Sequences

The encounter and subsequent fusion between the Roman liturgical and musical tradition and that of the countries north of the Alps was not the only development which took place during the Carolingian period. The immediate consequence of Charlemagne's educational reforms was the appearance of an important monastic culture. The great monasteries with their schools, their scriptoria and their workshops encouraged intensive artistic activity, which took its basic inspiration from the liturgy which it was to enrich so generously in its turn.

One of the most important innovations of the ninth century, the birth of neumatic musical script, has already been discussed in an earlier chapter. This discussion was brought forward to preserve continuity of argument, and it should not be forgotten that the discovery of notation was taking place at about the same time as the innovations which we are now to consider. The same is true of another significant novelty, the origin and elaboration of early polyphonic forms. The study of these has been assigned to another volume (by F. A. Gallo) in order not to disrupt the unity of the present treatment. But the first traces of polyphonic chant do appear in the Carolingian era; if the invention of notation and the first experiments with polyphony are added, as they should be, to the innovations which are the subject of this chapter, the ‘Carolingian Renaissance’ will be seen, at least from a musical viewpoint, to be an historically justifiable reality.