The manuscripts of the Notre-Dame repertory have blocks of two-part organa, which are considered to have three rhythmic patterns: (specific) organum, which consists of a sustained tenor part and an organal voice in free rhythm; copula, which has a sustained tenor part and an organal voice in modal rhythm; and discantus, whose tenor and organal voice are both in modal rhythm. These definitions were established by Fritz Reckow's 1967 interpretation of Johannes de Garlandia's statements, which had been considered problematic: "there are three species of organum: discantus, copula, and (specific) organum"; "copula is that which is between discantus and organum"; and "copula is that which is produced by proper measure equivalent to a tenor which maintains the same sound." Reckow explained: "copula is between discantus and (specific) organum; therefore when discantus has modusrectus style in both parts and (specific) organum has modus-non-rectus part over sustained-note tenor, copula must have modus-rectus part over sustained-note tenor" and this has been widely accepted. However, it is difficult to determine whether the organal voice is written in free rhythm or modal rhythm, although whether the tenor of the specific portion is written with sustained tones or in modal rhythm can be immediately recognized. In short, it is impossible to distinguish a (specific) organum portion from a copula portion. Observations reveal that the explanation of copula given by treatises coeval with Garlandia holds as its central characteristic "between discantus and organum" rather than "sustained-note tenor and modal-rhythm organal voice." Some other characteristics that the treatises share regarding copula include: "keeping some kind of 'correct sequence'" and "related to closing of a phrase." As a result of comparative examinations of the music mentioned in relation to copula, this paper proposes a revised definition that the copula is a repeated sequence, the function of which is to connect (specific) organum and discantus.
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