Faculty of Arts & Humanities

School of Media and Performing Arts

An investigation into the relationships between

music of the Notre Dame School, and Gothic
architecture in the late Middle Ages (1100-1300)
within the Notre Dame de Paris.
Nathan de Broize-King
SID - 4314507
Dissertation -306CPA

2016

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Abstract
Music and architecture are two separate entities, but believed to share common elements.
This investigation will set out to identify and explain philosophical, theological, and
arithmetical relationships between music and architecture in the late Middle Ages.
Developments such as the Gothic Cathedral, polyphonic music, and advancements of neumes
will be acknowledged and discussed. Seeing what applied specifically to the Notre Dame,
and Perotin's music, this dissertation shall end with a case study of Perotin's Viderunt Omnes
for four voices, comparing and contrasting the piece of music with elements of the Notre
Dame architecture. This will enlighten, and combine all previous research into the practical
element of a musical and architectural analysis.

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Acknowledgments

A thank you to John Habron, and Tom Williams for guiding me.
I would like to express thanks to Anais Tuansi who aided me with the technical skills to
produce figure 6.
I would like to offer my special thanks to my Grandfather who motivated me through this
time.

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Contents

Abstract......................................................................................................................................2
Acknowledgments.....................................................................................................................3
Contents......................................................................................................................................4
Table of Figures.........................................................................................................................5
1. Introduction ...........................................................................................................................6
1.1 Literature Review ....................................................................................................7
2. Chapter 1- Relationships between Music and Architecture...................................................8
2.1 Context.....................................................................................................................8
2.2Philosphical Relationships........................................................................................9
2.3 Theological Relationships......................................................................................12
2.4 Scientific/Arithmetic Relationships.......................................................................13
2.5 Polyphonic Music...................................................................................................19
2.6 Neumes ..................................................................................................................21
3. Chapter 2-Case Study of Perotin's Viderunt Omnes ............................................................24
4. Chapter 3-Conclusion...........................................................................................................30
References ...............................................................................................................................33
Appendix..................................................................................................................................37

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List of Figures
Figure 1. West Faade (NDP 2016)
Figure 2. Flying Buttresses (Lemoine 2007)
Figure 3. Main Portal of Chatres Cathedral (Vergo 2005: 71)
Figure 4. Pythagoras Musical Ratios (Janson 1995: 497)
Figure 5. Interior bays of Notre Dame (Jencks 2013)
Figure 6. Fibonacci sequence on West Fade of the Notre Dame
Figure 7. Plan on Notre Dame, 1163-c. 1250 (Janson 199: 324)
Figure 8. Bay design of Chartres Cathedral 1194 (Vergo 2005: 102)
Figure 9. Rhythmic Modes (Burkholder, Grout, Palisca 2006: 95)
Figure 10. Early neumatic notation (Vergo 2005: 110)
Figure 11. Hand drawn architecture plans from the late 12th century. (Swaan 1969: 52)
Figure 12. Opening neumes of Perotin's Viderunt Omnes (Burkholder, Grout, Palisca
Figure 13. Opening of Viderunt Omnes by Perotin (Perotin 2007)
Figure 14. Viderunt Omnes bar 31-35 (Perotin 2007)
Figure 15. Rhythmic sexpartite (Swaan 1969:110)
Figure 16. Notre Dame buttresses (Swaan 1969: 112)
Figure 17. Viderunt Omnes bar 90-94 (Perotin 2007)
Figure 18. Viderunt Omnes bar 60-64 (Perotin 2007)
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Introduction
The investigation will discuss philosophy and theology, and its relationships with architecture
in the forthcoming chapters. After discussing these elements this investigation shall lead into
the arithmetical relationships, which mainly derive from previous philosophies of Aristotle,
and Pythagoras.
During the late Middle Ages (1100 - 1300) the Romanesque style of architecture gave way to
Gothic, otherwise known as the French (or Ogival) style. This change 'was in favour of
greater individuality and originality' (Harvey, J. 1972: 32). This study will delve into what
elements of Gothic Cathedrals, (specifically the Notre Dame de Paris) and music in the Late
Middle ages could be related. I shall discuss aspects such as the philosophies, theologies, and
arithmetic (mathematics and geometry), leading this study into the development of polyphony
within the Notre Dame. This subject is vast, and will prove appropriate thus leading into the
development of notation. To conclude the findings, a polyphonic piece by Perotin (Viderunt
Omnes) will be analysed to explore the relationships between music and architecture stated in
the previous chapters. These results can improve an understanding of knowledge regarding
relationships between music and architecture, and improve awareness of how different
elements of history effected each other. The only study that shows all these relationships
between music and architecture ( but not in the Notre Dame) is The Divine Order, however,
this thesis will concentrate on comparing specific liturgical music, like Viderunt Omnes to
Gothic architecture within the Notre Dame de Paris which has not yet been studied.
Therefore, this dissertation is: an investigation into the relationships between the music of the
Notre Dame School, and Gothic architecture in the late Middle Ages (1100-1300) within the
Notre Dame de Paris.

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Literature Review
The literature being reviewed had to provide comprehensive knowledge of Gothic
architecture, a history of western music, and histories of philosophy and theology in Western
Europe. Dr Evans, G. R. was a lecturer in History at the University of Cambridge, and her
book The Philosophy and Theology in the Middle Ages discusses the obvious given in the
title, but also the interesting idea of how the boundaries were in dispute of these two elements
. Additionally it gives a geographical context of why certain places followed specific
theologies and philosophies. A short piece of writing, Music and Architecture, by L. Higgins
discusses analogies between music and architecture, and he goes into further detail about
cathedrals and music, which is where this study will be progressing to. Higgins says '...a
cathedral is built of stones, a symphony of sounds-but they are both built'. After he compares
stones and sound he resolves this comparison with '...they both possess Form' (Higgins, 1925:
509). This is interesting because he compares and contrasts. The Divine Order will be the
main influence in this study due to its discussions on theory of art, leading into Pythagorean
and Platoean philosophies, which will be important to understand relationships of music,
maths and visual arts. Furthermore this book specifically discusses Gothic architecture and
polyphony, as well as the affinities between them. Music and Ceremony at Notre Dame of
Paris, 500-1500 gives insight to the sacred life in the late middle ages and more specifically
the repertoire, performance, and biographies of Leonin and Perotin. This information is
invaluable as it is the lives of the two most mentioned composers within the Notre Dame
school in this period.
Literature such as The Medieval Architect is interesting in the sense that it often relates music
and architecture, comparing them as arts, and mathematically as sciences. The author, John
Harvey was an architectural historian, giving this study views from the architects point of
view, rather than the musicians. Having views from both musicians and architects is
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important in understanding the relationships. Other literature such as Medieval Music and the
Art of Memory, and The Notation of Medieval Music are beneficial by confirming information
in other books, and the latter in visual representations of scores used in the middle ages
proving vital for the case study.
The recurring name in most of these sources if from an Englishman going by the name
'Anonymous IV', who wrote a treatise in c.1270 while he worked at the Notre Dame. His
information is consistent throughout the literature used in this investigation.
Chapter 1
Relationships between Music and Architecture
Context
To understand the values of Western Europe in the late middle ages there must be context on
how their beliefs emerged. In 476 AD the Roman Empire fell, and Christianity began
following two paths, thus resulting in two separate theologies and philosophies. The
Byzantine Christians moved east towards Turkey and Greece, taking with them philosophies
of predominantly Plato. On the other hand, Roman Catholics moved to Western Europe
following Aristotelian and Pythagorean ideals. This background provides an insight to the
way of thinking in the middle ages in Western Europe, because religion, which was such an
integral part in society, would inevitably affect the roles music and architecture had in
worship.
Philosophical Relationships
In Western Europe, the philosophies followed are mainly that of Pythagoras, Aristotle and
partly St Augustine, however it is also possible Platoean ideals were present, despite them
being primarily used by the Byzantine branch of Christianity that moved East.
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'Music...seems to have dominated Greek thinking about the nature of humankind, about our
moral and emotional constitution and our relationships with the world and the cosmos'
(Vergo, P. 2005: 58) This quote shows Aristotle and Plato discussed the social, ethical and
political effects of music, coming to the understanding that music was a powerful part in
society and 'is capable of creating a particular quality of character in the soul' (Aristotle cited
in Vergo, P. 2005: 59). This means that having a good education in music will lead to a 'wellregulated' (Plato cited in Vergo, P. 2005: 59) society. So if music can have these affects on
society then surely so can the visual arts? No, according to a few writers in the Roman
period 500 years later. They debunked the idea claiming music to be tones assembled for
pleasure only. These writers were the minority; however still, the majority agreed that art can
influence behaviour and mood; leading to the question, is architecture art? Graham in
Philosophy of the Arts battles with this idea comparing it to music and painting. Music can
serve practical purposes, be it drowning out the sound of a crying child, and aesthetic
purposes, like the incidental music in film or theatre. This music can be seen as good or bad
by different people, however if a building collapses, it is 'an architectural failure' (1997: 133).
Architecture has practical utility, even more so with cathedrals such as the Notre Dame
because of its grandeur, needing not only room for its large congregation of '9,000 people'
(Bony 1951: 28) and comfortable setting for worship, but its acoustic properties that enhance
the sound the of the choir. A cathedral has to function firstly as a safe, secure building for
worship, and secondly as visual art usually displaying religious history and events.

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The philosophical ideas of St Augustine were present up to the 1100's, however they
dissipated during the 1200's. In this time the Notre Dame was still under construction. It
seems reasonable St Augustine's view of God being the 'exclusive purpose of life' (Swaan
1969: 24) could have been popular in the sense of building grand, elaborate cathedrals for
worship, which in turn could have led to more elaborate music for praise. Furthermore he
believed that this world was a 'reflection of the divine' (Swaan 1969: 24), and the spiritual
truth was 'sought behind mere physical appearances' (Swaan, 1969: 24). These quotes suggest
that Gothic architectures' elaborate designs begin to reflect the divine. There is cause that
Perotin's music similarly becomes more ornamental, due to the polyphonic developments.
Science and mathematics began taking a forefront in academia alongside theology and
philosophy during the 1100's, most likely why St Augustine's teachings diminished, as he .
The teaching of Aristotle which flourished, led to a society that was no longer anarchic, but
hierarchical, with everyone playing a vital part. There were conflicts of views however, as
there are in any society, and according to Swaan this influenced the ostentatious design of the
Gothic cathedrals. (Swaan 1969: 29)

Figure 1. West Faade (NDP 2016)

Figure 2. Flying Buttresses (Lemoine 2007)

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Figure 1 shows the west faade of the Notre Dame, (width of 41m and height of 43m, not
including the spire) The nave was 35m, towering over its Romanesque predecessors with the
highest being 25m (Bony 1951: 28) . The flying buttresses (Appendix 2) (new to Gothic
cathedrals), shown in figure 2 with a photo by Jean Lemoine, reinforce the tall towers and
shift the weight, resulting in the possibility for larger constructions. This new level of height
represents not only a milestone in architectural design, but symbolises coming closer to the
heavens (Frankl 1964: 56) . There is a strong interaction between horizontal and vertical
lines. The verticalness is seen on the left and right of the faade, however the horizontalness
contrasts this height by bringing the building 'back down to our mortal earth' (NDP 2016)
This harmony of vertical and horizontal could mirror the later development of vertical lines in
music that developed above the usual horizontal plain chant, resulting in organum. This is an
indication of relationships between architecture and polyphonic music.
The Gothic Cathedral was not created at one set point in time. It evolved, and not necessarily
due to an individual. Hauser states that they were 'not produced...according to plan' (1959:
197). He furthers to say it is extremely unlikely that one individual was the reason for the
Gothic Cathedrals elements. 'if one were to penetrate "deep enough," one would find nothing
but impersonal, superindividual, intersubjective forces.' (1959: 200). Hauser's statement
points out that the evolution of art is down to many factors, that may have embodied
themselves into one person, but not the sole ideas of one person.
Philosophical views often lead to theological, scientific and arithmetical views of the world,
so it is difficult to separate them. Plato in particular believed the natural world could be
explained with mathematics, as did Pythagoras, who he established the relationships between
string length and pitches. (Mitrovi 2011: 57) These numerical breakthroughs would
eventually lead civilisations to link numbers with religion, as we still do to this day, for
example, 666 represents the unholy trinity, where as three represents the holy trinity.
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Theological Relationships
Religion in Western Europe during the late middle ages was primarily Christian. During the
building of the Notre Dame de Paris in the 12th century, there was also the Notre Dame
School of Polyphony, which was active during and after the building of the cathedral. The
most commonly named composers in this school were Perotin, and Leonin, who was thought
to be Perotins' master. Parallel to these writing music, was the building of the cathedral.
According to Berger there was a 'large choir run by Leonin and Perotin' (2005: 112) which
would have been active during the Notre Dame's construction, which started in 1163 (over
the previous cathedral of St Stephen) (NDP 2016). It is very likely an interaction between
musician and architect arose, due to them working within the same space for decades. This
could have led to both sides having a greater understanding on how one art effects the other.
This leads to Harvey's statement, claiming '...all greater churches designed for choir voices'
(1972: 176). But why was this? Potter and Sorrell voice that in churches, singing 'fulfills a
vital function' (2012: 40). Singing was (and still is) the most common way of praise in the
church. It is a way of becoming closer to God. So erecting such a grand cathedral with 'vast
expanses of bare, stone walls around which musical sound can endlessly swirl' (Wright 1989:
13) would produce a magnificent sound when the choir sung. This is due to the reverberation
time, according to Dart, who says that plainsong, and in particular Leonin's and Perotin's
music 'is perfectly adapted to the acoustics of the highly resonant cathedral' (1954: 56). Dart
claims that composers have always had an awareness of acoustics and classifies these into
outdoor, room, and resonant. Resonant music like plainchant naturally evolved in spaces like
cathedrals. Perotin's Sederunt principes would have been one of his first polyphonic pieces
sung in the Notre Dame. Throughout this piece there are phrases in each voice which finish
before the end of the bar. Obviously singers need time to breath, but on the other hand it
could be to give time for the sound to decay so the sung text is as clear as possible without
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having inaudible phrases (Peregrinus, Pitts, 2005). This shows a relationship between
architecture and the composer, for being aware of their surroundings and writing music
accordingly.
The Notre Dame in the Middle Ages would not only be a place of worship, but the centre
place for the community. It may not have been as revered as people imagine according to
Wright who says there were dogs roaming the cathedral and that 'murderers and prostitutes
hid in the vaults' (1989: 12). In contrast to this are the scholasticisms of the time. Students
learnt the quadrivium, which are the advanced subjects of music, astronomy, arithmetic and
geometry. These subjects along with theology and philosophy make it likely that elements of
architecture and music intertwine. (Swaan, 1969: 24)

Arithmetical Relationships
Vitruvius, an architect and engineer born around 80BC who is loosely known as the first
architect wrote the earliest known books about architectural theory. In his first book he
describes what attributes an architect should have. He states one should 'have a command of
geometry', also that 'arithmetic is necessary', furthermore that knowledge of 'music is
desirable' (Kruft 1994: 24). The idea that music is related to architectural geometry and
arithmetic has been discussed from Vitruvius in 10BC up to present day. Harvey expresses
many correlations between music and architectural arithmetic, stating that 'architecture is a
solid counterpart of music' (1972: 176) and 'both arts rest firmly upon the same mathematical
basis' (1972: 176).
Pythagoras in the blacksmith, discovering the consonance of the octave, fourth, fifth, and
how they are mathematically achieved is a popular story. Here he discovers the foundation

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regarding ratios for musical harmony. The octave being 1:2, the perfect fifth being 2:3, and a
perfect fourth being 3:4. These consonances (including unison of 1:1) if added together came
to ten. The number 10, also known as the 'mystical tetrakys' (Vergo 2005: 34) which were
'the basis of everything' (Vergo 2005; 34) in ancient Greek philosophy. (Vergo 2005: 33, 34).
Vergo goes on to say that the discovery of these ratios 'have exerted a remarkable hold on the
imagination of later periods' (2005: 71). Undisputable evidence for this can be found on
Chatres Cathedral's royal portal which is a medieval cathedral 50 miles from Paris, and built
only a few decades after. Its art work depicts Pythagoras with musical instruments.

Figure 3. Main Portal of Chatres Cathedral (Vergo 2005: 71)

Music became more articulated, as an 'exact and systematic division of time' (Panofsky cited
in Vergo 2005: 95) was established. These were the breve, semibreve, and minim. This was
then paralleled in the visual arts with systematic division of space. (Vergo 2005: 95). Grid
paper was used for architectural drawings from Ancient Egypt through to the Gothic era and
beyond. It means the architect can design the buildings proportions accurately. Harvey
expresses the different mathematics used when designing cathedrals. The apse (the sizeable
recess in a church, with a domed or arched roof) for instance, was 'based on the symbolic
number 7' (1972: 120). Plato was also an influence as his 'succession by squares (1, 3, 9, 27)
determined the lines of the main portal' (1972: 120). The most influential however, was
Pythagoras and his 'musical numbers (2, 3, 4, 6, 8, 9, 12)' (1972: 120). These were
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fundamental to the 'order and stability in the universe...and to beauty in the arts' (1972: 120)
The numbers derive from the consonant ratios mentioned earlier, 3:4 is the fourth, as is 9:12.
The fifth can be equal to 4:6 as well as 2:3. These denominations of fractions came to be
when combining different intervals on the same string during Pythagoras's experiments.

Figure 4. Pythagoras Musical Ratios (Janson 1995: 497)

Figure 4 shows a tablet which Pythagoras may have tried to explain these ratios on. The
Roman numerals at the top show 6, 8, 9 and 12; also giving visual representation of string
length. At the bottom are 10 number ones, representing the previously mentioned sacred
'tetractys' (Vergo 2005: 34).
The official Notre Dame website (NDP 2015) has measurements of the framework for the
cathedral. Interestingly it is 120m long (multiple of 12), the nave is 13m wide, the transept is
40m (multiple of 4), and the height is 10m (sacred tetractys). Trying to find common
denominators between musical numbers in architecture can seem precarious at first thought.
Would people look at the Notre Dame and think about its proportions and its relation to
musical intervals? The architects who built it probably would, as they could have designed it
in that way. In fact, Harvey says that the 'bay design is equivalent to sonata form' (1972:
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176), and Vergo mentions 'musical proportions...creating harmony for the eye' (2005: 14). It
seems like architects think like musicians when composing buildings.

Figure 5. Interior bays of Notre Dame (Jencks 2013)

Figure 5 shows the interior bays and its superimposed three levels, like the three sections of
Sonata form. The design looks almost rhythmic. Jencks compares these three levels of the
cathedral with music, by claiming that 'these horizontal areas can be seen as different choral
voices' (2013). Perhaps a coincidence that Perotin composed and performed the newly
forming polyphonic plainchant within the Notre Dame? Or perhaps his surroundings
influenced his writing?
The lower level shows one bay, and it looks stable , whole and simple. Similar to the vocal
bass line in Perotin's Sederunt principes, which is acts a pedal note. The tenor line, which by
tradition holds the main melody, is represented by the middle level, showing a little more
complexity, rhythm and ornamentation. Paralleled to this in Sederunt Principes is the
rhythmic motif repeated throughout. The stained glass at the top can represent the florid
organum, which was used to rhythmically or melodically embellish, ornament, and enhance
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the performance, especially used in Perotin's later music such as Viderunt Omnes, which
contrasts to the monophonic piece Beata Viscera (Peregrinus 2005). This glass certainly
enhances the cathedral; even more so during the birth of the Notre Dame. That is because of
the 'political stability of France... it meant it was the capital of Western Europe' (Harvey
1972: 130). That resulted in France becoming leaders in stained glass. The Notre Dame,
according to Swaan, had the largest and earliest window of stained glass. (1969). The glass
was something completely unique to Gothic architecture because the other elements, such as
the skeleton like buttresses, the vaults, and bays (Appendix 1, 3 and 6) were all developed
from earlier Romanesque cathedrals. Due to travelling architects heading to Paris, all their
knowledge of constructing cathedrals from around France and other parts of Europe
contributed to the style now known as Gothic. (Janson 1997: 322)
Figure 1, showed earlier, presents the West Faade in all its glory. Mathematically it abides
by the Golden Ratio, and the Fibonacci sequence. Whether this was intended seems unlikely,
as the Fibonacci sequence was only becoming refined during the building of the Notre Dame
in the 1100's. However, it is likely the sequence is present, as it is present throughout nature.
Figure 6 shows the possibility that ratios of the Fibonacci sequence are present within the
West Faade.

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Figure 6. West Faade of the Notre Dame (NDP 2016) adapted with Fibonacci sequence.
There is a strong correlation between the sequence and music. The first seven numbers are 0,
1, 1, 2, 3, 5, and 8. Stated earlier were the octave, fourth and fifth, however more
combinations using the sequence results in more harmonies which were emerging towards the
13th century in Perotin's music, such as 5:2, 3:5, 5:3, 8:5, which are a third, minor third,
sixth, and minor sixth respectively. (Meisner).

Figure 7. Plan on Notre Dame, 1163-c. 1250 (Janson 199: 324)

The length and width ratio of figure 7 equals roughly 8:3, or 3:8, which in musical term is a
fourth, and fifth. These are very common intervals found in all plainchant and Perotin's

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music, also known as 'perfect musical consonances' (Swaan 1969: 51). Beothius, a
philosopher born in 480 AD and who supplemented Augustine and Plato's philosophies says
'Geometry makes the visual consonance' (Boethius cited in Harvey 1972: 121). It is believed
in the middle ages that the beauty of musical consonances could be embodied within
architecture for visual beauty. This applies more so to churches and cathedrals where
worship, beauty and song are very important. In addition to this is again, a theory of Matthus
Roriczer, reiterated by Swaan, claiming that the West faade of the Notre Dame (figure 1) is
based on 'a sequence of four squares...that is, each twice the area of the smaller square' (1969:
118). He furthers to say the 'squares are used to build up an overall rectangle in the
proportion 2:3' (1969: 118). This is showing the ideals of St Augustine's architectural
proportions which are 'based on musical consonances' (1969: 118).

The Relationships between Polyphony and Architecture

Composing and building essentially are the same process. The architect designs a structure to
fill space, and the composer writes music to fill time. Before Perotin and Leonin in the Notre
Dame School, there was a very basic form of polyphony. It would have been unrefined and
still questionable to the clergy and those who heard it. Imagine hearing for the first time,
intertwining voices, singing text at different times, and using melismatic phrases that seem to
counter each other with new dissonance. It could have seemed to people in the late middle
ages like what Berio's Sequenza III sounded like to the first listeners in 1965.
Before polyphony developed there was monophony, which was just a single line, also known
as plainchant. With the all male choir in the late middle ages, the music often involved
doubling at the 'interval of a fifth or fourth...resulting in a richer and more sonorous effect'
(Vergo 2005: 108). Vergo also claims that the development to polyphony was 'perhaps
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inevitable' (2005: 108). This may have been out of curiosity while rehearsing, or even
accidents while pitching. Polyphony prevailed nonetheless, and it spread throughout Europe.
Perotin composed complex two, three and even four part polyphonic vocal lines, known as
organum duplum, triplum, and quadruplum respectively.

Figure 8. Bay design of Chartres Cathedral 1194 (Vergo 2005: 102)

Figure 8 shows the bays at Chartres Cathedral, which was built in a similar time to the Notre
Dame. It is important due to the navel bays shown. It is a good visual representation of the
rhythmic repetition on all three superimposed levels like shown in figure 5. The Gothic
culture was becoming more stylistic, with greater 'displays of virtuosity' (Swaan 1969: 110)
in architecture and music, and this would eventually lead to the rhythmic modes in
polyphonic music. Figure 9 shows rhythmic modes used in the vocal parts in organum.

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Figure 9. Rhythmic Modes (Burkholder, Grout, Palisca 2006: 95)

The rhythmic modes Perotin uses shown here (especially one, two, and six), are found in
many of his pieces, such as Viderunt Omnes, and Sederunt principe. The 6th mode especially
parallels figure 5's middle level bay with three distinct spaces.
The advancements of polyphony had come along so quickly in the 13th century with Perotin
that sacred songs were no longer the sole reason for music. Theatre and secular music were
becoming more popular, and were 'presented exclusively inside churches' (Janson 1997: 327)
and cathedrals. Perotin's complex polyphonic pieces were used in secular music come the
13th century, which took advantage of the Notre Dame for the performance space. It is
probable that space was used due to its grandeur, visually and acoustically.
The Relationships between Neumes and Architecture
Leonin and Perotin's music is some of the first to introduce organum ( Perotin then took it
further developing organum quadruplum), and have the neumatic notation survive. This
means comparing the visuals of architecture and notation are possible. Architecture is a visual
art, and during the Gothic era the geometrical systems became more 'elaborate' (Harvey 1972:
30), thus the need for more accurate drawings. The same can be said for the neumes of
Perotin's polyphonic music.

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Figure 10. Early neumatic notation (Vergo 2005: 110)

Figure 10 is an example of neumatic notation before the 'heighted neumes' (Vergo 2005: 110)
were developed. This simple notation excludes staves thus inaccurate pitches and rhythms. In
Bergers words, 'neumes are an ambiguous notational tool' (2005: 49). Once the development
of staves (starting with two lines) begun, then so did the development of polyphonic
composition. Notation was necessary for the vast amount of chants the monks needed to
memorise (2005:109), so this visual representation of music reduced the time taken to learn
it, and helped in memorising.

Figure 11. Hand drawn architecture plans from the late

12th century. (Swaan 1969: 52)

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The architectural drawing of the late 12th century would have looked like figure 11. It uses
grids for more accurate measurements, also making it clearer to derive the ratios that relate to
consonant musical intervals talked about in previous chapters.
Swaan says that not many drawings of plans in the 11th and 12th century survived because of
their poor quality drawings, so would have been 'cut up and used for the obituary'. (1969: 99).
Sheet music was treated in a similar way.
The advantage of grid paper is that the architect can draw, in proportion, the cathedral thus
sharing this with the builders so they can visualise the building and construct it. Its use is
similar to music manuscript, as it is a visual representation of the composer/architects ideas.
The architects grid paper however is much more accurate than the medieval composers
manuscript. The neumes in figure 10 were soon to evolve, using the rhythmic modes and
more accurate use of pitch. It would have been fundamental to the teaching of Perotin's
organum quadruplum because the complexity of the piece Viderunt Omnes would be much
easier to learn with more accurate visuals. Figure 12 displays the heightened neumes.

Figure 12. Opening neumes of Perotin's Viderunt Omnes (Burkholder, Grout, Palisca
2006: 101)
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'Drawings, in some form, are as essential a means of transmission of ideas between designer
and workmen as is some method of musical notation essential to the performance of all
complex harmonized and contrapuntal music' (Harvey 1972: 101). Just like the plans for
erecting a cathedral transmit the ideas to the workers, figure 12 transmits the plans for
performing the complex four part organum of Perotin's Viderunt Omnes. Figure 12 is much
more structured than figure 10, as were the plans in figure 7 to 11. The Gothic age brought
about more organisation, and stricter ways of visual communication.

Chapter 2
Case Study on Viderunt Omnes by Perotin
Perotinus Magnus (the great), is estimated to be born in the late 11th centruy (c.1180), while
his master, Leonin, is thought to have been born earlier in 1150 - c.1201. This information is
mainly known through a 'treatise from about 1275 by an Englishman known to us only as
Anonymous IV'. Anonymous IV's treaty has appeared in nearly all literature on this subject,
however from the dates of birth it is likely Anonymous IV only heard stories of Leonin and
Perotin, not actually meeting them. (Burkholder, Grout, Palisca 2006: 96) (Wright 1989: 288)
Perotin would have been born during the building of the Notre Dame, and would have been
active around the 1200's. The choir and apse were completed in 1182, meaning Perotin would
have been in his 20's when active in the Notre Dame. It is likely that the relationships
between architecture and music were present in Perotin's music due to the construction of the
cathedral throughout his life.

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Figure 13. Opening of Viderunt Omnes by Perotin (Perotin 2007)

Rhythmic mode one is prominent in the opening. It repeats this rhythmic ostinato in the
duplum, triplum and quadruplum parts. The tenor stays on the tonic and holds the tonality in
F for 30 bars. Perhaps the tenor is to represent the rigid lower bays in figure 5, while the
above levels become more articulate with more melodic and rhythmic decoration. Just like
the smaller columns becoming a division of the lower. The upper three parts initially sing in
rhythmic unison, however their melodies start on different notes (perfect fourth) and move in
contrary motion, thus resulting in the minor third. This third was a rarely used harmony, and
not seen as 'perfect' unlike the fouth and fifth. The third is predominantly heard on passing
notes, so does not draw attention to itself. The end of each bar in figure 13 ends on an open F
chord, then stops for a beat (apart from the tenor). This could be because of the reverberation
time in the Notre Dame, hence stopping to let the sound decay. This makes the words clearer,
especially in bar 32 (figure 14) where the syllables change.

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Figure 14. Viderunt Omnes bar 31-35 (Perotin 2007)

Burkholder says the music 'must have filled the cathedral with mesmerizing sound,
overpowering the sense of hearing just like the tall columns, stained-glass windows, and
delicate stonework overwhelmed the sense of sight, and moving worshippers to deeper
devotion' (2006: 99). The polyphony, just like the Gothic architecture, was an 'upgrade' on
worship per say. The intertwining lines gives a sense of wonder, as does the grandeur of the
Notre Dame.
Figure 13 has the upper three parts in unison, as oppose to figure 14's canon like motif with
the discant following the fifth rhythmic mode. The unison parallels the bays down the
nave,however figure 14 is more complex, with rhythms intertwining, like the sexpartite
vaultings 'fascinating rhythmic sequence' (Swaan 1969:110) and the 'sheer poetry' (1969:
112) of the buttresses in figures 15 and 16. This comparison shows a strong relationship
between rhythm and structure.

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Figure 15. Rhythmic sexpartite

Figure 16. Notre Dame buttresses

(Swaan 1969:110)

(Swaan 1969: 112)

Burkholder, Grout and Palisca mention the difference between the first 30 bars, (partly
shown in figure 13) and the section beginning in figure 14, being the phrase lengths. Figure
13's phrases finish at the same time, giving space to breath and sound to decay. Figure 14
however does not, because they are at 'rest at different times, producing longer spans.'
(Burkholder, Grout, Palisca 2006: 102). Having the phrases move like this meant Perotin's
pieces lasted for much longer than Leonins, and were more 'grandiose' (2006:103). Also they
compare Perotin's Viderunt Omnes to a 'carefully designed structure of pillars, arches, and
flying buttresses' (2006:103). This all 'evokes the awe appropriate to its religious setting'
(2006:103), all reiterating Harvey's comment earlier of churches being designed for choirs.
(1972: 176)
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Wright describes the difference between Perotin, and composers before him, like Leonin,
with liturgical polyphony. The first polyphonic styles were 'virtuosic, linear' (1989:289) and
'dependant on improvisatory technique' (1989: 289). Perotin, in contrast, organised the music
to a greater extent, leaving the 'wide-ranging melismas' (1989: 289) and replacing them with
'shorter, often symmetrical phrases' (1989: 289). These are crafted in such a way to achieve
an 'original form of musical architecture' (1989: 289).

Figure 17. Viderunt Omnes bar 90-94 (Perotin 2007)

Bar 91's quadruplum line begins with the sixth rhythmic mode, and the fifth mode is sung
underneath, showing clearly the vertical complexity and different rhythmic durations seen in
figure 5's navel bays.
Panofsky claims that during the Gothic period, a defining characteristic is that all the arts
followed a 'coherent' (Vergo 2005: 128) system of organisation. The architectural space with
its strong rhythmic elements mirrors the new musical division of note values, known as the
rhythmic modes, consisting of breves and semibreves.
The discant of this piece may sound like the most impressive and important part, however it
is held together because of the tenor, which in Latin (tenere) means 'to hold'. It is the
equivalent of the foundation before constructing a cathedral. Starting from ''the ground up''
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(Vergo 2005: 126) means you can work the harmony vertically upwards. Naturally this is the
way people design, for instance, the Notre Dame would have had its foundations laid then
built upwards. Cathedrals are decorated at the highest points, which is personified in Viderunt
Omnes, with the evolving rhythmic modes and greater melodic development in the
quadruplum and triplum. The tenor rarely moves and has very little rhythmic variation.
The proportions, mentioned in chapter one are important throughout the piece. It opens with
the interval of a 5th and 4th, creating an octave on F. Already this shows proportions of 2:3,
3:4 and 1:2. 2:3 are the proportions of the West faade according to Roriczer (Swaan 1969:
118). These intervals have been common from early plainchant however, so they are not a
new technique to the Gothic era, unlike other intervals such as the third and sixth.

Figure 18. Viderunt Omnes bar 60-64 (Perotin 2007)

In bar 61, for one of the first times in organum there is an interval of a major 3rd (5:4), and
commonly throughout we see the interval of a major 2nd (9:8). Finding out if these
proportions were present within the construction of the Notre Dame may prove Higgins's
point about the 'tendency in people's minds to make comparisons and to seek analogies'
(1925). Vergo also says 'I do not for one moment believe that these proportional relationships
were conceived or intended as 'consonances for the eye'' (2005: 126). This is not to say there
is no 'affinity' (2005: 125) between them. As explained in previous chapters, there seems to
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be definite comparable elements. It is not known if these were intended or not, as there are
affinities between all arts. It just so happens architecture can be seen as a 'solid counterpart' of
music' (Harvey 1972: 176).
Perotin's Viderunt Omnes is much like his other organum quadruplum piece, Sederunt
Principes. The same rhythmic modes vary more, however, the melodies are similar, the
phrasing is similar lengths and harmony is essentially the same. One could say the coherence
of his organum mimics the coherence of the cathedral. The bay design from naves is similar
to that in other places, and the vaults in the nave are rhythmically less complex than the
sexpartite vaults in the double isles (Swaan 1969: 110).
Within the literature reviewed for this dissertation, there have been many similarities with
terminology. When architects describe architecture they use words such as rhythm, structure,
harmony, form, decoration, and ornamentation. These are common musical terminologies and
thus show architects and musicians think alike. Harvey claims that music and architecture
firmly rest upon the same mathematical foundation (1972: 176) which reinforces Vergo's
point that 'architects looked to music to solve problems as they came across similar problems'
(2005: 14)
Chapter 3
Conclusion
In summary, this dissertation has investigated the philosophical elements of music and
architecture, firstly exploring how this philosophies came to be in the late Middle Ages due to
their paths in history. Secondly it explored the social beliefs of this periods music and visual
arts. The same was done in a theological manner, discussing religious elements of music and
the church and how relationships were formed.

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A large part of the investigation involved arithmetic. This is the foundation of music and
architecture and where many relationships were discovered and explained. The arithmetic
was derived from philosophies of Plato, Pythagoras and Aristotle mainly, and to an extent,
theologies played a part, but it was important to separate these elements for clarity. Unlike
most the literature reviewed, this dissertation goes into details about neumes, and comparing
them physically to architectural plans. This leads to an interesting point looked at before, with
Vergo saying there is 'no evidence to show that such influences occurred.' (2005: 125). This
investigation cannot prove unequivocal relationship between music and architecture. It can,
however, prove an affinity between them, whether it was known or not in the Middle Ages.
As this studies literature is all opinions made from secondary sources, mainly from
Anonymous IV, it is difficult to truly understand thinking of the Middle Ages, and the
evidence such as architectural plans and neumes may not be accurate. This meant cross
referencing was the best way to arrive at an accurate conclusion for the points being made.
There was the limitation of not having first hand sources, also, many sources from the Middle
Ages have been translated differently, meaning inconsistencies in some literature.
As this was a comparison of music, a sense for the ears, and architecture, for sight, it meant
that visuals were needed hence the figures of the Notre Dame. This helps with understanding
relationships of two entities that 'on the face of it...have nothing in common at all' (Higgins
1925: 509). This investigation has thus, gathered information from architecture and music
scholars to show the possible relationships of music and architecture within the 1100's 1300's. Both subject areas compare a lot to each other, and use similar methodology to
compose, aesthetically please, and create a deeper setting for worship. There is no definitive
evidence of polyphony being influenced by the Gothic visuals, and none displaying musical
ratios being used consciously in design. However the arts do influence each other, no matter
what era of time. This leads to the conclusion that there were relationships, some stronger
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than others, but no decisive evidence proving it was all a conscious choice to intertwine
methods.

word count (with abstract) - 6380

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Appendix

1. Buttress - a support that reinforces walls

2. Flying Buttress - a buttress that stems from another column and supports the wall, forming
an arch.

3. Vault - typical of churches, where the roof is arched (or has a series of arches)

4. Sexpartite Vault - where three transverse ribs, and two diagonal, divide a rib vault into six
bays.

5. Nave - the centre of a church/cathedral where the congregation would sit.

6. Bay - the open space between two adjacent supports (columns or piers in a church)

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