythm. The music theorist Johannes de Garlandia favoured this description of copula. The term refers to music where the lower voice sings long, sustained notes (the chant or tenor) while the higher voices sing faster-moving harmony lines. This style is typical of what is referred to as Notre Dame Polyphony; examples of which can be found in the Magnus Liber Organi.

Music organizations and venues include: Kraków Philharmonic, home of the Kraków Philharmonic Orchestra as well as the chamber Capella Cracoviensis, Sinfonietta Cracovia (a.k.a. the Orchestra of the Royal City of Kraków), the Polish Radio Choir of Kraków, Organum Academic Choir, the Mixed Mariański Choir (Mieszany Chór Mariański), Krakow Academic Choir of the Jagiellonian University, the Krakow Chamber Choir, Amar Corde String Quartet, Consortium Iagellonicum Baroque Orchestra of the Jagiellonian University, the Brass Band of T. Sendzimir Steelworks, and Camerata Chamber Orchestra of Radio Kraków.

Bernstein employs several modes in Sanctus, an engrossing movement in terms of tonality. Much of it shifts between G major and a sort of dorian mode set in G. The countertenor solo is a main feature in this movement. After the first four measures, marked misterioso and piano, Bernstein creates what is reminiscent of an organum. With each part in the choir sustaining a drone on the pitches of G and D, the countertenor soloist freely sings a mixolydian chant starting with "Deus, Deus Sabaoth".

While precursory notions have been identified in the writings of Thomas Hobbes, Robert Hooke, and Francis NorthCf. Kassler 2004, pp. 125-126. (especially in connection with auditory perception) as well as in Francis Bacon's Novum Organum,"[B]y far the greatest hindrance and aberration of the human understanding proceeds from the dullness, incompetency, and deceptions of the senses; in that things which strike the sense outweigh things which do not immediately strike it, though they be more important" (Bacon 1620, bk. 1, aphorism L, transl.).

A New Era of Thought is a non-fiction work written by Charles Howard Hinton, published in 1888 and reprinted in 1900 by Swan Sonnenschein & Co. Ltd., London. A New Era of Thought is about the fourth dimension and its implications on human thinking. It influenced the work of P.D. Ouspensky, particularly his book Tertium Organum where it is frequently quoted; Scientific American writer Martin Gardner, who mentioned this book in some of his articles;See for example the essay "Hypercubes" in his book Mathematical Carnival.

The choice of building material is also related to Iceland, which has a tradition of monumental concrete buildings such as Hallgrímskirkja. Two years later, Kühne built a similar installation, the Hailuoto Organum, in Finland. Together with a working group of 8 Aalto University postgraduate students, Kühne created a virtual, playable version of the Sibelius Monument inside Ateneum, the National Gallery of Finland in Helsinki, as part of a larger exhibit honouring Jean Sibelius' jubilee year. The piece was later presented at ISEA 2015 in Vancouver, Canada.

Abstraction involves induction of ideas or the synthesis of particular facts into one general theory about something. It is the opposite of specification, which is the analysis or breaking-down of a general idea or abstraction into concrete facts. Abstraction can be illustrated with Francis Bacon's Novum Organum (1620), a book of modern scientific philosophy written in the late Jacobean eraHesse, M. B. (1964), "Francis Bacon's Philosophy of Science", in A Critical History of Western Philosophy, ed. D. J. O'Connor, New York, pp. 141–52.

In the past few centuries, some statistical methods have been developed, for reasoning in the face of uncertainty, as an outgrowth of methods for eliminating error. This was an echo of the program of Francis Bacon's Novum Organum of 1620. Bayesian inference acknowledges one's ability to alter one's beliefs in the face of evidence. This has been called belief revision, or defeasible reasoning: the models in play during the phases of scientific method can be reviewed, revisited and revised, in the light of further evidence.

In 1999, POPULAR Group set up a purchasing office in Taiwan to purchase Chinese books for Singapore, Malaysia and Hong Kong. With the expansion of the business, Popular Book Company Ltd was established in 2003 as a subsidiary of POPULAR Group. POPULAR Group now exports Chinese books in Taiwan, distributes books to Singapore, Malaysia, and Hong Kong through around 188 POPULAR outlets. Novum Organum, also a subsidiary of POPULAR, is the distributor for the Group’s house brands and focuses on the book markets in Singapore and Malaysia.

Drawn increasingly to Hindu philosophy, he traveled to India and Ceylon in 1890. Following conversations with the guru Ramaswamy (known as the Gnani) there, he developed the conviction that socialism would bring about a revolution in human consciousness as well as of economic conditions. His account of the travel was published in 1892 as From Adam's Peak to Elephanta: Sketches in Ceylon and India. The book's spiritual explorations would subsequently influence the Russian author Peter Ouspensky, who discusses it extensively in his own book, Tertium Organum (1912).

Only the Faroe Islands have maintained this tradition to the present day, though it has been revived in some other areas. Iceland is home to many ancient musical practices no longer found elsewhere in the Nordic area, such as the use of parallel fifths and organum. Greenland's Inuit population has their own musical traditions, which have been melded with elements of Nordic music, such as the kalattuut style of Danish polka. Finland was long ruled by Sweden, so much of Finnish culture is influenced by Swedish.

" Early modern scientists such as Francis Bacon noted that, "slightly tepid water freezes more easily than that which is utterly cold."Bacon, Francis; Novum Organum, Lib. II, L In the original Latin, "aqua parum tepida facilius conglacietur quam omnino frigida." René Descartes wrote in his Discourse on the Method, "One can see by experience that water that has been kept on a fire for a long time freezes faster than other, the reason being that those of its particles that are least able to stop bending evaporate while the water is being heated.

Bacon's seminal work Novum Organum was influential in the 1630s and 1650s among scholars, in particular Sir Thomas Browne, who in his encyclopedia Pseudodoxia Epidemica (1646–72) frequently adheres to a Baconian approach to his scientific enquiries. This book entails the basis of the Scientific Method as a means of observation and induction. According to Francis Bacon, learning and knowledge all derive from the basis of inductive reasoning. Through his belief of experimental encounters, he theorized that all the knowledge that was necessary to fully understand a concept could be attainable because of induction.

Almost all composers of conductus are anonymous. Some of the poems, all of which are in Latin, are attributed to poets such as Philip the Chancellor and John of Howden. The style of the conductus was usually rhythmic, as befitting music accompanying a procession, and almost always note-against-note. Stylistically it was utterly different from the other principal liturgical polyphonic form of the time, organum, in which the voices usually moved at different speeds; in conductus, the voices sang together, in a style also known as discant.

Although melodic improvisation was an important factor in European music from the earliest times, the first detailed information on improvisation technique appears in ninth-century treatises instructing singers on how to add another melody to a pre-existent liturgical chant, in a style called organum. Throughout the Middle Ages and Renaissance, improvised counterpoint over a cantus firmus (a practice found both in church music and in popular dance music) constituted a part of every musician's education, and is regarded as the most important kind of unwritten music before the Baroque period.Brown 1976, viii; Fuller 2002.

There was a tendency in this period to regard the logical systems of the day to be complete, which in turn no doubt stifled innovation in this area. However Francis Bacon published his Novum Organum ("The New Organon") as a scathing attack in 1620. Immanuel Kant thought that there was nothing else to invent after the work of Aristotle, and the famous logic historian Karl von Prantl claimed that any logician who said anything new about logic was "confused, stupid or perverse." These examples illustrate the force of influence which Aristotle's works on logic had.

Gladiators fought by the book New Scientist February 23, 2006Head injuries of Roman gladiators Forensic Science International Volume 160, Issue 2, Pages 207-216 July 13, 2006Roman gladiators were fat vegetarians ABC Science April 5, 2004 Combat was probably accompanied by music, whose tempo might have varied to match that of the combat. Typical instruments were a long straight trumpet (tuba), a large curved brass instrument (lituus), and a water organ (organum). During the Imperial period, the games might be preceded by a mimus, a form of comedy show.

By the thirteenth century, syllabic introductions birthed the motet, placing an organum plainchant in the bottom voice and introducing new text in the upper registers of the vocal range. The texture, such as that of Adam de la Halle's 'De Ma Dame Vient', quotes the Latin 'Viderunt Omnes' while the upper voices sing a similar French passage. The divergent quality of two simultaneous texts adapts the pieces to a more elaborate syllabic setting. To accommodate the rhythmic freedom, Halle's use of Franconian notation allowed the textural shapes to characterize the length of a pitch.

58-59Strickland (2000), Sound, La Monte Young discovered classical music rather late, thanks to his teachers at university. He cites Béla Bartók, Igor Stravinsky, Pérotin, Léonin, Claude Debussy and Organum musical style as important influences, but what made the biggest impact on his compositions was the serialism of Arnold Schoenberg and Anton Webern. Young was also keen to pursue his musical endeavors with the help of psychedelics. Cannabis, LSD and peyote played an important part in Young's life from mid-1950s onwards, when he was introduced to them by Terry Jennings and Billy Higgins.

R. Baldwin. p. 461 > The magnetic laws were first generalized and explained by Dr. Gilbert, whose > book on magnetism published in 1600, is one of the finest examples of > inductive philosophy that has ever been presented to the world. It is the > more remarkable, because it preceded the Novum Organum of Bacon, in which > the inductive method of philosophizing was first explained. William Whewell writes in his History of the Inductive Sciences (1837/1859):Whewell, William (1859) History of the Inductive Sciences from the Earliest to the Present Time.

In 1994 the Atelier became CERIMM, the Centre Européen pour la Recherche sur l'Interprétation des Musiques Médiévales (or "European Centre for Research on the Performance of Medieval Music"). In 2001 Pérès and his group Ensemble Organum moved to Moissac where he founded CIRMA, the Centre itinérant de recherche sur les musiques anciennes (or "Itinerant Centre for Research into Ancient Music"). He was musical director of Kaj Munk's play, Ordet, at the Festival d'Avignon in 2008. Pérès' compositions include Le Livre des morts égyptiens ("The Egyptian Book of the Dead"), written in 1979, and Mysteria Apocalypsis.

His demand for a planned procedure of investigating all things natural marked a new turn in the rhetorical and theoretical framework for science, much of which still surrounds conceptions of proper methodology today. Bacon proposed a great reformation of all process of knowledge for the advancement of learning divine and human, which he called Instauratio Magna (The Great Instauration). For Bacon, this reformation would lead to a great advancement in science and a progeny of new inventions that would relieve mankind's miseries and needs. His Novum Organum was published in 1620.

Although often linked to the construction of the cathedral itself, construction commenced in 1163 and the altar consecrated in 1182. However there was evidence of musical creativity there from the early twelfth century. alt=Salvatoris hodie by perotin, showing square notes Léonin's work was distinguished by two distinctive organum styles, purum and discantus. This early polyphonic organa was still firmly based on Gregorian chant, to which a second voice was added. The chant was called the tenor (cantus firmus or vox principalis), which literally “holds” (Latin: tenere) the melody.

The tenor is based on an existing plainsong melody from the liturgical repertoire (such as the Alleluia, Verse or Gradual, from the Mass, or a Responsory or Benedicamus from the Office). This quotation of plainchant melody is a defining characteristic of thirteenth century musical genres. In organum purum the tenor part was drawn out into long pedal points, while the upper part or duplum contrasted with it in a much freer rhythm, consisting of melisms (melismatic or several notes per syllable, compared to syllabic, a single note per syllable).

Illuminated page of alt=Illumination on page of Magnus Liber Organi Léonin compiled his compositions into a book, the Magnus liber organi (Great Organum Book), around 1160. Pérotin's works are preserved in this compilation of early polyphonic church music, which was in the collection of the cathedral of Notre Dame in Paris. The Magnus liber also contains the work of his successors. In addition to two-part organa, this book contains three- and four-part compositions in four distinct forms: organa, clausulae, conducti and motets, and three distinct styles.

Despite the concordances between these manuscripts, the collection includes many variants. The repertory combines modern forms of poetry with modern forms of musical composition, consisting of settings of proses, tropes, sequences, liturgical dramas, and organa. Even a polyphonic setting of an epistle recitation survives as florid organum. Other modern musicological studies have attempted to identify unifying centre for these sources, such as Cluny rather than Limoges, and with reference to the Cluniac Monastic Association, Fleury and Paris (especially the Notre-Dame School), the Abbey of Saint Denis, and the Abbey Saint-Maur-des-Fossés.

In some late additions cantors made exemplifications of a polyphonic performance of organum similar to those additions in the Gradual of the Abbey of Saint- Maur-des-Fossés (F-Pn lat. 12584, fol. 306). Under Cluniac influence the latter abbey developed an extravagant liturgy since 1006, when it was ruled by a new Abbot, who was sent from Cluny, where he had served as a cantor.Michel Huglo (1982) also discussed hagiographic sources which document, that this change caused several conflicts and that part of the monastic community left the Abbey.

His great work is his Commentarii in Organum Logicum Aristotelis (Bordeaux, 1618); the copy in the British Museum contains a number of highly eulogistic poems in honour of Balfour, who is described as Graium aemulus acer. Balfour was one of the scholars who contributed to spread over Europe the fame of the praefervidum ingenium Scotorum. His contemporary, Thomas Dempster, called him the "phoenix of his age, a philosopher profoundly skilled in the Greek and Latin languages, and a mathematician worthy of being compared with the ancients." His Cleomedis meteora, with notes and Latin translation, was reprinted at Leiden as late as 1820.

Plainchant represents the first revival of musical notation after knowledge of the ancient Greek system was lost. Plainsong notation differs from the modern system in having only four lines to the staff and a system of note shapes called neumes. In the late 9th century, plainsong began to evolve into organum, which led to the development of polyphony. There was a significant plainsong revival in the 19th century, when much work was done to restore the correct notation and performance-style of the old plainsong collections, notably by the monks of Solesmes Abbey, in northern France.

The two verses of each couplet are sung to the same musical line, usually ending on a tonally stabilizing pitch, with variety being created by couplets of different lengths and with different musical arches. Although sequences are vocal and monophonic, certain sequence texts suggest possible vocal harmonization in organum or instrumental accompaniment. The composition of sequences became less frequent when Humanist Latin replaced medieval Latin as the preferred literary style in Latin. New sequences continued to be written in Latin; one of the best known later sequences is the Christmas carol Adeste Fideles, known in English as "O Come, All Ye Faithful".

850 (Pa 1139). The St. Martial school of music and its library contributed and collected an almost complete repertoire of West Frankish tropes and sequences, as well as the so-called Aquitanian polyphony (Pa 1139, 3549, 3719), because cantors of the region had been most inventive in quite original compositions, dealing with all kinds of troped poetry, and two part settings between discant and florid organum. It is a famous site for 12th century sacred and secular church music. Some of the earliest troubadour lyrics with their accompanying melodies were extant in manuscripts at St. Martial's, now preserved at the Bibliothèque Nationale.

During the 9th century several important developments took place. First, there was a major effort by the Church to unify the many chant traditions, and suppress many of them in favor of the Gregorian liturgy. Second, the earliest polyphonic music was sung, a form of parallel singing known as organum. Third, and of greatest significance for music history, notation was reinvented after a lapse of about five hundred years, though it would be several more centuries before a system of pitch and rhythm notation evolved having the precision and flexibility that modern musicians take for granted.

"Viderunt Omnes" is a Gregorian chant based on Psalm XCVII (98), sung as the gradualThe first 7 words are also used as the Communion. at the Masses of Christmas Day and historically on its octave, the Feast of the Circumcision. Two of the many settings of the text are famous as being among the earliest pieces of polyphony by known composers, Léonin and Pérotin of the Notre Dame school. Their music, known as organum, adds florid counterpoint to the Gregorian melody of the intonation and verse, portions normally sung by the cantors, the remainder of the chant being sung unchanged by the choir.

In 2012, Kaner was the Margaret Lee Crofts Fellow in composition at Tanglewood where he had the opportunity to work with composers like George Benjamin, Oliver Knussen and Michael Gandolfi. In the following year, he received the Royal Philharmonic Society composition prize. Kaner was commissioned afterwards to write for the Philharmonia Music of Today series which was premiered by members of the Philharmonia in the Royal Festival Hall in 2014. During his time as composer-in-association with the Workers' Union, he wrote the piece Organum as part of the Performing Rights Society (PRS) Music Foundation's Constructing a Repertoire project.

Two of these sites, the SFO (subfornical organ) and the OVLT (organum vasculosum of the lamina terminalis) are so-called circumventricular organs, where neurons are in intimate contact with both blood and CSF. These structures are densely vascularized, and contain osmoreceptive and sodium-receptive neurons that control drinking, vasopressin release, sodium excretion, and sodium appetite. They also contain neurons with receptors for angiotensin, atrial natriuretic factor, endothelin and relaxin, each of which important in the regulation of fluid and electrolyte balance. Neurons in the OVLT and SFO project to the supraoptic nucleus and paraventricular nucleus, and also to preoptic hypothalamic areas.

Daniel belongs not only to the religious tradition but also to the wider Western intellectual and artistic heritage. It was easily the most popular of the prophetic books for the Anglo-Saxons, who nevertheless treated it not as prophecy but as a historical book, "a repository of dramatic stories about confrontations between God and a series of emperor-figures who represent the highest reach of man". In the early modern period the physicist Isaac Newton paid special attention to it, and Francis Bacon borrowed a motto from it for his work Novum Organum. Philosophers, such as Baruch Spinoza drew on it.

Polyphony was neither invented at Limoges nor did it appear the first time in the notation of its scriptorium. An oral tradition of a polyphonic performance can be traced back to the time, when the Musica enchiriadis had been written,Giovanni Varelli (2013) found recently practical examples of this early organum practice which he dated back to the 10th century. and Adémar was a contemporary of Guido of Arezzo, who described in his treatise Micrologus a similar practice as "diaphonia" (discant), which already allowed to sing more than one note against the cantus during cadences ("occursus").

During the 18th century, students at Hungary's Calvinist colleges, some of whom, being minor nobles, lived in small rural villages, brought with them to their schools their regional styles of music. Colleges like Sárospatak and Székelyudvarhely developed choirs that adopted new elements like polyphony. György Maróthi of Debrecen published several influential works, and his French psalm book became very popular. By around 1790, the four voice choirs were expanded to eight using accessory voices like accantus, subcantus and concantus, and the discant voice was systematically transpoed into a lower pitch, producing a new form of choral design with similarities to medieval organum and fauxbourdon.

Since the Novum Organum of Francis Bacon, teleological explanations in physical science tend to be deliberately avoided in favor of focus on material and efficient explanations. Final and formal causation came to be viewed as false or too subjective. Nonetheless, some disciplines, in particular within evolutionary biology, continue to use language that appears teleological in describing natural tendencies towards certain end conditions. Some suggest, however, that these arguments ought to be, and practicably can be, rephrased in non-teleological forms, others hold that teleological language cannot always be easily expunged from descriptions in the life sciences, at least within the bounds of practical pedagogy.

Clusters of cells (osmoreceptors) in the organum vasculosum of the lamina terminalis (OVLT) and subfornical organ (SFO), which lie outside of the blood brain barrier can detect the concentration of blood plasma and the presence of angiotensin II in the blood. They can then activate the median preoptic nucleus which initiates water seeking and ingestive behavior. Destruction of this part of the hypothalamus in humans and other animals results in partial or total loss of desire to drink even with extremely high salt concentration in the extracellular fluids. Page 872 Imidazolium salt In addition, there are visceral osmoreceptors which project to the area postrema and nucleus tractus solitarii in the brain.

His De musica was one of the most widely copied and distributed music treatises of the medieval period, with some copies appearing even after 1400. Most likely it was written around 1100, and its comments, examples, and suggestions correspond closely with the music of the contemporary St. Martial school and Codex Calixtinus, as well as the material in the treatise Ad organum faciendum (also known as the "Milan Treatise") from about the same time. De musica consists of twenty-seven chapters, and covers a wide range of musical topics. Unlike many medieval treatises, it largely avoids metaphysical speculations, instead functioning as a practical guide for a working musician.

Sacrae cantiones singulis binis ternis quaternis quinisque vocibus concinendae, Venezia, A. Gardano, 1620; 1 motet reprinted in Deliciae sacrae musicae… Quas ex lectissimo lectissimorum nostri aevi musicorum penu, quaternis vocibus, cum basso ad organum applicato, suavissime modulandas exprompsit… ac… publice posuit, Ioannes Reininger, Ingolstadt, 1626 (= RISM 1626/2); 5 motets reprinted in Promptuarii musici concentus ecclesiasticos CCXXXVI. selectimos, II. III. & IV. vocum. Cum basso continuo & generali, organo applicato, e diversis et praestantissimis Germaniae Italiae et aliis aliarum terrarum musicis collectos exhibens, pars tertia… Opera et studio Joannis Donfrid, scholae Neccaro Rottenburgicae, nec non ad D. Martini ibidem musices moderatoris, Strasbourg, 1627, vol 3 (= RISM 1627/1).

Pérotin is the first composer of organum quadruplum—four-voice polyphony—at least the first composer whose music has survived, since complete survivals of notated music from this time are scarce. Léonin, Pérotin and the other anonymous composers whose music has survived are representatives of the era of European music history known as the ars antiqua. The motet was first developed during this period out of the clausula, which is one of the most frequently encountered types of composition in the Magnus Liber Organi. While music with notation has survived, in substantial quantity, the interpretation of this music, especially with regard to rhythm, remains controversial.

Francis Bacon never accepted Copernican heliocentrism and was critical of Gilbert's philosophical work in support of the diurnal motion of the Earth. Bacon's criticism includes the following two statements. The first was repeated in three of his works—In the Advancement of Learning (1605), Novum Organum (1620) and De Augmentis (1623). The more severe second statement is from History of Heavy and Light Bodies published after Bacon's death.Park Benjamin, A History of Electricity J. Wiley & Sons (1898) p.327-8 > The Alchemists have made a philosophy out of a few experiments of the > furnace and Gilbert our countryman hath made a philosophy out of > observations of the lodestone.

In this episode, Sarah's daughter Kira (Skyler Wexler) undergoes bone marrow extraction to donate to Cosima in an attempt to cure Cosima's illness. Alison and her husband Donnie (Kristian Bruun) attempt to bury Dr. Aldous Leekie's body, while Helena attempts to escape from the ranch of the Proletheans, a religious extremist group. "Things Which Have Never Yet Been Done" marked the first on-screen appearance of Kathryn Alexandre, who also works on the show as Maslany's "clone double" when filming scenes where multiple clones interact. The episode was filmed at various locations in Toronto and the title was taken from Francis Bacon's work Novum Organum.

François Fauché worked a lot during the 1980s with the ensemble of baroque music Les Arts Florissants, spearhead of the baroqueux movement, conducted by William Christie. He was then one of the pillars of this ensemble, alongside Agnès Mellon, Jill Feldman, Monique Zanetti, Guillemette Laurens, Dominique Visse, Michel Laplénie, Étienne Lestringant, Philippe Cantor, Gregory Reinhart, Antoine Sicot etc. He is a member of the Ensemble Clément Janequin conducted by Dominique Visse, with whom he took part in numerous concerts in France and abroad, as well as in numerous recordings. He was also a member of the Ensemble Organum and the European ensemble William Byrd.

The innovations and corrections of Roman-Frankish chant during the Cluniac reforms were disregarded as a corruption of the Roman tradition, but the new books ordered from the scriptoria of Laon and Metz did not satisfy the expectations of the reformers. Instead rules based on Guido of Arezzo's Micrologus were codified to support the Cistercian cantors, while they were cleaning the corrupted tradition of plainchant.His prologue and treatise of the chant reform have survived in the 13th-century Antiphoner of Rein (fol. Ir-IIIr). Despite certain ambitions concerning the performance practice of polyphonic organum, the first generation of reformers around Bernard did not allow these Cluniac practices.

In this sense he is highly aware of the fact that it is not possible to entirely envision what effect the written notes will have on a listener. His approach towards composition can be described as speculative (Klis 388-389). To be able to give meaning to his written notes, De Vries turned for instance to the symbolism of Baroque techniques, such as the falling motive to illustrate the idea of death. De Vries also turned his attention towards the re-usage of music of the past (Wenekes 30), as exemplified by his Organum (1971), in which he re- introduced Perotinus' style in a modern setting.

Emperors Ferdinand III and Leopold I, who ruled over empires speaking many different languages, were particularly interested in this field. The Jesuit order played an important role in spreading the idea of mathematics as a kind of universal scientific language. As well as geometry and theoretical mathematics, Jesuit scholars worked on a number of applied projects, including calculating machines such as the one Kircher had designed and then described in his 1637 work Specula Melitensis Encyclica and the Organum Mathematicum he had built for Emperor Ferdinand III. By such means the Jesuits sought to cultivate court patronage and to strengthen and propagate the Catholic faith.

Chin, C. M., "Prayers and Otium in Cassian's Institutes", Ascetica, Gnostica, Liturgica, Orientalia, (M. F. Wiles, Edward Yarnold, ed.), Peeters Publishers, 2001 This was also the view held in Ireland, where the psalms selected for Terce focused on the glorification of the risen Christ.McNamara, Martin J., The Psalms in the Early Irish Church, Bloomsbury Publishing, 2000 It seems there was no universal practice of the communal recitation of these hours until the Middle Ages. On Sundays, Terce was sung in organum before the principal Mass, and included the hymn Nunc sancte nobis spiritus, which recalls the descent of the Holy Ghost upon the Apostles.

Bacon's work described many of the accepted principles, underscoring the importance of empirical results, data gathering and experiment. Encyclopædia Britannica (1911), "Bacon, Francis" states: [In Novum Organum, we ] "proceed to apply what is perhaps the most valuable part of the Baconian method, the process of exclusion or rejection. This elimination of the non-essential, ..., is the most important of Bacon's contributions to the logic of induction, and that in which, as he repeatedly says, his method differs from all previous philosophies." In 1637, René Descartes established a new framework for grounding scientific knowledge in his treatise, Discourse on Method, advocating the central role of reason as opposed to sensory experience.

The composer's oeuvre includes over 300 compositions of spiritual music, solo songs, instrumental and stage music, chamber and symphonic music. He is an expert consultant on the book on Organ in Vojvodina by Đerđ Mandić in the joint edition of Agape doo Novi Sad and the Institute for Culture of Vojvodina in 2005. He is a Researcher of the Music Lexicon Serbian / English and English / Serbian in the edition of Linguist in Belgrade 2006. Membership: Member of the Union of Composers of Serbia, member of the Union of Composers of Vojvodina, founder and chairman of the Board of Directors of the Organum Pannonicum Foundation and founder and member of the Vojvodina Early Music Association.

Elsewhere, in parallel organum at the fourth, the upper line would be accompanied a fourth below. Also important was the practice of Fauxbourdon, which is a three voice technique (not infrequently improvisatory) in which the two lower voices proceed parallel to the upper voice at a fourth and sixth below. Fauxbourdon, while making extensive use of fourths, is also an important step towards the later triadic harmony of tonality, as it may be seen as a first inversion (or 6/3) triad. This parallel 6/3 triad was incorporated into the contrapuntal style at the time, in which parallel fourths were sometimes considered problematic, and written around with ornaments or other modifications to the Fauxbourdon style.

The tracks "Shadow Journal" and "Organum" were included in the soundtrack of the animated documentary Waltz with Bashir (2008). "On the Nature of Daylight" has been extensively used in cinema. It appeared in the 2006 Will Ferrell film Stranger than Fiction, Disconnect (2012), directed by Henry Alex Rubin, The Face of an Angel (2014), directed by Michael Winterbottom, The Innocents (2016), directed by Anne Fontaine, the documentary Jiro Dreams of Sushi, directed by David Gelb, and Togo (2019), directed by Ericson Core. It is also used on the soundtrack of Martin Scorsese's 2010 film, Shutter Island, in its original form and remixed with Dinah Washington's vocals from her 1960 hit "This Bitter Earth".

Unprejudiced even against Catholics and probably himself a Non-Conformist, he was made a Justice of the Peace under King James II, a position he retained under King William III. Burthogge married at least three times. His first wife was Sarah Trevill,The Totnes Times, 31 March 1928 the daughter of Andrew Trevill, to whom he dedicated The Divine Goodness in 1670 and his Organum Vetus et Novum in 1678. In the following years, when married to Mary Deeble, Burthogge published several other works on religious subjects and two further philosophical works, both dedicated to John Locke: An Essay upon Reason, and the Nature of Spirits (1694) and Of the Soul of the World; and of Particular Souls (1699).

Snatch Tapes was part of the then burgeoning cassette culture scene and also released tapes by David Jackman (later of Organum), and Claire Thomas & Susan Vezey as well as compilations with tracks by amongst others: the Lemon Kittens, Alien Brains, Cultural Amnesia Orior, Sea of Wires, and the Beach Surgeons (led by a young Graham Massey, later of 808 State). Storm Bugs released three cassettes albums on Snatch Tapes: A Safe Substitute (1980), Storm Bugs (1980) and Gift (1981). In 1980 the band released their first vinyl record the Table Matters EP on Loop Records (UK). In 1981 Storm Bugs released their second single an industrial rockabilly 7-inch called "Metamorphose", on the French L'invitation au Suicide label.

Although Stapleton has sole curatorship of NWW, the group has a long and illustrious list of collaborators including Diana Rogerson (Stapleton's wife), James Thirlwell of Foetus, Tony Wakeford, David Jackman of Organum, Andrew McKenzie of The Hafler Trio, Stereolab, Jim O'Rourke, Christoph Heemann, William Bennett of Whitehouse, Robert Haigh, Rose McDowall of Strawberry Switchblade, Annie Anxiety, John Balance of Coil, Matt Waldron of Irr. App (Ext), passworddoctor and most regularly David Tibet of Current 93. For some time, NWW was a core duo of Stapleton and Colin Potter, the latter having first worked with NWW on 1992's "Thunder Perfect Mind" when it was recorded at Potter's ICR studio. Potter has appeared on almost every NWW release since 1992.

David Jackman is a British musician and visual artist with an extensive catalogue of drone works, mostly as the principal — and often sole — member of Organum. Jackman's earliest known musical activity was as a member of Cornelius Cardew's Scratch Orchestra between 1969 and 1972. He later spoke highly of the value of his experiences in the ensemble, writing in 1994 that "I joined the orchestra in 1969 and soon found myself thrown into an energetic environment where to my surprise my musical ideas, however tentative, would be taken seriously and would actually get realised". In 1979 he began to release very short runs of cassette singles, in line with the prevailing underground cassette culture.

Development of notation styles is discussed at Dolmetsch online, accessed 4 July 2006 Multi-voice elaborations of Gregorian chant, known as organum, were an early stage in the development of Western polyphony. Gregorian chant was traditionally sung by choirs of men and boys in churches, or by men and women of religious orders in their chapels. It is the music of the Roman Rite, performed in the Mass and the monastic Office. Although Gregorian chant supplanted or marginalized the other indigenous plainchant traditions of the Christian West to become the official music of the Christian liturgy, Ambrosian chant still continues in use in Milan, and there are musicologists exploring both that and the Mozarabic chant of Christian Spain.

Other more "Averroist" Aristotelians such as Marsilius of Padua were controversial but also influential. (Marsilius is for example sometimes said to have influenced the controversial English political reformer Thomas Cromwell.) A critical period in the history of this work's influence is at the end of the Middle Ages, and beginning of modernity, when several authors such as Francis Bacon and Thomas Hobbes, argued forcefully and largely successfully that the medieval Aristotelian tradition in practical thinking had become a great impediment to philosophy in their time.For Bacon see for example Novum Organum. However, in more recent generations, Aristotle's original works (if not those of his medieval followers) have once again become an important source.

The reign of Louis VII (1137–1180) witnessed a period of cultural innovation, in which appeared the Notre Dame school of musical composition, and the contributions of Léonin, who prepared two-part choral settings (organa) for all the major liturgical festivals. This period in musical history has been described as a paradigm shift of lasting consequence in musical notation and rhythmic composition, with the development of the organum, clausula, conductus and motet. The innovative nature of the Notre Dame style stands in contrast to its predecessor, that of the Abbey of St Martial, Limoges, replacing the monodic (monophonic) Gregorian chant with polyphony (more than one voice singing at a time). This was the beginning of polyphonic European church music.

In addition to his own compositions, as noted by Anonymous IV, Pérotin set about revising the Magnus Liber Organi. Léonin's added duplum required skill, and had to be sung fast with up to 40 notes to one of the underlying chant, as a result of which the actual text progressed very slowly. Pérotin shortened these passages, while adding further voice parts to enrich the harmony. The degree to which he did this has been debated due to the phrase abbreviavit eundem by Anonymous IV. Usually translated as abbreviate, it has been surmised that he shortened the Magnus liber by replacing organum purum with discant clausulae or simply replacing existing clausulae with shorter ones.

In Bacon's inductivist method, a scientist—at the time, a natural philosopher—ventures an axiom of modest scope, makes many observations, accepts the axiom if it is confirmed and never disconfirmed, then ventures another axiom only modestly broader, collects many more observations, and accepts that axiom, too, only if it is confirmed, never disconfirmed. In Novus Organum, Bacon uses the term hypothesis rarely, and usually uses it in pejorative senses, as prevalent in Bacon's time.McMullin, ch 2 in Lindberg & Westman, eds, Reappraisals of the Scientific Revolution (Cambridge U P, 1990), p 48. Yet ultimately, as applied, Bacon's term axiom is more similar now to the term hypothesis than to the term law.

Notated evidence of alternative practices, where the organal voice changes between different strategies of heterophony (parallel and counter movement) and holding notes which support the modal colour of the cantus, can be found as later added exemplification in monophonic manuscripts of the Abbeys in Saint- Maur-des-Fossés, Fleury, and Chartres.See Wulf Arlt's reconstruction in Rankin (″Stylistic layers in eleventh-century polyphony″, 1993, 102–141). A systematic discussion of the various treatises and of the examples given in chant manuscripts is offered by Sarah Fuller (1990). One example concerning the tradition of Fleury Abbey is an addition of an organal voice (similar to the organum notation of the Winchester Troper) in a hagiographic Lectionary (I-Rvat Cod. Reg. lat.

Church singing, Tacuinum Sanitatis Casanatensis (14th century) The earliest notated music of western Europe is Gregorian chant, along with a few other types of chant which were later subsumed (or sometimes suppressed) by the Catholic Church. This tradition of unison choir singing lasted from sometime between the times of St. Ambrose (4th century) and Gregory the Great (6th century) up to the present. During the later Middle Ages, a new type of singing involving multiple melodic parts, called organum, became predominant for certain functions, but initially this polyphony was only sung by soloists. Further developments of this technique included clausulae, conductus and the motet (most notably the isorhythmic motet), which, unlike the Renaissance motet, describes a composition with different texts sung simultaneously in different voices.

16–21), and a3 (m. 22–46). The introduction of the piece (a1) features the G major pentatonic collection in ascending block chords evocative of organum chant with many parallel fifths. This motif repeats itself twice, but each time the bass moves down a single step, so that the first repeat of the motif takes place over an F in the bass and the second repeat over an E. This changes the collectional center of the opening to the relative E minor pentatonic. The top note of this motif, an E, is held in octaves and repeated, evoking the sound of church bells. This leads to a brief section within a1 where a new theme is presented in C# minor, weaving around the bell tone E’s.

This in turn required Descartes (and later rationalists such as Kant) to assume the existence of innate or "" knowledge in the human mind—a controversial proposal. In contrast to the rationalists, the "empiricists" took their orientation from Francis Bacon, whose arguments for methodical science were earlier than those of Descartes, and less directed towards mathematics and certainty. Bacon is known for his doctrine of the "idols of the mind", presented in his Novum Organum, and in his Essays described normal human thinking as biased towards believing in lies. But he was also the opponent of all metaphysical explanations of nature, or over-reaching speculation generally, and a proponent of science based on small steps of experience, experimentation and methodical induction.

Franco's most famous work was his Ars cantus mensurabilis, a work which was widely circulated and copied, and remained influential for about a hundred years. Unlike many theoretical treatises of the 13th century, it was a practical guide, and entirely avoided metaphysical speculations; it was evidently written for musicians, and was full of musical examples for each point made in the text. The topics covered in the treatise include organum, discant, polyphony, clausulae, conductus, and indeed all the compositional techniques of the 13th century Notre Dame school. The rhythmic modes are described in detail, although Franco has a different numbering scheme for the modes than does the anonymous treatise De mensurabili musica on the rhythmic modes, written not long before.

He had a mainly formal understanding of literary beauty, as is revealed in his rhetorical treatises De arte dicendi (1556) and Organum dialecticum et rethoricum cunctis discipulis utilissimum et necessarium (Lyon, 1579). It is pertinent to point out here that he was processed by the Inquisition because he dared to criticise the literary form of the gospels. He favoured Erasmus of Rotterdam, and in his scientific works he shows the encyclopedic inclinations that were characteristic of Humanism, as in Declaración y uso del reloj español (1549), Pomponii Melæ De situ orbis (1574) or Sphera mundi ex variis auctoribus concinnata (1579). Among his philosophical works the main ones are Doctrina de Epicteto (1600), Paradoxa (1581) and De nonnulis Porphyrii aliorumque in dialectica erroribus (1588).

The 'form nature', or cause, of heat must be that which is common to all instances in the first table, is lacking from all instances of the second table and varies by degree in instances of the third table. The title page of Novum Organum depicts a galleon passing between the mythical Pillars of Hercules that stand either side of the Strait of Gibraltar, marking the exit from the well-charted waters of the Mediterranean into the Atlantic Ocean. The Pillars, as the boundary of the Mediterranean, have been smashed through by Iberian sailors, opening a new world for exploration. Bacon hopes that empirical investigation will, similarly, smash the old scientific ideas and lead to greater understanding of the world and heavens.

Guido of Arezzo's term was "diaphonia", about 1100 the term "organum" became more common for all kind of polyphony without being specified whether it was florid or simple like in "diaphonia". Concerning Cecily Sweeney's hypothesis that the Cistercian reform prohibited polyphonic performance of liturgical chant, which could not convince Christian Meyer, we cannot exclude the possibility that Guy de Cherlieu's ideas failed to convince Bernard of Clairvaux and other reformers. Nevertheless, even in that case an implicit prohibition had no real effect on the liturgical tradition of Cistercians, because one of the earliest treatises dedicated to the practice of fauxbourdon and its ornaments has a Cistercian provenance and the Las Huelgas Codex rather prove that Cistercian customs were also here not so far from Cluniac ones.

His demonstration was not taken seriously as it was considered as one of his magic tricks, as there was no practical application then. Drebbel had not revealed his secrets. Shachtman says that Lord Chancellor Bacon, an advocate of experimental science, had tried in Navum Organum, published in the late 1620s, to explain the artificial freezing experiment at Westminster Abbey, though he was not present during the demonstration, as "Nitre (or rather its spirit) is very cold, and hence nitre or salt when added to snow or ice intensifies the cold of the latter, the nitre by adding to its own cold, but the salt by supplying activity to the cold snow." This explanation on the cold inducing aspects of nitre (now known as potassium nitrate) and salt was tried then by many scientists.

This is mostly used when the piece changes to free time after having had a time signature. # Instead of a time signature, a large is written on the stave. # Note heads alone are used, without time values (typically black note heads without stems) # The passage is marked "recitativo" or "parlando" Examples of musical genres employing free time include Gregorian chant, the petihot used as transitions between Baqashot in Sephardic Jewish cantillation, nusach, layali, early types of organum, Anglican chant, the préludes non mesurés of 17th-century French lute and keyboard music, the alap of Hindustani classical music, Javanese pathetan, the hora lungă of Romania, the urtiin duu of Mongolia, the Zulu izibongo, free improvisation, free jazz and noise music. Cadenzas are most often in unmeasured rhythm, and so is recitative.

While Descartes doubts the ability of the senses to provide us with accurate information, Bacon doubts the ability of the mind to deduce truths by itself as it is subjected to so many intellectual obfuscations, Bacon's "Idols." In his first aphorism of New organum, Bacon states: "Man, the servant and interpreter of nature, does and understands only as much as he has observed, by fact or mental activity, concerning the order of nature; beyond that he has neither knowledge nor power." So, in a basic sense the central difference between the philosophical methods of Descartes and those of Bacon can be reduced to an argument between deductive and inductive reasoning and whether to trust or doubt the senses. However, there is another profound difference between the two thinkers' positions on the accessibility of Truth.

The name Léonin is derived from "Leoninus," which is the Latin diminutive of the name Leo; therefore it is likely that Léonin's given French name was Léo. All that is known about him comes from the writings of a later student at the cathedral known as Anonymous IV, an Englishman who left a treatise on theory and who mentions Léonin as the composer of the Magnus Liber, the "great book" of organum. Much of the Magnus Liber is devoted to clausulae--melismatic portions of Gregorian chant which were extracted into separate pieces where the original note values of the chant were greatly slowed down and a fast-moving upper part is superimposed. Léonin might have been the first composer to use the rhythmic modes, and may have invented a notation for them.

After the split-up of H.N.A.S., Heemann also became active as a solo-artist: The number of TV appearances (such as in Nancy, France), live-performances in locations such as Austin, Texas, Chicago, Toronto, and Tokyo became more frequent. Solo works include titles such as Invisible Barrier (1992), Aftersolstice (1994), Days of the Eclipse (1996), Magnetic Tape Splicing (1997), "The Rings of Saturn"(2010), the latter being an allusion to the German novel of the same name by W.G. Sebald, one of Heemann's favourite authors. Heemann also worked as a producer and engineer on albums by artists such as Keiji Haino, Charlemagne Palestine, Organum and Pantaleimon. As a visual artist Heemann has created album sleeves for Jim O'Rourke, The Teargarden, The Aeolian String Ensemble, Edward Ka-spel and Limpe Fuchs amongst others.

In its original conception, organum was never intended as polyphony in the modern sense; the added voice was intended as a reinforcement or harmonic enhancement of the plainchant at occasions of High Feasts of importance to further the splendour of the liturgy. The analogue evolution of sacred architecture and music is evident: during previous centuries monophonic Mass was celebrated in Abbatial churches, in the course of the 12th and 13th centuries the newly consecrated cathedrals resounded with ever more complex forms of polyphony. Exactly what developments took place where and when in the evolution of polyphony is not always clear, though some landmarks remain visible in the treatises. As in these instances, it is hard to evaluate the relative importance of treatises, whether they describe the 'actual' practice or a deviation of it.

In comparison with the few late traces of a polyphonic singing in the earlier manuscripts, the four main manuscripts and a lot of similar manuscripts of Aquitaine are so full of later developments, that their manifold forms, the calligraphy, the illuminations, and the poetry have not lost their attraction for philologists and musicians. A well-known example is «Stirps iesse», which is nothing else than a florid organum over a «Benedicamus domino» cantus which was widespread within the Cluniac Monastic Association including the Magnus liber organi of the Notre-Dame school. As «Benedicamus domino» verses concluded almost every divine service, Cluniac cantors were supposed to know a great variety of them. Many of them had been new compositions and became favored subjects for new experiments in poetry and musical composition.

Francis Bacon in his Novum Organum first described the concept of a situation in which one theory but not others would hold true, using the name instantia crucis; the phrase experimentum crucis, denoting the deliberate creation of such a situation for the purpose of testing the rival theories, was later coined by Robert Hooke and then famously used by Isaac Newton. The production of such an experiment is considered necessary for a particular hypothesis or theory to be considered an established part of the body of scientific knowledge. It is not unusual in the history of science for theories to be developed fully before producing a critical experiment. A given theory which is in accordance with known experiment but which has not yet produced a critical experiment is typically considered worthy of exploration in order to discover such an experimental test.

This process was aided by the advent of mensural notation, which also indicated the rhythm and was paralleled by the medieval practice of composing parts of polyphony sequentially, rather than simultaneously (as in later times). Manuscripts showing parts together in score format were rare and limited mostly to organum, especially that of the Notre Dame school. During the Middle Ages, if an Abbess wanted to have a copy of an existing composition, such as a composition owned by an Abbess in another town, she would have to hire a copyist to do the task by hand, which would be a lengthy process and one that could lead to transcription errors. Even after the advent of music printing in the mid-1400s, much music continued to exist solely in composers' hand-written manuscripts well into the 18th century.

The early Gothic includes the French music composed in the Notre-Dame school up until about 1260, and the high Gothic all the music between then, and about 1310 or 1320, the conventional beginning of the ars nova. The forms of organum and conductus reached their peak development in the early Gothic, and began to decline in the high Gothic, being replaced by the motet. Though the style of the ars antiqua went out of fashion rather suddenly in the first two decades of the fourteenth century, it had a late defender in Jacques of Liège (alternatively known as Jacob of Liège), who wrote a violent attack on the "irreverent, and corrupt" ars nova in his Speculum Musicae (c.1320) vigorously defending the old style in a manner suggestive of any number of music critics from the Middle Ages to the present day.

For Bacon, Hobbes and Locke, who wrote in both English and Latin, "intellectus" was translated as "understanding". Far from seeing it as secure way to perceive the truth about reality, Bacon, for example, actually named the intellectus in his Novum Organum, and the proœmium to his Great Instauration, as a major source of wrong conclusions, because it is biased in many ways, for example towards over-generalizing. For this reason, modern science should be methodical, in order not to be misled by the weak human intellect. He felt that lesser known Greek philosophers such as Democritus "who did not suppose a mind or reason in the frame of things", have been arrogantly dismissed because of Aristotelianism leading to a situation in his time wherein "the search of the physical causes hath been neglected, and passed in silence".

Anonymous IV mentions a number of compositions which he attributes to Pérotin, including the four-voice Viderunt omnes and Sederunt principes, and the three-voice Alleluia "Posui adiutorium" and Alleluia "Nativitas". Johannes de Garlandia states that the Magnus Liber commences with Perotin's four-part organa, and makes specific reference to the notation in the three-part Alleluya, Posui adiutorium. Other works are attributed to him by later scholars, such as Heinrich Husmann, on stylistic grounds, all in the organum style, as well as the two-voice Dum sigillum summi Patris and the monophonic Beata viscera in the conductus style. (The conductus sets a rhymed Latin poem called a sequence to a repeated melody, much like a contemporary hymn.) By tradition, the four-part pieces of the Notre Dame school have been attributed to Pérotin, leaving the two-part pieces to Léonin.

OrganumLatin: "an implement, instrument, engine of any kind", of musical instruments, "a pipe", of hydraulic engines, "an organ, water-organ"; "an implement, instrument"; "a musical instrument" from Greek: ὄργανον, [organon] "instrument, implement, tool, for making or doing a thing" "organ of sense or apprehension", "musical instrument", "surgical instrument", "work or product", "instrument of philosophy" "instrument or table of calculations" — ; ; . () is, in general, a plainchant melody with at least one added voice to enhance the harmony, developed in the Middle Ages. Depending on the mode and form of the chant, a supporting bass line (or bourdon) may be sung on the same text, the melody may be followed in parallel motion (parallel organum), or a combination of both of these techniques may be employed. As no real independent second voice exists, this is a form of heterophony.

The aforementioned folio of the Gradual-Antiphoner of the Abbey Saint-Maur-des-Fossés (F-Pn lat. 12584) is probably one of the earliest sources for this popular tune, which seemed just to be an intonation formula of plagis protus with a final melisma. Florid organum itself like any tropus can be regarded in two ways, as a useful exercise to memorize a certain cantus precisely note by note on the one hand or, as a very refined and embellished performance by a well-skilled soloist or precentor. «Stirps iesse» was actually a combination of both, as a Benedicamus performed «cum organo» it was rather a longer performance during an important liturgical feast, but the troped organal voice added a certain Marian poem to it, which fixed it within the week between Christmas and New Year.

For man, by the fall, fell at the same time from his state of innocency and from his dominion over creation. Both of these losses however can even in this life be in some part repaired; the former by religion and faith, the latter by arts and sciences. – Francis Bacon, Novum Organum"We ought therefore here to observe well, and make it known unto everyone, that God hath certainly and most assuredly concluded to send and grant to the whole world before her end ... such a truth, light, life, and glory, as the first man Adam had, which he lost in Paradise, after which his successors were put and driven, with him, to misery. Wherefore there shall cease all servitude, falsehood, lies, and darkness, which by little and little, with the great world's revolution, was crept into all arts, works, and governments of men, and have darkened most part of them".

O'Rourke performing in Minneapolis, 2003 O'Rourke was born on January 18, 1969, in Chicago, Illinois, United States. He is an alumnus of DePaul University. O'Rourke has collaborated with Thurston Moore, Lee Ranaldo, Kim Gordon, Steve Shelley, Derek Bailey, Mats Gustafsson, Mayo Thompson, Brigitte Fontaine, Loren Mazzacane Connors, Merzbow, Nurse with Wound, Phill Niblock, Fennesz, Organum, Phew, Henry Kaiser, Flying Saucer Attack, and in 2006 mixed Joanna Newsom's album Ys. In 2009, he also mixed several tracks on Newsom's follow up Have One On Me. He has produced albums by artists such as Sonic Youth, Wilco, Stereolab, Superchunk, Kahimi Karie, Quruli, John Fahey, Smog, Faust, Tony Conrad, The Red Krayola, Bobby Conn, Beth Orton, Joanna Newsom and U.S. Maple. He mixed Wilco's Yankee Hotel Foxtrot album and produced their 2004 album, A Ghost Is Born, for which he won a Grammy Award for "Best Alternative Album".

Musicians playing the Spanish vihuela, one with a bow, the other plucked by hand, in the Cantigas de Santa Maria of Alfonso X of Castile, 13th century Men playing the organistrum, from the Ourense Cathedral, Spain, 12th century The flowering of the Notre Dame school of polyphony from around 1150 to 1250 corresponded to the equally impressive achievements in Gothic architecture: indeed the centre of activity was at the cathedral of Notre Dame itself. Sometimes the music of this period is called the Parisian school, or Parisian organum, and represents the beginning of what is conventionally known as Ars antiqua. This was the period in which rhythmic notation first appeared in western music, mainly a context- based method of rhythmic notation known as the rhythmic modes. This was also the period in which concepts of formal structure developed which were attentive to proportion, texture, and architectural effect.

" In Buddhist writer Dennis Lingwood's opinion, the author of The Voice of the Silence (abbreviated VS) "seeks more to inspire than to instruct, appeals to the heart rather than to the head." A researcher of NRM Arnold Kalnitsky wrote that, in spite of inevitable questions on the origins and authorship of VS, the "authenticity of the tone of the teachings and the expression of the sentiments" have risen above the Theosophical and occult environment, receiving "independent respect" from such authorities as William James, D. T. Suzuki and others. Russian esotericist P. D. Ouspensky affirmed that VS has a "very special" position in modern mystical literature, and used several quotes from it in his book Tertium Organum to demonstrate "the wisdom of the East." Writer Howard Murphet has called VS a "little gem", noting that its poetry "is rich in both imagery and mantra-like vibrations.

The fundamental note then drops by an octave, so that the sounding bass E becomes a second harmonic, with the four clarinets of Group III playing harmonics 16, 17, 21, and 22. The low E then becomes a fourth harmonic of an implied fundamental yet another octave lower, at 10.3 Hz, and the cup-muted trumpets in Group IV play harmonics 20, 21, 23, and 28. The behaviour of these harmonic tones, which roughly parallel the bass-tone fundamentals, resembles early medieval organum, but appears to be modelled on organ mixture stops, rather than on the formant resonances of the human voice, which remain in the same frequency zone while the fundamentals change below (; ). Because the winds and percussion are concealed from view (apart from the brief appearances of the solo trumpet and the military drummer), Stockhausen wondered whether people could tell the difference if those parts were just played back on tape.

Lord Bacon Francis Bacon is considered one of the fathers of modern science. He proposed, at his time, a great reformation of all process of knowledge for the advancement of learning divine and human. He called it Instauratio Magna (The Great Instauration - the action of restoring or renewing something). Bacon planned his Great Instauration in imitation of the Divine Work – the Work of the Six Days of Creation, as defined in the Bible, leading to the Seventh Day of Rest or Sabbath in which Adam's dominion over creation would be restored, thus dividing the great reformation in six parts: # Partitions of the Sciences (De Augmentis Scientiarum) # New Method (Novum Organum) # Natural History (Historia Naturalis) # Ladder of the Intellect (Scala Intellectus) # Anticipations of the Second Philosophy (Anticipations Philosophiæ Secunda) # The Second Philosophy or Active Science (Philosophia Secunda aut Scientia Activæ) For Bacon, this reformation would lead to a great advancement in science and a progeny of new inventions that would relieve mankind's miseries and needs.

In Novum Organum, the second part of the Instauration, he stated his view that the restoration of science was part of the "partial returning of mankind to the state it lived before the fall", restoring its dominion over creation, while religion and faith would partially restore mankind's original state of innocence and purity. In the book The Great Instauration, he also gave some admonitions regarding the ends and purposes of science, from which much of his philosophy can be deduced. He said that men should confine the sense within the limits of duty in respect to things divine, while not falling in the opposite error which would be to think that inquisition of nature is forbidden by divine law. Another admonition was concerning the ends of science: that mankind should seek knowledge not for pleasure, contention, superiority over others, profit, fame, or power, but for the benefit and use of life, and that they perfect and govern it in charity.

Musicians playing the Spanish vihuela, one with a bow, the other plucked by hand, in the Cantigas de Santa Maria of Alfonso X of Castile, 13th century Men playing the organistrum, from the Ourense Cathedral, Spain, 12th century The surviving music of the High Middle Ages is primarily religious in nature, since music notation developed in religious institutions, and the application of notation to secular music was a later development. Early in the period, Gregorian chant was the dominant form of church music; other forms, beginning with organum, and later including clausulae, conductus, and the motet, developed using the chant as source material. During the 11th century, Guido of Arezzo was one of the first to develop musical notation, which made it easier for singers to remember Gregorian chants. It was during the 12th and 13th centuries that Gregorian plainchant gave birth to polyphony, which appeared in the works of French Notre Dame School (Léonin and Pérotin).

Puer nobis nascitur in the 1582 edition of Piae Cantiones, image combined from two pages of the source text "Puer nobis nascitur", usually translated as "Unto Us Is Born a Son", is a medieval Christmas carol found in a number of manuscript sources—the 14th-century German Moosburg Gradual and a 15th-century Trier manuscript.John Garden, The Christmas Carol Dance Book, (Earthly Delights, 2003) The Moosburg Gradual itself contained a number of melodies derived from the 12th- and 13th-century organum repertories of Notre Dame de Paris and the Abbey of Saint Martial, Limoges, suggesting that its antiquity may be much greater.Ronald M. Clancy, Sacred Christmas Music: The Stories Behind the Most Beloved Songs of Devotion, (Sterling Publishing Company, 2008) , p.86. The song was first published in the 1582 Finnish song book Piae Cantiones, a volume of 74 medieval songs with Latin texts collected by Jaakko Suomalainen, a Finnish Lutheran cleric, and published by T. P. Rutha, a Catholic printer.

A second radical simplification became necessary, and so solmization was invented by Guido of Arezzo. On the background of his innovation, the later square notation was rather a reduction of the neume ligatures to a pure pitch notation, their performance was changed radically by an oral tradition of singing ornaments, of performing ligatures in a rhythmic way, and of more or less primitive models of polyphony which was no longer visible in the chant books of the 13th century. Thanks to Aquitanian cantors the network of the Cluniac Monastic Association was not only a problematic accumulation of political power during the crusades among aristocratic churchmen, which caused rebellions in several Benedictine monasteries and the foundation of new anti-Cluniac reform orders, they also cultivated new forms of chant performance which dealt with poetry, and polyphony like discantus and organum. They were used in all possible combinations which turned improvisation into composition, and composition into improvisation.

The term is one of four such "idols", that represent "idols and false notions" that are "in possession of the human understanding, and have taken deep root therein, not only so beset men's minds that truth can hardly find entrance, but even after entrance is obtained, they will again in the very instauration of the sciences meet and trouble us, unless men being forewarned of the danger fortify themselves as far as may be against their assaults".Novum Organum, Book I, Aphorism XXXVIII Of these, the Idola theatri are the most avoidable, being caused by particular historical situations, such as when there is a lot of interest in religion, and no strong monarch to repress such discussion. Besides idola theatri, there are also idola tribus (Idols of the Tribe, stemming from human nature itself), idola specus, (Idols of the cave, stemming from a person's particular tendencies), and idola fori (Idols of the Market Place, coming from the influence of our human language and its usages).

The term is one of four such "idols" which represent "idols and false notions which are now in possession of the human understanding, and have taken deep root therein". Because of them, "truth can hardly find entrance" in people's minds, and Bacon predicted that even after the "instauration of the sciences" which he proposes, they will "meet and trouble us, unless men being forewarned of the danger fortify themselves as far as may be against their assaults".Novum Organum, Aphorism XXXVIII They are in other words problems for science, and successful modern scientific method will need to try to avoid them. Besides idola fori, there are also idola tribus (Idols of the Tribe, coming from human nature itself), idola specus, (Idols of the cave, coming from the tendencies of particular individuals or groups of people) and idola theatri (Idols of the theatre, caused by the influence of philosophers and systems of thought).

Several schools of polyphony flourished in the period after 1100: the St. Martial school of organum, the music of which was often characterized by a swiftly moving part over a single sustained line; the Notre Dame school of polyphony, which included the composers Léonin and Pérotin, and which produced the first music for more than two parts around 1200; the musical melting-pot of Santiago de Compostela in Galicia, a pilgrimage destination and site where musicians from many traditions came together in the late Middle Ages, the music of whom survives in the Codex Calixtinus; and the English school, the music of which survives in the Worcester Fragments and the Old Hall Manuscript. Alongside these schools of sacred music a vibrant tradition of secular song developed, as exemplified in the music of the troubadours, trouvères and Minnesänger. Much of the later secular music of the early Renaissance evolved from the forms, ideas, and the musical aesthetic of the troubadours, courtly poets and itinerant musicians, whose culture was largely exterminated during the Albigensian Crusade in the early 13th century. Forms of sacred music which developed during the late 13th century included the motet, conductus, discant, and clausulae.