ABSTRACT
There are some fundamental questions about the music of Notre Dame, the answers to which have remained elusive. Reckow traces the word copula from its grammatical antecedents in late Antiquity to its use as a poetical term in the late twelfth century, before investigating its appearances in music theory. Given the strength and multiplicity of the Logical connotations to the word copula, it is therefore not surprising that Johannes de Garlandia, who may have taught in the Parisian arts faculty himself,17 should make such extensive use of Logical and Grammatical terms when describing the musical copula. Valet was used to denote the appropriateness or validity of an argument, as in "Valet consequentia". The copula appears after an organal setting ('Con-') and before a discant setting ('Videbitis')- it is therefore "inter discantum et organum." The most important facts about the copula according to Johannes de Garlandia have thus been established.
