The style was characterised by increased variety of rhythm, duple time and increased freedom and independence in part writing. For the duration of the medieval period, most music would be composed primarily in perfect tempus, with special effects created by sections of imperfect tempus; there is a great current controversy among musicologists as to whether such sections were performed with a breve of equal length or whether it changed, and if so, at what proportion. The next step forward concerning rhythm came from the German theorist Franco of Cologne. One of the flutes predecessors, the pan flute, was popular in medieval times, and is possibly of Hellenic origin. The reciting tone (sometimes referred to as the tenor or confinalis) is the tone that serves as the primary focal point in the melody (particularly internally). He is a music teacher, examiner, composer and pianist with over twenty years experience in music education. Vitry took this a step further by indicating the proper division of a given piece at the beginning through the use of a mensuration sign, equivalent to our modern time signature. The value of each note is not determined by the form of the written note (as is the case with more recent European musical notation), but rather by its position within a group of notes written as a single figure called a "ligature", and by the position of the ligature relative to other ligatures. Much of the information concerning these modes, as well as the practical application of them, was codified in the eleventh century by the theorist Johannes Afflighemensis. However, the exact internal rhythm of these first notes of the group requires some interpretation according to context. Medieval dance A few examples of square notation neumes are as follows: 1) Punctum is a single note that is sung to one syllable. Each mode establishes a rhythmic pattern in beats (or tempora) within a common unit of three tempora (a perfectio) that is repeated again and again. 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