Talk:Sequence (musical form)

Music Group
I have created the beginnings of a page on Sequentia (music group). If there are no objections, I will come back and remove the bit on Sequentia at the bottom of this page and create a disambiguation page about the two of them. Cheers. Makemi 06:34, 17 December 2005 (UTC)

Accuracy of information on Notker
The information on Notker isn't quite right. His collection of sequences was the Liber hymnorum, not Sequentiae. Also, it is now believed that the sequence Media vita was not by Notker, although it was misattributed to him in the Middle Ages. See the article on Notker in the Catholic Encyclopedia at http://www.newadvent.org/cathen/11125b.htm.

I'm completely new to editing Wikipedia, so I wanted to err on the side of caution and post here. Any objections to editing the article as follows:

The name sequentia, on the other hand, came to be bestowed upon these hymns as a result of the works of Notker Balbulus, who during the tenth century popularized the genre by publishing a collection of sequentiae in his Liber hymnorum. Since early sequences were written in rythmical prose, they were also called proses (prosae). One well-known sequence, falsely attributed to Notker during the Middle Ages, is the prose text Media vita in morte sumus ("In the midst of life we are in death"), which was translated by Cranmer and became a part of the burial service in the funeral rites of the Anglican Book of Common Prayer.

Sequences are distinguished by a structure dominated by couplets. Musically, sequences fall into early, middle, and late periods. In the early period, sequences such as Notker's often included single lines that were not part of a couplet. These single lines most often appeared at the beginning or end of the sequence, but could also appear in the middle. Sequences in the middle period, such as the sequence for the Mass of Easter Day, Victimae paschali laudes, are less likely to have single lines outside of couplets, and their couples are more likely to rhyme. Later sequences, such as the sequence for Pentecost, Veni Sancte Spiritus, showed increasing regularity of structure, with rhyming couplets throughout.

As documentation, I'll add Richard H. Hoppin's Medieval Music and Richard L. Crocker's The Early Medieval Sequence, as well as the above link to the Catholic Encyclopedia.

Peirigill 10:00, 23 April 2006 (UTC)


 * You should change it. This page isn't that clear anyway and those are pretty authoritative sources. I'm also trying to remember, what are the five (I think) sequences that became allowed in the Tridentine Mass? This page needs to have the history brought up to then. I've been working on improving the pages for the chants of the medieval Mass, referring mainly to Hoppin. You should contribute to those as well if you know more. You can reach them from the template at the foot of the page. Rigadoun 15:47, 25 April 2006 (UTC)

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