bishop of Turin by Louis the Pious ca. 818. Almost immediately, he began a war of
words against the cult of relics he found flourishing in that city. His iconoclastic writings
are perhaps of most interest, but these survive mainly in the writings of his opponents
Sungal and Jonas of Orléans.
E.Ann Matter
[See also: ALCUIN; BIBLE, CHRISTIAN INTERPRETATION OF; JONAS OF
ORLÉANS; LOUIS I THE PIOUS; THEOLOGY]
Claudius of Turin. Opera. PL 50, 104; MGH Ep. 4.
Bellet, P. “Claudio de Turin, autor de los commentarios In Genesim et Regum del Pseudo
Euquerio.” Estudios biblicos 9 (1950):209–23.
——. “El Liber de imaginibus sanctorum, bajo el nombre de Agobardo de Lyon, obra de Claudio
de Turin.” Analecta sacra Tarraconensia 26(1953):151–94.
Italiani, Giuliana. La tradizione esegetica nel Commento ai Re di Claudio di Torino. Florence:
Cooperativa Editrice Universitaria, 1979.
Souter, Alexander. The Earliest Latin Commentaries on the Epistles of St. Paul Oxford: Clarendon,
1927.
CLAUSULA
. In 12th- and 13th-century music, a clausula (pl. clausulae) was a melismatic passage of
plainchant set in the two-part (later sometimes three-part and rarely four-part) polyphony
of the Notre-Dame School. The added part (the duplum) moved predominantly note-
against-note to the plainchant melisma, a texture termed “discant” style. Some melismas,
such as In seculum from the Gradual Hec dies and Latus from the Alleluia Pascha
nostrum, were frequently set as independent clausulae because their length and melodic
properties lent them well to this treatment. The primary Notre-Dame manuscripts (W1, F,
and W2) are the main sources for clausulae, and together they transmit some 900 two-
part discant passages, many embedded in organa. In W1 and F, there are also separate
fascicles containing independent clausulae in series, each of which maintains the
liturgical order of the organa to which they belong.
In the clausulae identified as the earliest, the tenor usually is notated as rhythmically
equal longs without any pattern. Somewhat later, the longs of the tenor became
differentiated in length. Finally, both the tenor and the duplum were subject to modal
rhythm, moving rhythmically at about the same pace. One of the most important
innovations in the composition of clausulae was repeating the tenor, either with the same
rhythmic pattern or with a different, contrasting one. This led to repetition in which the
rhythmic pattern overlapped repetition of the melismatic melody, a device that proved to
be the precursor of isorhythm, which was of great importance to the musical style of the
Ars Nova in the 14th century. Texting the duplum of a clausula created the earliest
motets.
Sandra Pinegar
[See also: CONDUCTUS; ISORHYTHMIC MOTET; MOTET (13TH CENTURY);
NOTRE-DAME SCHOOL; ORGANUM]
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