View source for Pérotin

{{short description|12th century French composer}}
{{Use dmy dates|date=December 2024}}
{{Use shortened footnotes|date=August 2023}}
{{infobox person
| name          = Pérotin
| other_names   = Perotinus, Perrotinus, Perotinus Magnus, Magister Perotinus
| years_active  = {{floruit|{{circa|1200}}}}
| nationality   = French
| occupation    = Composer
| known_for     = [[Polyphony]]
| notable_works = ''[[Viderunt Omnes#Perotin|Viderunt omnes]]'', ''Sederunt principes'', ''Alleluia Nativitas''
}}
{{Medieval music sidebar|expanded=figures}}

'''Pérotin'''{{refn|Pérotin's name is recorded in many variants, including '''Perrotinus''', '''Perotinus Magnus''', '''Magister Perotinus''', and '''Perotinus'''.{{sfn|Roesner|2001}}|group=n}} ({{floruit|{{circa|1200}}}}) was a composer associated with the [[Notre Dame school]] of [[polyphony]] in Paris and the broader {{lang|la|[[ars antiqua]]}} musical style of high [[medieval music]]. He is credited with developing the polyphonic practices of his predecessor [[Léonin]], with the introduction of three and four-part harmonies.

Other than a brief mention by music theorist [[Johannes de Garlandia (music theorist)|Johannes de Garlandia]] in his ''[[De Mensurabili Musica]]'', virtually all information on Pérotin's life comes from [[Anonymous IV]], a [[pseudonymous]] English student who probably studied in Paris. Anonymous IV names seven titles from a ''[[Magnus Liber]]''—including ''[[Viderunt Omnes#Perotin|Viderunt omnes]]'', ''Sederunt principes'' and ''Alleluia Nativitas''—that have been identified with surviving works and gives him the title ''Magister Perotinus'' (Pérotinus the Master), meaning he was licensed to teach. It is assumed that Perotinus was French and named Pérotin, a diminutive of [[Peter (given name)|Peter]], but attempts to match him with persons in contemporary documents remain speculative.
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== Identity and career ==
[[File:La Descente du Saint-Esprit.jpg|thumb|upright=1.3|[[Notre-Dame de Paris|Notre-Dame]] and the rest of Paris in the background of a {{circa|1452–1460}} illuminated manuscript by [[Jean Fouquet]]]]

Pérotin, about whom little is known, most likely lived around the end of the 12th and beginning of the 13th century and is presumed to have been French.{{sfn|Roesner|2001}} The closest thing to a contemporary account of his life comes from two much later reporters: a brief mention attributed to the music theorist [[Johannes de Garlandia (music theorist)|Johannes de Garlandia]]{{refn|''Sed proprietas praedieta vix tenetur in aliquibus, quod patet in quadruplieibus magistri Perrotini per totum in principio magni voluminis, quae quadrupla optima reperiuntur et proportionata et in eolore eonservata, ut manifeste ibidem patet''{{sfn|Garlandia|1972}} Johannes de Garland was long thought to be the author, but is more likely to have been the editor of an existing manuscript|group=n}} ({{floruit|{{circa|1270–1320}}}}) in his ''[[De Mensurabili Musica]]'',{{sfn|Garlandia|1994}}{{sfn|Baltzer|2001}}{{sfn|Waite|1960}} and four mentions{{sfn|Dittmer|1959|pp=21,36,40,66}} in the works of a late 13c English student known as [[Anonymous IV]]. At one stage Anonymous IV was thought to be a pupil of Johannes de Garlandia, but this is unlikely,{{sfn|Baltzer|2001}} and the name is a [[misnomer]], derived from the title of notes by [[Charles-Edmond-Henri de Coussemaker]], ''Anonymus IV''. These were probably notes taken by the student in a lecture.{{sfn|Wright|1989|}}{{sfn|Anonymous IV|1967|loc=i:46}} including this paragraph:{{sfn|Dittmer|1959|p=36}}
<blockquote>These rules were used in many older books; this was so during and after the time of Perotinus the Great. Nevertheless, they did not know how to distinguish these notes from those which will be presented shortly. This was so even since the time of Leo, because two ligated notes were put for the durational value of a ''brevis longa'', and in a similar manner, three ligated notes were quite often used for a ''longa brevis, longa''. People say Maître Leonin was the best composer of Organum (optimus organista), he composed the Great Organum Book for the gradual and antiphonary in order to prolong the divine service. This book remained in use until the time of the great Perotin who abridged it and composed clausules and sections that were many in number and better because he was the best composer of descant (optimus discantor). This Magister Perotinus made the best quadrupla, such as ''Viderunt'' and ''Sederunt'', with an abundance of striking musical embellishments [''colores armonicae artis'']; likewise, the noblest tripla, such as ''Alleluia, Posui adiutorium'' and ''[Alleluia]'', ''Nativitas'' etc. He also made three-voice conductus, such as ''Salvatoris hodie'', and two-voice conductus, such as ''Dum sigillum summi Patris'', and also, among many others, monophonic conductus, such as ''Beata viscera'' etc. The book, that is, the books of Magister Perotinus, were in use in the choir of the Paris cathedral of the Blessed Virgin up to the time of Magister Robertus de Sabilone,{{refn|Robertus de Sabilone {{floruit|1250}}{{sfn|Jenny|1942}}|group=n}} and from his time up to the present day.{{refn|''Et nota, quod magister Leoninus, secundum quod dicebatur, fuit optimus organista, qui fecit magnum librumorgani de gradali et antifonario pro servitio divino multiplicando. Et fuit in usu usque ad tempus Perotini Magni, qui abbreviavit eundem et fecit clausulas sive puncta plurima meliora, quoniam optimus discantor erat, et melior quam Leoninus erat. Sed hoc non [est] dicendum de subtilitate organi etc. Ipse vero magister Perotinus fecit quadrupla optima sicut Viderunt, Sederunt cum habundantia colorum armonicae artis (...) similiter est tripla plurima nobilissima sicut Alleluia Posui adiutorium Nativitas''.{{sfn|Haines|2006|p=378}}|group=n}}{{sfn|Vellard|1986}}{{sfn|Roesner|2001}}</blockquote>

There have been many speculative attempts to identify Pérotin with members of the Notre Dame administration,{{refn|For instance, the elaborate reconstruction of his career by [[Craig M. Wright|Craig Wright]].{{sfn|Wright|1989|p=294}}|group=n}} but these have not generally been accepted.{{sfn|Roesner|2001}}{{sfn|EWB|2004}} Of the several people with that name (''Petrus'') that have been suggested, the commonest are [[Peter Cantor|Petrus Cantor]] (died 1197), who was a theologian, and another Petrus who was [[Succentor]] at Notre Dame ca. 1207–1238.{{sfn|Jenny|1942}}{{sfn|Wright|1989|p=294}}{{sfn|Tischler|1950}} Of these two, Petrus Succentor has been suggested as more probable, in part on chronological grounds, and partly because of the succentor's role in overseeing the celebration of the [[liturgy]] in the cathedral (whose choir was dedicated 1182),{{sfn|Roesner|2001}} but this is purely speculative, resting on an assumption that the composer held some important rank in the cathedral hierarchy.{{sfn|Tischler|1950}}{{sfn|Roesner|2018}}

Pérotin is considered to be the most important member of the [[Notre Dame school]] of [[polyphony]], a group of composers working at or near the cathedral in Paris from about 1160 to 1250, creators of the {{lang|la|[[ars antiqua]]}} style.{{sfn|Asensio|1997}} The dates of Pérotin's life and works have long been a subject of debate,{{sfn| Gastoué|1917}} but are generally thought to be from about 1155/60 (or earlier) to around 1200/05 (or later), based on the evolution of French choral writing during this time (see [[#Works|Works]]), in particular, his apparent absence from the flowering of the French motet that occurred after 1210.{{sfn|Tischler|1950}}{{sfn|Tischler|1963}}{{sfn|Sanders|1967}}

Pérotin was one of very few composers of his day whose name has been preserved, and can be reliably attached to individual compositions, most of which have been transcribed.{{sfn|Anderson|1972}} Anonymous IV called him ''Magister Perotinus'' (Pérotinus the Master).{{sfn|Pinegar|1995}} The title, employed also by Johannes de Garlandia, means that Perotinus, like [[Léonin]], earned the degree ''magister artium'', almost certainly in Paris, and that he was licensed to teach. However, only Anonymous IV employed the epithet ''Perotinus Magnus'' (Perotinus the Great).{{sfn|Wright|1989|p=288}} The name Perotinus, the Latin diminutive of Petrus, is assumed to be derived from the French name Pérotin, diminutive of Pierre. However "Petrus" was one of the most common names in the [[Ile de France]] during the [[High Middle Ages]], making further identification difficult.{{sfn|Wright|1989|p=288}} The diminutive was presumably a mark of respect bestowed by his colleagues. The title ''Magnus'' was a mark of the esteem in which he was held, even long after his death.{{sfn|Roesner|2001}}

== Historical context ==
=== Notre Dame School ===
{{main|Notre Dame school}}
[[File:Choeur.cathedrale.Paris.png|thumb|upright=1.2|[[Eugène Viollet-le-Duc]]'s reconstruction of the medieval choir of [[Notre Dame de Paris]] (1856){{refn|1=The illustration from ''[https://fr.wikisource.org/wiki/Dictionnaire_raisonné_de_l’architecture_française_du_XIe_au_XVIe_siècle/Chœur Dictionnaire raisonné de l’architecture française du XIe au XVIe siècle]'' is based on written descriptions from 1532 and 1612.|group=n}} ]]

The reign of [[Louis VII of France|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 (''[[organum|organa]]'') for all the major liturgical festivals.{{sfn|Cedarville|2018}} 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.{{sfn|Bradley|2018|p=1}} The innovative nature of the Notre Dame style stands in contrast to its predecessor, that of the Abbey of [[St. Martial School|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. ''Organum'' at its roots involves simple doubling (''organum duplum'' or ''organum purum'') of a chant at [[interval (music)|intervals]] of a fourth or fifth, above or below.{{sfn|Sherr|2019}} 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 (music)|pitch]], to the extent that the music of this era came to be known as ''musica mensurabilis'' (music that can be measured). These developments and the notation that evolved laid the foundations of musical practice for centuries. The surviving manuscripts from the thirteenth century together with the contemporaneous treatises on musical theory constitute the musical era of {{lang|la|ars antiqua}}. The Notre Dame repertory spread throughout Europe. In Paris polyphony was being performed in the late 1190s but later sources imply that some of the compositions date back as far as the 1160s. 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.{{sfn|Roesner|2018}}

Léonin's work was distinguished by two distinctive ''organum'' styles, ''purum'' and ''discantus''.{{sfn|Sherr|2019}}{{sfn|Tischler|1950}} 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''),{{sfn|Johnson|2012|p=24}} which literally "holds" (Latin: ''tenere'') the melody.{{sfn|Johnson|2012|p=24}} The ''tenor'' is based on an existing [[plainsong]] melody from the liturgical repertoire (such as the ''[[Alleluia]]'', Verse or [[Gradual]], from the [[Mass (liturgy)|Mass]], or a [[Responsory]] or ''[[Benedicamus Domino|Benedicamus]]'' from the [[Liturgy of the Hours|Office]]). This quotation of plainchant melody is a defining characteristic of thirteenth century musical genres.{{sfn|Bradley|2018|p=3}} 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). 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 [[clausula (music)|clausulae]] (puncta).{{sfn|Tischler|1950}} 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''.{{sfn|Tischler|1950}} The singing of ''organa'' fell into disuse by the mid thirteenth century.{{sfn|Jenny|1942}} 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.{{sfn|Roesner|2018}}

=== ''Magnus liber organi'' ===
{{main|Magnus liber}}

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.{{refn|Three different versions of the ''Magnus liber'' exist, and also some additional fragments{{sfn|Tischler|1984}}|group=n}} The ''Magnus liber'' also contains the work of his successors.{{sfn|Tischler|1984}} 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. 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''.{{sfn|Wallace|1993}} The surviving sources all commence with a four-voice organal setting of the Christmas Gradual, ''[[Viderunt Omnes|Viderunt omnes fines terrae]]'' ({{lit.|All the ends of the earth have seen}}), believed to be Pérotin's, as most likely did the original ''Liber''.{{sfn|Baltzer|1987}} However, the manuscripts and fragments that survive{{refn|One of the earliest, ca. 1227 being the [[Beauvais]] manuscript{{sfn|GB-Lbl Egerton 2615|2019}}|group=n}} date well into the thirteenth century, meaning that they are preserved in a form notated by musicians working several generations following Léonin and Pérotin.{{sfn|Fassler|1987}}{{sfn|Bradley|2018|p=4}} This collection of music constitutes the earliest known record of polyphony to have the stability and circulation achieved earlier by monophonic Gregorian chant.{{sfn|Roesner|2018}}

==Music==
=== Forms and style ===
{{multiple image | header = ''Alleluia nativitas''| align = right | direction = vertical | width = 220 | float = none | image1 = Perotin - Alleluia nativitas.jpg| caption1 = | alt1 = Illuminated Manuscript of the Alleluia nativitas
| image2 = Perotin Alleluya Quarten for wikipedia.png| caption2= Modern transcription of passage showing use of fourths (blue:unison, red:third, black:fourth, magenta:fifth)|image3=Perotin Alleluya Quarten for wikipedia.mid|alt=Modern notation with audio track
}}
Louis VII was succeeded by his son [[Philip II of France|Philip II]] in 1179 and his reign was marked by integration and revision of the cultural shifts that had transpired under his father.{{sfn|Tischler|1950}} It was during this time that the compositions of Pérotin first appeared, and a shift towards a more predominant ''discantus'' style.{{sfn|Tischler|1950}} 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){{sfn|EB|2016}}{{sfn|Perotin|1999}} and his ''[[Viderunt Omnes#Pérotin|Viderunt omnes]]'' and ''Sederunt principes et adversum me loquebantur'' ({{lit.|Princes sat and plotted against me}}) [[Gradual]]s for Christmas{{refn|At Notre Dame ''Viderunt'' was sung at the new [[feast of the Circumcision]] on 1 January{{sfn|Taruskin|2006|p=243}}|group=n}} and the feast of [[Saint Stephen's Day]] (26 December) respectively{{sfn|Latham|2011|loc=Sederunt principes}}{{sfn|Latham|2011|loc=Viderunt omnes}} are among only a few ''organa quadrupla'' known, early polyphony having been restricted to two-part compositions.{{sfn|Tischler|1963}}{{sfn|Perotin|1999}} With the addition of further parts, the compositions became known as [[motets]], the most important form of polyphony of the period. Pérotin's two Graduals for the Christmas season represent the highest point of his style, with a large scale tonal design in which the massive pedal points sustain the swings between consecutive harmonies, and an intricate interplay among the three upper voices.{{sfn|Hiley|2011}} Pérotin also furthered the development of musical notation, moving it further from improvisation.{{sfn|Wallace|1993}} Despite this, we know nothing of how these works came about.{{sfn|Bradley|2018|p=4}}

In addition to his own compositions, as noted by Anonymous IV, Pérotin set about revising the ''Magnus liber organi''.{{sfn|Tischler|1950}} 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]].{{sfn|Wilson-Dickson|2003|p=51}} 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. 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.{{sfn|Roesner|2001}}{{sfn|Berger|1996}}

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.{{sfn|Berger|2005|p=40}} 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.{{sfn|Vellard|1986}} In the original discant ''organum duplum'', the second voice follows the ''cantus firmus'', note on note but at an interval, usually a fourth above. By contrast, in the florid organum, the upper or ''vox organalis'' voice wove shorter notes around the longer notes of the lower ''tenor'' chant.{{sfn|Johnson|2012|p=24}}{{sfn|Planchart|2000|p=30}}

=== Compositions ===
[[File:Salvatoris hodie. Perotin.png|thumb|left|[[Square notes]] in Pérotin's ''Salvatoris hodie''|alt=Salvatoris hodie by perotin, showing square notes]]

Anonymous IV mentions a number of compositions which he attributes to Pérotin,{{sfn|Roesner|2001}} including the four-voice ''Viderunt omnes'' and ''Sederunt principes'', and the three-voice ''Alleluia "Posui adiutorium"'' and ''Alleluia "Nativitas"''.{{sfn|Anonymous IV|1967|loc=1:46, 82}} 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''.{{refn|''Alia regula de eodem. Sed non probatur per istam artem, sed bene probatur per exemplum, quod invenitur in Alleluja Posui adjutorium, in triplo scilicet quatuor cum proprietate et perfectione et tres et tres et tres cum proprietate etc., ut sumitur in hoc exemplo''|group=n}}{{sfn|Waite|1960}} Other works are attributed to him by later scholars, such as [[Heinrich Husmann]], on stylistic grounds,{{sfn|Husmann|1940}} all in the [[organum]] style, as well as the two-voice ''Dum sigillum summi Patris'' and the monophonic ''Beata viscera'' ({{lit.|O blessed womb}}){{refn|{{harvnb|Asensio|1997}} maintains that the ''Beata'' was attributed to Pérotin by Anonymous IV {{sfn|Asensio|1997}}|group=n}} in the [[conductus]] style.{{sfn|Roesner|2001}} (The ''conductus'' sets a rhymed [[Latin]] poem called a [[Sequence (musical form)|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.{{sfn|Asensio|1997}} The former include the three-part conductus ''Salvator hodie''.{{sfn|Gattermayer|2006|p=94}}{{sfn|Perotin|1970}} The latter is placed in the Mass for the Circumcision in a 13th-century French manuscript.{{sfn|GB-Lbl Egerton 2615|2019}}{{sfn|Roesner|2001}} Of these, the best known works are his ''Viderunt omnes'' and ''Sederunt principes''.{{sfn|Wallace|1993}} These have been described as representing the peak of musical development of the time.{{sfn|Jenny|1942}}{{sfn|Hiley|2011}}

Most of Pérotin's works are in polyphonic form of discant, including the ''quadrupla'' and ''tripla''. Here the upper voices move in discant, as rhythmic [[counterpoint]] above the sustained ''tenor'' notes. This is consistent with Anonymous IV's description of him as ''optimus discantor''. However, like Léonin, he is likely to have composed in every musical genre and style known to Notre Dame polyphony.{{sfn|Roesner|2018}}
Pérotin's dates of activity have been approximated from some late 12th century [[edict]]s (''Statuta et donationes piae''){{sfn|Migne|1855|pp=70–74}} of the [[Roman Catholic Archdiocese of Paris|Bishop of Paris]], Odo ([[Eudes de Sully]]) (1196–1208), in 1198 and 1199. Rebuked by [[Peter of Capua the Elder|Peter of Capua]], 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]].{{sfn|Wright|1989|p=239}} His preference was for elaborate music in its stead,{{sfn|Taruskin|2006|p=243}}{{sfn|Gross|2011}} calling for performance in ''organa triplo vel quadruplo'' for the Responsory and ''Benedicamus'' and other settings.{{refn|''Matutini ab episcopo, vel decano, vel capellano incipiantur ordine debito consummandi, hoc adjecto quod tertium et sextum responsorium in organo (vel in triplo, vel in quadruplo) cantabuntur'' Matins by the bishop or dean or chaplain shall be conducted in the proper order so that the 3rd and 6th responsories be sung with organum (either in triple, or in quadruple (for an English translation of the 11998 edict, see {{harvtxt|Wright|1989|p=239}}){{sfn|Migne|1855|p=72}}{{sfn|Huglo|1982|p=103}}|group=n}}{{sfn|Wallace|1993}} 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.{{refn|The bishop's letters attest to the development of ''organum duplum'' at Notre-Dame from the 1160s and its subsequent integration into all the great feasts of the [[liturgical calendar]], not only in the responsorial chants of the Mass proper but also the ''Benedicamus Domino'' of vespers{{sfn|Gross|2011}}|group=n}} If written after this, they could not have been written till late 1200 or 1201, since for most of 1200 France lay under an [[interdict]] of [[Pope Innocent III]] which suppressed the celebration of church services.{{sfn|Clarke|2007|p=179}} [[Hans Tischler]] dates the revision of the ''Magnus Liber'' to around 1180/90.{{sfn|Tischler|1950}} Between the accounts of Anonymous IV, the episcopal edicts and the arrangements in the ''Magnus liber'', the key compositions appear to be corroborated and assigned to this period.{{sfn|Taruskin|2006|p=243}}

Pérotin composed music to at least five of the poems of the Chancellor of the cathedral, [[Philippe le Chancelier]] (Philip the Chancellor).{{sfn|Vauchez|2000|loc=Pérotin}} Philip, also a [[Canon (priest)|canon]] there, held that title at the cathedral from 1218 till his death in 1236,{{sfn|Wright|1989|p=289}} suggesting a possible later date for Pérotin's setting of the former's ''Beata viscera'' (ca. 1220), or at least a ''terminus ante quem''.{{sfn|Roesner|2001}} Others believe this poem was written much earlier, and hence place Pérotin's death as no later than 1205,{{sfn|Tischler|1950}} the bishop's edicts implying that Pérotin's work was well before this.{{refn|It cannot be ascertained with certainty that Pérotin's works were not written before the episcopal edict.{{sfn|Roesner|2001}}|group=n}}{{sfn|Taruskin|2006|p=243}} Philip appears to have written a number of poems with the intention of them being set to music by Pérotin,{{refn|set as ''clausulae''{{sfn|Tischler|1950}}|group=n}} and with him is given credit for the development of the motet.{{sfn|Wright|1989|p=295}}

== Works ==
[[File:Beata viscera.jpg|thumb|upright=1.3|Pérotin's monophonic ''Beata viscera'' from Wolfenbüttel 1099 (W2) MS]]

Anonymous IV identified seven works, that he presumably considered worthy of singling out, and these represent the only direct attribution. Subsequent authors have attributed works on stylistic and chronological grounds. These include [[Friedrich Ludwig (musicologist)|Friedrich Ludwig]] (1910),{{sfn|Ludwig|1978}} Heinrich Husmann (1940),{{sfn|Husmann|1940}} Hans Tischler (1950){{sfn|Tischler|1950}} and Ethel Thurston (1970).{{sfn|Perotin|1970}} Husmann added an additional nine three-part ''organa'', and five ''[[clausula (music)|clausula]]'' to which Ludwig added numerous other ''clausula''.{{sfn|Roesner|2001}} Other authors have attributed all the three-part ''organa'' in the ''Magnus Liber'' to Pérotin, which is unlikely. Nevertheless, two of the only three known four-part ''organa'' can be attributed to him.{{sfn|Tischler|1950}}

''Key: Anonymous IV (A), Johannes de Garlandia (G), Tischler (Ti), Thurston (Th), Husmann (H)''.{{sfn|Wright|1989|pp=288–289}}{{sfn|Hiley|2011}}{{sfn|Roesner|2001}} Numbers refer to folios in the F manuscript of the ''Magnus liber''.

*Four-part organa
** ''Viderunt omnes'', continued with organal motet ''Homo cum mandato''{{sfn|Perotin|1999}} (A)(Ti)(Th)(H) F1
** ''Sederunt principes'', with organal motet ''De Stephani roseo''{{sfn|Perotin|1999}} (A)(Ti)(Th)(H)
** ''Sederunt principes'', continued with organal motet ''Adesse festina''{{sfn|Perotin|1999}} (A)(Th)(H)
*Three-part organa
** ''Alleluia nativitas''{{sfn|Vellard|1986}} (A)(Ti)(Th)(H) F31
** ''Alleluia, Posui adiutorium'' (A)(G)(Ti)(H) F36
** ''Alleluia, Dies sanctificatus'' (Ti)
** ''Alleluia, Pascha nostrum'' (Ti)(H)
** ''Alleluia, Dilexit Andream'' (H)
** ''Stirps Yesse'' (Ti)
** ''Virgo'' (Ti)(H)
** ''Sancte Germane''(H)
** ''Terribilis''(H)
** ''Exiit sermo'' (H)
*Conductus
** French conductus motet ''Se i'ai ame: Ex semine'' (Th)
** 3 part Conductus ''Salvatoris hodie'' (A)(Ti)(Th)(H) F307
** 2 part Conductus ''Dum sigillum summi patris'' (A)(Ti)(Th)(H) F344
** 1 part Conductus ''Beata viscera Marie virginis''{{sfn|Vellard|1986}} (A)(Ti)(Th)(H)
** 5 ''Benedicamus Domino'' (Ti) (3 (H))
*3 part clausulas
** ''In odorem'' (H)
** ''Et illuminare'' (H)
** ''Et gaudebit'' (H)
** ''Et exaltavi'' (H)
*2 part clausulas (numerous (H))
**Doubtful
* 4 part Clausula ''Mors'' (H){{sfn|Tischler|1950}}

== Influence ==

Pérotin has been described as the first modern composer in the Western tradition, radically transforming the work of his predecessors from a largely improvisatory technique to a distinct musical architecture.{{sfn|Wright|1989|p=289}} Pérotin's music has influenced modern [[minimalist music|minimalist]] composers such as [[Steve Reich]], particularly in Reich's work ''[[Proverb (Reich)|Proverb]]''.{{sfn|Reich|2019}}{{sfn|Lewis|2018}}

== Recordings ==
:''for discography, see {{harvtxt|McComb|2019}}''

* {{cite AV media |last1=Chanticleer |author-link=Chanticleer (ensemble)|date= 1991|title= Psallite! A Renaissance Christmas |medium= CD|language= la|ref=none}}
** {{cite AV media |last=Perotin|title=Benedicamus Domino|date=1991|url=https://songmetro.com/track/1387330/Benedicamus+Domino|access-date=16 January 2019|ref=none}} (audio and visual)
* [https://archive.today/20121224132029/http://www.the-sixteen.org.uk/page/3153/COR16078+Sacred+Music/92 ''Gothic Revolution – Sacred Music''] [[The Sixteen]], [[Harry Christophers]], [[Simon Russell Beale]] CORO DVD
*''Messe de la Nativité de la Vierge''. Ensemble Organum, Marcel Pérès. Harmonia Mundi 901538 (1995).
*''Perotin''. The [[Hilliard Ensemble]], CD ECM New Series, 837–751–2
*[https://web.archive.org/web/20130808051100/http://tonusperegrinus.1equalmusic.com/Details/593?Title=leonin---perotin--sacred-music-from-notre-dame-cathedral ''Sacred Music From Notre-Dame Cathedral''], [[Tonus Peregrinus]]; [[Antony Pitts]], CD NAXOS 8.557340 (2005)

==References==
=== Notes ===
{{Reflist|group=n|30em}}

=== Citations ===
{{reflist}}

=== Bibliography ===
{{div col|colwidth=45em}}
<!-- This is a curated bibliography. Please help to maintain the overall structure -->
;Books

* {{cite book|last=Berger|first=Anna Maria Busse|title=Medieval Music and the Art of Memory|url=https://books.google.com/books?id=ZbJXB4NvwXcC|date=2005|publisher=[[University of California Press]]|isbn=978-0-520-93064-3}}
* {{cite book|last=Bradley|first=Catherine A.|title=Polyphony in Medieval Paris: The Art of Composing with Plainchant|url=https://books.google.com/books?id=H7ViDwAAQBAJ|date= 2018|publisher=[[Cambridge University Press]]|isbn=978-1-108-41858-4}}
* {{cite book|last=Clarke|first=Peter D.|title=The Interdict in the Thirteenth Century: A Question of Collective Guilt|url=https://books.google.com/books?id=SEEVDAAAQBAJ|date= 2007|publisher=[[OUP]] Oxford|isbn=978-0-19-920860-9}}
* {{cite book|editor-last=Duffin|editor-first=Ross W.|title=A Performer's Guide to Medieval Music|url=https://books.google.com/books?id=z9xDFnIMRssC|year=2000|publisher=[[Indiana University Press]]|isbn=0-253-21533-1}}
* {{cite book|editor-last1=Everist|editor-first1=Mark|editor-last2=Kelly|editor-first2=Thomas Forrest|editor-link1=Mark Everist|editor-link2=Thomas Forrest Kelly| title=The Cambridge History of Medieval Music|url=https://books.google.com/books?id=THNqDwAAQBAJ|date= 2018|publisher=[[Cambridge University Press]]|isbn=978-1-108-57707-6}}
* {{cite book|editor-last1=Finscher|editor-first1=Ludwig|editor-last2=Mahling|editor-first2=Christoph-Hellmut|editor-link1=Ludwig Finscher|title=Festschrift für Walter Wiora zum 30. Dezember 1966|url=https://books.google.com/books?id=turZAAAAMAAJ|year=1967|publisher=[[Bärenreiter]]|location=Kassel}}
* {{cite book|last=Gattermayer|first=Elena Bonoldi|title=Bianca di Castiglia: regina di Francia e madre di un santo|url=https://books.google.com/books?id=qt1QtnSr2fcC|year=2006|publisher=Editoriale Jaca Book|location=Milan|isbn=978-88-16-40727-5|language=it}}
* {{cite book|last=Huglo|first=Michel|title=Les Débuts de la polyphonie à Paris: les premiers "organa" parisiens|trans-title=The Beginnings of Polyphony at Paris: The First Parisian Organa|url=https://books.google.com/books?id=SbICcgAACAAJ|date=1982|publisher=Amadeus|location=Basel|language=fr}} ([https://www.academia.edu/28750427/Huglo_Michel_The_Beginnings_of_Polyphony_at_Paris_1982_ English trans. Rob C. Wegman])
* {{cite book|last=Husmann|first=Heinrich|author-link=Heinrich Husmann|title=Die Drei-und vierstimmigen Notre-Dame-Organa: Kritische gesamtausgabe|url=https://books.google.com/books?id=Wcz6AAAAMAAJ|year=1940|publisher=G. Olms|location=Leipzig|language=de}}
* {{cite book|last=Johnson|first=Julian|author-link=Julian Johnson (academic)|title=Classical Music: A Beginner's Guide|url=https://books.google.com/books?id=DYFTliRmOvUC|date= 2012|publisher=[[Oneworld Publications]]|isbn=978-1-78074-141-3}}
* {{cite book|last=Ludwig|first=Friedrich|author-link=Friedrich Ludwig (musicologist)|title=Repertorium organorum recentioris et motetorum vetustissimi stili|url=https://books.google.com/books?id=f09LAAAAYAAJ|year=1978|publisher=Institute of Mediaeval Music|location=[[Assen]]|language=de}}
* {{cite book|last=Perotin|editor-last=Thurston|editor-first=Ethel|title=The works of Perotin|url=https://books.google.com/books?id=GRH8AAAAMAAJ|year=1970|publisher=[[Edwin F. Kalmus]]}}
** {{cite journal |last1= Anderson |first1=Gordon A.|title=The Works of Perotin by Ethel Thurston |journal=[[Music & Letters]] |date=April 1972 |volume=53 |issue=2 |pages=224–230 |type=Review|jstor=733642}}
* {{cite book|last=Perotin|title=Viderunt omnes, Sederunt|type=miniature score|url=https://books.google.com/books?id=O4Y6JEF2YzkC|date= 1999|publisher=[[Alfred Music]]|isbn=978-1-4574-6877-3}}
* {{cite book|last=Taruskin|first=Richard|author-link=Richard Taruskin|title=Music from the Earliest Notations to the Sixteenth Century: The Oxford History of Western Music Vol. 1|url=https://books.google.com/books?id=iCKDKHjHjwwC|date= 2006|publisher=[[Oxford University Press]]|isbn=978-0-19-979604-5}}
* {{cite book|last=Wilson-Dickson|first=Andrew|author-link=Andrew Wilson-Dickson|title=The Story of Christian Music: From Gregorian Chant to Black Gospel. An Authoritative Illustrated Guide to All the Major Traditions of Music for Worship|url=https://books.google.com/books?id=qVKpwxIgCiYC|year=2003|publisher=[[Fortress Press]]|isbn=978-0-8006-3474-2}}
* {{cite book|last1=Wright|first1=Craig|author-link=Craig M. Wright|title=Music and Ceremony at Notre Dame of Paris, 500-1550|url=https://books.google.com/books?id=_Cc9AAAAIAAJ|date= 1989|publisher=[[CUP Archive]]|isbn=978-0-521-24492-3}}

;Historical sources

* {{cite book|last=Anonymous IV|author-link=Anonymous IV|editor-last=Reckow|editor-first=Fritz|title=Der Musiktraktat des Anonymus 4 (supplement to the ''Archiv für Musikwissenschaft'' 4–5) 2 vols.: De mensuris et discantu|trans-title=The Musical Treatise of Anonymous IV: Supplements to the Archive of Musicology: Concerning measures and discants|url=https://books.google.com/books?id=sK8JAQAAMAAJ|year=1967|pages=1:22–89|publisher=Franz Steiner Verlag|location=Wiesbaden|language=de}}, see also
** {{cite book|editor-last=Coussemaker|editor-first=Charles Edmond Henri De|editor-link=Edmond de Coussemaker|title=Scriptorum de Musica Medii Aevi. Nova series a Gerbertina altera 4 vols.|chapter= Anonymous 4. De mensuris et discantu|pages=1:327–64|url=https://books.google.com/books?id=ykB6jwEACAAJ|date= 2015|orig-year=1864–1876 Durand: Paris|publisher=[[BiblioBazaar]]|isbn=978-1-346-24291-0|ref=none}}, ''English translation available as,''
** {{cite book|last=Dittmer|first=Luther A.|title=Anonymous IV concerning the measurement of polyphonic song|url=https://books.google.com/books?id=0V0VAwAAQBAJ|year=1959|publisher=Institute of Mediaeval Music|location=New York|isbn=978-5-88245-081-5}} ([https://archive.org/details/anonymousivconce00ditt full text available on]) [[Internet Archive]]
* {{cite book |last1=Garlandia |first1=Johannes de |author-link=Johannes de Garlandia (music theorist)|editor-last1= Hayes|editor-first1=Stephen E.|display-editors=etal|title=De Mensurabili Musica positio |date=1994|orig-year=c. 1240 |publisher=[[University of Indiana]] |url=http://www.chmtl.indiana.edu/tml/13th/GARDMMP_TEXT.html |language=la}}
* {{cite book|last1=Garlandia|first1=Johannes de|author-link=Johannes de Garlandia (music theorist)|author-mask=1|editor-last1=Reimer|editor-first=Erich|title= De mensurabili musica 2 vols.|url=https://books.google.com/books?id=gS0YAQAAIAAJ|year=1972|publisher=[[Franz Steiner Verlag]]|location=Wiesbaden|language=la}} (''attributed'') (full text: [http://www.examenapium.it/meri-old/Reimer1.pdf Volume 1] [http://www.examenapium.it/meri-old/Reimer2.pdf Volume 2])
* {{cite book|editor-last=Migne|editor-first=Jacques-Paul|title=Patrologiae latina cursus completus ... series secunda|url=https://books.google.com/books?id=BZ9BAAAAcAAJ|year=1855|publisher=Aqud Editorem|language=la}}

;Chapters

* {{cite book |last1=Hiley |first1=David |title=Pérotin [ Perotinus Magnus] |chapter=Pérotin |date=2011|publisher=Oxford University Press |isbn=978-0-19-957903-7 |url= http://www.oxfordreference.com/view/10.1093/acref/9780199579037.001.0001/acref-9780199579037-e-5102}}, in {{harvtxt|Latham|2011}}
* {{cite book |last1=Planchart |first1=Alejandro Enrique |author-link=Alejandro Planchart|title=Organum |date=2000 |pages=23–51}}, in {{harvtxt|Duffin|2000}}
* {{cite book |last1=Roesner |first1=Edward H |title=Notre Dame |date=2018 |pages=834–880}}. in {{harvtxt|Everist|Kelly|2018}}
* {{cite book |last1=Sanders |first1=Ernest H.| author-link=Ernest H. Sanders|title=The Question of Perotin's Œuvre and Dates |date=1967 |pages=241–249}}, in {{harvtxt|Finscher |Mahling|1967}}

;Dictionaries and encyclopedias

* {{cite encyclopedia |title=Perotin |url=https://www.encyclopedia.com/literature-and-arts/performing-arts/music-history/perotin|encyclopedia=Encyclopedia of World Biography|publisher=[[Gale Group]] |date=2004|access-date=14 January 2019|ref={{harvid|EWB|2004}}}}
* {{cite Grove|last=Baltzer|first=Rebecca A.|title=Johannes de Garlandia [Johannes Gallicus ]|date=2001|doi=10.1093/gmo/9781561592630.article.14358}} (subscription access)
* {{cite encyclopaedia |author=Encyclopædia Britannica|author-link=Encyclopædia Britannica|title=Pérotin |url=https://www.britannica.com/biography/Perotin |access-date=15 January 2019 |date=2016|ref={{harvid|EB|2016}}}}
* {{cite encyclopaedia|editor-last=Emmerson|editor-first=Richard K.|title=Key Figures in Medieval Europe: An Encyclopedia|url=https://books.google.com/books?id=BhyOAQAAQBAJ|date= 2013|publisher=[[Routledge]]|isbn=978-1-136-77519-2}}
* {{cite encyclopaedia|last1=Pinegar|first1=Sandra|title=Pérotin|pages=1356–1357|editor-last1=Kibler|editor-first1=William W.|editor-last2=Zinn|editor-first2=Grover A.|encyclopedia=Medieval France: An Encyclopedia|url=https://books.google.com/books?id=MQoKeohhNkMC|year=1995|publisher=[[Psychology Press]]|isbn=978-0-8240-4444-2}} reprinted in {{harvtxt|Emmerson|2013|loc=513}}
* {{cite Grove|last=Roesner|first=Edward|title=Perotinus [Perrotinus, Perotinus Magnus, Magister Perotinus, Pérotin]|date=2001|doi=10.1093/gmo/9781561592630.article.40465}}
* {{cite book|editor-last1=Vauchez|editor-first1=André|editor-link=André Vauchez|title=Encyclopedia of the Middle Ages: 2 vols.|url=https://books.google.com/books?id=ejQOAQAAMAAJ|year=2000|publisher=Fitzroy Dearborn Publishers, Incorporated|isbn=9781579582821}}

;Articles

* {{cite journal |last1=Asensio |first1=Juan Carlos |title=Before Quasimodo: Very Early Polyphony |journal=[[Early Music (journal)|Early Music]] |date=February 1997 |volume=25 |issue=1 |pages=145–147 |type=Review|jstor=3128176|doi=10.1093/earlyj/xxv.1.145}}
* {{cite journal |last1=Baltzer |first1=Rebecca A. |title=Notre Dame Manuscripts and Their Owners: Lost and Found |journal=[[The Journal of Musicology]] |date=July 1987 |volume=5 |issue=3 |pages=380–399 |doi=10.2307/763698|jstor=63698}}
* {{cite journal |last1=Berger |first1=Anna Maria Busse |author-link=Anna Maria Busse Berger|title=Mnemotechnics and Notre Dame Polyphony |journal=[[The Journal of Musicology]] |date=July 1996 |volume=14 |issue=3 |pages=263–298 |doi=10.2307/764059|jstor=764059 }}
* {{cite journal |last1=Fassler |first1=Margot E. |author-link=Margot Fassler|title=The Role of the Parisian Sequence in the Evolution of Notre-Dame Polyphony |journal=[[Speculum (journal)|Speculum]] |date=April 1987 |volume=62 |issue=2 |pages=345–374 |doi=10.2307/2855230|jstor=2855230|s2cid=161832131 }}
* {{cite journal |last1=Gastoué |first1=Amédée |author-link=Amédée Gastoué|others=trans. H. Morette|title=Three Centuries of French Mediæval Music: New Conclusions and Some Notes |journal=[[The Musical Quarterly]] |date=April 1917 |volume=3 |issue=2 |pages=173–188 |jstor=738083|doi=10.1093/mq/iii.2.173|url=https://zenodo.org/record/2266654 }}
* {{cite journal |last1=Haines |first1=John |title=Anonymous IV as an Informant on the Craft of Music Writing |journal=[[Journal of Musicology]] |date=2006 |volume=23 |issue=3 |pages=375–425 |doi=10.1525/jm.2006.23.3.375 |jstor=10.1525/jm.2006.23.3.375 |issn=0277-9269}}
* {{cite journal |last1=Gross |first1=Guillaume |title=L'organum aux xiie et xiiie siècles: le discours musical comme stratégie de communication ou la légitimation implicite de l'autorité épiscopale |trans-title=The Organum in the Twelfth and Thirteenth Centuries: Musical Discourse as Communication Strategy or the Implicit Legitimating of Episcopal Authority|url=https://www.cairn-int.info/article-E_RHIS_113_0487--the-organum-in-the-twelfth-and.htm|journal=[[Revue historique]] |date=2011 |volume=659 |issue=3 |pages=487–510 |doi=10.3917/rhis.113.0487|language=fr}}
* {{cite journal |last1=Jenny |first1=Herbert J. |title=Perotin's "Viderunt omnes" |journal=[[Bulletin of the American Musicological Society]] |date=August 1942 |volume=6 |issue=6 |pages=20–21 |doi=10.2307/829204|jstor=829204 }}
* {{cite journal |last1=Tischler |first1=Hans |author-link=Hans Tischler|title=New Historical Aspects of the Parisian Organa |journal=[[Speculum (journal)|Speculum]] |date=January 1950 |volume=25 |issue=1 |pages=21–35 |doi=10.2307/2850001|jstor=2850001 |s2cid=162168377 }}
* {{cite journal |last1=Tischler |first1=Hans |author-link=Hans Tischler|author-mask=1|title=The Dates of Perotin |journal=[[Journal of the American Musicological Society]] |date=July 1963 |volume=16 |issue=2 |pages=240–241 |doi=10.2307/829944 |jstor=29944}}
* {{cite journal |last1=Tischler |first1=Hans |author-link=Hans Tischler|author-mask=1|title=New data on the evolution of the Parisian organa |journal=Journal of Musicological Research |date=1984 |volume=5 |issue=1–3 |pages=85–91 |doi=10.1080/01411898408574546}}
* {{cite journal |last1=Waite |first1=William G. |author-link=William Waite|title=Johannes de Garlandia, Poet and Musician |journal=[[Speculum (journal)|Speculum]] |date=April 1960 |volume=35 |issue=2 |pages=179–195 |doi=10.2307/2851338|jstor=2851338 |s2cid=162963036 }}
* {{cite journal |last1=Wallace |first1=Robin |title=The role of style in the Notre-Dame period: A preliminary study |journal=Journal of Musicological Research |date=January 1993 |volume=12 |issue=4 |pages=253–271 |doi=10.1080/01411899308574670}}

;Audiovisual

* {{cite AV media |last= Vellard |first=Dominique|author-link=Dominique Vellard|date= 1986|title= Ecole de Notre-Dame de Paris 1163–1245: Monodies et polyphones vocales|medium= CD |url= https://harmonicclassics.com/album/H_CD_8611/|access-date= 15 January 2019|format= Liner notes|location=Paris |publisher= Harmonic Classics|id= HCD8611 }}

;Websites

* {{cite book|last=Latham|first=Alison|title=The Oxford Companion to Music|url=https://books.google.com/books?id=ghY5AwEACAAJ|year=2011|publisher=[[Oxford University Press]]|isbn=978-0-19-957903-7}}, (subscription access) see also [[Oxford Companion to Music]]
* {{cite web |last1=Lewis |first1=Andrew |title=Reich's Proverb in Dialogue with Medieval Masters |url=https://www.bellavoce.org/learn/2018/2/21/reichs-proverb-in-dialogue-with-medieval-masters |website=[[Bella Voce (group)|Bella Voce]] |publisher=School of Theatre & Music, [[University of Illinois, Chicago]] |access-date=9 February 2019 |date=21 February 2018}}
* {{cite web |last1=McComb |first1=Todd M. |title=Perotin (fl.c.1200) – A discography |url=http://www.medieval.org/emfaq/composers/perotin.html |publisher=Medieval Music & Arts Foundation |access-date=16 January 2019 |date=2019}}
* {{cite web |last1=Reich |first1=Steve |author-link=Steve Reich|title=Steve Reich. Proverb (1995) |url=http://www.boosey.com/pages/cr/catalogue/cat_detail?musicid=557 |website=Composers |publisher=[[Boosey and Hawkes]] |access-date=20 January 2019 |date=2019}}
* {{cite web |last1=Sherr |first1=Richard |title=Early Polyphony: Some {{sic|nolink=y|Defintions}} |url=https://sophia.smith.edu/~rsherr/earlypol.htm |publisher=Department of Music, [[Smith College]] |access-date=16 January 2019|ref={{harvid|Sherr|2019}}}}
* {{cite journal |title=Magnus Liber Organi circa 1250 |url=https://digitalcommons.cedarville.edu/sing_polyphony/2/ |journal=Early Polyphony |publisher=Centennial Library, [[Cedarville University]] |access-date=29 January 2019 |location=Cedarville, Ohio |date=2018|ref={{harvid|Cedarville|2018}}}} includes access to complete text of ''Magnus Liber''
* {{cite web |title= GB-Lbl Egerton 2615: Motets, in an Office for the Feast of the Circumsion; Hymns, Miracle play on the history of Daniel (ff. 95-108) |url=https://www.bl.uk/catalogues/illuminatedmanuscripts/record.asp?MSID=6666&CollID=28&NStart=2615 |website=Catalogue of Illuminated Manuscripts |publisher=[[Beauvais Cathedral]] ([[British Library]]) |access-date=4 March 2019|language=la, fr|ref={{harvid|GB-Lbl Egerton 2615|2019}}}} (2nd quarter of the 13th century, probably between 1227 and 1234)
{{div col end}}

==Further reading==
{{div col|colwidth=45em}}
;Books
* {{cite book|last=Alwes|first=Chester L.|title=A History of Western Choral Music|url=https://books.google.com/books?id=K4W-CQAAQBAJ|date= 2015|publisher=[[Oxford University Press]]|isbn=978-0-19-045772-3|ref=none}}
* {{cite book|last=Burrows|first=John|title=The Complete Classical Music Guide|url=https://books.google.com/books?id=w5hGTCM8WE0C|date= 2012|publisher=[[DK Publishing]]|isbn=978-1-4654-0134-2|ref=none}}
* {{cite book|last=Flotzinger|first=Rudolf|author-link=:de:Rudolf Flotzinger|title=Perotinus Musicus: Wegbereiter abendländischen Komponierens|url=https://books.google.com/books?id=z1sZAQAAIAAJ|year=2000|publisher=[[Schott Music|Schott]]|location=Mainz|isbn=978-3-7957-0431-5|language=de|ref=none}}
* {{cite book|last=Flotzinger|first=Rudolf|author-mask=1|title=Von Léonin zu Pérotin: der musikalische Paradigmenwechel in Paris um 1210|url=https://books.google.com/books?id=SoT9zWVFQfQC|year=2007|publisher=[[Peter Lang (publisher)|Peter Lang]]|isbn=978-3-03910-987-6|language=de|ref=none}}
* {{cite book|last=Hayburn|first=Robert F.|title=Papal legislation on sacred music, 95 A.D. to 1977 A.D.|url=https://books.google.com/books?id=4e8XAQAAIAAJ|year=1979|publisher=[[Liturgical Press]]|location=[[Collegeville Township, Stearns County, Minnesota|Collegeville]]|isbn=978-0-8146-1012-1|ref=none}}
* {{cite book|last=Hoppin|first=Richard H.|author-link=Richard Hoppin|title=Medieval Music|url=https://books.google.com/books?id=1yBwQgAACAAJ|year=1978|publisher=[[W. W. Norton]]|location=New York|isbn=978-0-393-09090-1|ref=none}}, also available [https://archive.org/details/medievalmusic00hopp here] on the [[Internet Archive]]
* {{cite book|last=John of Salisbury|author-link=John of Salisbury|editor1-last=Pike |editor1-first=Joseph B|title=Frivolities of courtiers and footprints of philosophers: being a translation of the first, second, and third books and selections from the seventh and eighth books of the Policraticus of John of Salisbury|url=https://books.google.com/books?id=E306AAAAMAAJ|year=1938|orig-year=1159|publisher=[[University of Minnesota Press|The University of Minnesota Press]]|location=Minneapolis|ref=none}} ([https://web.archive.org/web/20180516214317/https://www.fd.unl.pt/docentes_docs/ma/amh_ma_446_salisbury%20policraticus%20.pdf full text] on [[Internet Archive]])
* {{cite book|editor-last=Kelly|editor-first=Thomas Forrest|editor-link=Thomas Forrest Kelly|title=Plainsong in the Age of Polyphony|url=https://books.google.com/books?id=0zY9AAAAIAAJ|date= 1992|publisher=[[Cambridge University Press]]|isbn=978-0-521-40160-9|ref=none}}
* {{cite book|editor-last1=Kennedy|editor-first1=Michael|editor-link=Michael Kennedy (music critic)|title=The Oxford Dictionary of Music|url=https://books.google.com/books?id=FcozAQAAIAAJ|year=2006|edition=2nd|publisher=[[Oxford University Press]]|isbn=978-0-19-861459-3|ref=none}}, later edition available on line at [http://www.oxfordreference.com/abstract/10.1093/acref/9780199578108.001.0001/acref-9780199578108-e-6974?rskey=YT6gpq&result=6921 Oxford Music] (subscription access)
* {{cite book|last=Kirkman|first=Andrew|title=The Cultural Life of the Early Polyphonic Mass: Medieval Context to Modern Revival|url=https://books.google.com/books?id=skIG-CEe24cC|date= 2010|publisher=[[Cambridge University Press]]|isbn=978-0-521-11412-7|ref=none}}
* {{cite book|editor-last1=Marien|editor-first1=Evelyn|editor-last2=Heinen|editor-first2=Andreas|title=Musikwissenschaft im Phonomarkt: Alte Musik und CD-Produktion|trans-title=Musicology in the Phonomarket: Early Music and CD Production|url=https://books.google.com/books?id=WxwJAQAAMAAJ|year=2002|publisher=Florian Noetzel Verlag|location=Wilhelmshaven|isbn=978-3-7959-0809-6}}
* {{cite book |last=Morent|first=Stefan|title=Der "wahre" Perotin? – Überlegungen zum Verhältnis zwischen Musikwissenschaft und Aufführungspraxis |trans-title=The "true" Perotin? – Reflections on the Relationship between Musicology and Performance Practice|date=2002 |pages=69–79|ref=none}}, in {{harvtxt|Marien|Heinen|2002}}
* {{cite book|last=Page|first=Christopher|author-link=Christopher Page|title=The Owl and the Nightingale: Musical Life and Ideas in France 1100-1300|url=https://books.google.com/books?id=fhxhOldxBSgC|date=1990|publisher=[[University of California Press]]|isbn=978-0-520-06944-2|ref=none}}
* {{cite book|last1=Parrish|first1=Carl|last2=Ohl|first2=John F.|title=Masterpieces of Music Before 1750|url=https://books.google.com/books?id=kfO7AQAAQBAJ|date= 2013|publisher=[[Courier Corporation]]|isbn=978-0-486-14310-1|ref=none}}
* {{cite book |editor1-last=Riehn |editor1-first=Rainer |editor2-last=Metzger |editor2-first=Heinz-Klaus |editor-link1=Rainer Riehn|editor-link2=Heinz-Klaus Metzger|title=Musik-Konzepte 107: Perotinus Magnus |url=https://books.google.com/books?id=7WkZAQAAIAAJ|date=January 2000 |publisher=edition text + kritik|location=Munich |isbn=3-88377-629-7|language=de|ref=none}} see also [[Musik-Konzepte]]
* {{cite journal |last1=Roesner |first1=E. H. |title=Who 'made' the Magnus liber? |journal=[[Early Music History]] |date=2001b |volume=20 |pages=227–266|jstor=853793 |doi=10.1017/s0261127901001061|s2cid=190695312|ref=none}}, reprinted in {{harvtxt|Roesner|2009|loc=pp.&nbsp;155–194}}
* {{cite book|editor-last=Roesner|editor-first=Edward H.|title=Ars antiqua: Organum, Conductus, Motet|url=https://books.google.com/books?id=AzArDwAAQBAJ|date= 2009|publisher=[[Taylor & Francis]]|isbn=978-1-351-57583-6}}

;Articles
* {{cite journal |last1=Gross |first1=Guillaume |title=La repetitio dans les organa quadruples de Pérotin: Nature rhétorique de l'organisation du discours musica |journal=Musurgia |date=2001 |volume=8 |issue=1 |pages=7–29 |jstor=40591215|ref=none}}
* {{cite journal |last1=Heerings |first1=Arnoud |title=Perotinus |journal=Gregoriusblad: Tijdschrift Tot Bevordering van Liturgische Muziek |date=2005 |volume=129 |issue=1 |pages=53–57 |url=https://openmusiclibrary.org/article/553090/|ref=none}}
* {{cite journal |last1=Tischler |first1=Hans |author-link=Hans Tischler |title=The Evolution of the "Magnus Liber Organi" |journal=[[The Musical Quarterly]] |date=Spring 1984a |volume=70 |issue=2 |pages=163–174 |jstor=742208|ref=none}}

;Audiovisual
* [[Paul Hillier|Hillier, Paul]] (1989). "Perotin". program notes to ''The Hilliard Ensemble: Perotin''. CD ECM New Series 1385 (837-751-2). Munich: ECM Records.

;Websites
* {{cite web |last1=Daolmi |first1=Davide |title=Storia della musica medioevale e rinascimentale |url=https://www.examenapium.it/meri |website=Temporum Stirpis Musica |publisher=Dipartimento di Beni culturali e ambientali, [[Università degli Studi di Milano]] |access-date=18 February 2019|ref=none}}
* {{cite web |title=Medieval music and memory |url=https://bibliolore.org/2016/07/21/medieval-music-and-memory/ |website=(RILM) Répertoire International de Littérature Musicale: Bibliolore |publisher=[[RILM]]. [[City University of New York]] |access-date=29 January 2019 |date=21 July 2016}}
** {{cite web|last= Garlandia|first=Johannes de|title=De mensurabili musica|url=https://www.examenapium.it/meri/garlandia.html|ref=none}}
{{div col end}}

== External links==
{{commons category|Notre Dame school}}
* {{IMSLP|id=Pérotin|cname=Pérotin}}
* {{ChoralWiki}}
* {{Digital Image Archive of Medieval Music|pid=77|pname=Pérotin}}

;''Magnus liber organi''
* {{IMSLP|work=Magnus Liber Organi (Various)|cname=Magnus liber organi}}

{{Ars antiqua}}
{{Medieval music}}
{{Portal bar|Classical music|Biography|Middle Ages}}
{{Authority control}}

{{DEFAULTSORT:Perotin}}
[[Category:Ars antiqua composers]]
[[Category:French classical composers]]
[[Category:French male classical composers]]
[[Category:Year of birth unknown]]
[[Category:Year of death unknown]]
[[Category:12th-century French composers]]
[[Category:13th-century French composers]]
[[Category:Medieval male composers]]