The basis of the technique comes from parallel motion, which is described by Hucbald as the sound that results when a man and a boy sing the same melody simultaneously, each one in his own range. 900, and later expanded and developed in a number of treatises including Micrologus (Little Discussion), by Guido of Arezzo. Instruction and information about polyphony is found in theoretical treatises from as early as the De harmonica institutione (Melodic Instruction), written by the monk Hucbald c. The effect was somewhat different on secular music, where polyphonic music became the treasured repertory of the upper classes, creating a musical class distinction that had not existed previously.
It added an entire new body of works to sacred music, supplementing the chant and even replacing it on special occasions. Monophonic music, both chant and the secular compositions, continued to be performed throughout the Middle Ages and long after, but once invented, polyphony invaded all forms with dramatic consequences. But the musicians of Europe took the idea quite a bit further, developing and refining the practice to a level of complexity that could not be extemporized, but required long thought-out and calculated written composition. In its simplest forms polyphony can easily be improvised as, for example, when two or more performers simultaneously sing the same song at different pitches, and it still exists in that form in a number of cultures. The idea itself undoubtedly originated centuries earlier than the earliest written evidence or even the first mention in theoretical treatises. The most far-reaching addition to music during the Middle Ages was the invention of polyphony-music in more than one part-an aspect of Western art that is not duplicated in any other culture. The Earliest Polyphonic Music Origins and Development.
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