Inmusic of theRenaissance and earlyBaroque eras, abicinium (pl.bicinia) was a composition for only two parts, especially one for the purpose of teachingcounterpoint or singing.
The term has had two usages in music history:
The term was first used inPoland, byJan z Lublina in a treatise of 1540. Volumes of bicinia were published in the next several decades inGermany, theLow Countries, and even inItaly, as the usefulness of bicinia as teaching aids became apparent. In addition,Martin Luther had strongly expressed that children should learn both music and thepsalms: bicinia with German texts from the Psalms fulfilled his purpose.
Students could be expected to master singing a single part in aduet more easily than a part in a larger ensemble. Usually a bicinium was designed to be sung or played by students of the same age and ability, rather than for a single student and a teacher.
This model of moving from two-part study, writing, and singing to three parts and then more was adopted byHeinrich Glarean in hisDodecachordon (1547), one of the most influentialmusic theory and pedagogy treatises of theRenaissance.
In a similar manner, present-day music students typically learn counterpoint first by writing in two parts, and then later in three, only moving to four or more parts after mastering the earlier stages.
A similar pedagogical composition for three voices is known as atricinium (pl.tricinia).
