In modern usage, the term "isorhythm" is often associated with the practice of repeating two sets of parameters (such as duration and pitch) at different rates so that the values of one parameter are associated with different values of the other parameter at each repetition.

Ars nova composer Philippe de Vitry has been credited with the invention of the technique, but it "was neither an invention of Philippe de Vitry nor his exclusive property in the early fourteenth century." The isorhythmic construction was often varied through the use of strict or free rhythmic diminution in the repetition of the color. (Hoppin 1978, p.363)

Isorhythmic techniques were also used by Guillaume Dufay, but his work also marks the extensive use of the more fluid polyphonic styles of the early renaissance.

The talea was often a rhythmic mode. The color of isorhythm may be compared with the tone row of the twelve-tone technique's fixed order of pitches and varied durations. The modern musical innovation of integral serialism in the classes of Olivier Messiaen sprang from a study of the 12 tone compositions of Anton Webern and the isothythmic organization within motets of Guillaume de Machaut.

Coloration also refers to otherwise perfect notes colored red or with an open notehead to indicate the loss of 1/3 their duration, making them imperfect.

Source

• Hoppin, Richard H. (1978). Medieval Music. New York: W.W. Norton & Co. ISBN 0-393-09090-6.

External links

• Here Of A Sunday Morning WBAI 99.5 FM: Isorhythm